Gov’t Mule,

Fox Tucson Theatre

Tucson, Arizona

February 22, 2024

Review and photos by Mary Andrews

Gov’t Mule’s return to Tucson was sold out weeks in advance. The show was a resounding sucess as anticipated by their faithful fans. The band emerged as a Southern rock and blues jam band in the 1990s after guitarist, Warren Haynes, splintered off the Allman Brothers band. They have been performing across the world every since. 

The band, in addition to Haynes, consists of Matt Abts on drums, Danny Louis on keyboards, guitar, trumpet and vocals, and Kevin Scott on bass. There was also a special guest appearance by electric banjo player, Ryan Cavanaugh, considered to be the most versatile banjo player in the country. https://www.ryancavanaughbanjo.com/about The entire band excels at playing, especially playing live, and improvising around fixed compositions. Their songs are long, and the players improvise and focus on playing.

The blues and classic rock is a major influence on Haynes. 

Their set consists of less songs, but the songs are longer, filled with extensive instrumental selections and improvisation. They opened the set with “Bad Little Doggie” and they cruised along during the first set of the evening with the highlight being “Time to Confess.” The second set was like an entire new concert beginning with “Unring the Bell” from the High and Mighty album.The entire show was a look back at the Mule’s entire career.

“Stone Cold Rage” was more laid back than the original recording with more improvisation by the band. “Endless Parade”was soul music at its best. The songs had the fans on their feet and dancing in the isles for the entire show. 

The tour is promoting their new album release, Peace. . . Like a River, and they were happy to introduce new tunes from the album. Selections included “Dreaming Out Loud,”  “Same as It Ever Was.”and “Gone Too Long.”  The songs are familiar yet fresh and appealing. 

The encore was “Soulshine” a song written by Haynes and Greg Allman and was a pure crowd pleaser. The show seemed to be over as soon as it began. The show was on fire and Tucson is ready to have the band back again. It was a pleasure to have two full sets from ‘the Mule.” 

Setlist

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A couple of years ago, I had jury duty. I found that one of the “perks” of this obligation is meeting new and interesting people. This is how I met local composer David Lister and discovered his delightful music. My favourite of his works is the game soundtrack “Wanda (A Beautiful Apocalypse)” which I have very much enjoyed listening to since that time.

I’m not a gamer so I haven’t played the game, but listening to this sweeping, cinematic score makes me wish it was a movie – I’d definitely watch it if it were! The opening track, “City of Light,” invites the listener into a world of magic and wonder. One can imagine flying in a ship to a sparkling city full of wonders, then delving deeper into this magical realm in “Journey to the Bronze City.”

“The Portal Puzzle” promises intrigue with its pizzicato strings, while “Hide and Seek” adds a soft element of mystery with harp and piano, and “Journey to the Red City” has an almost exotic element to it. The music turns a bit more dark and foreboding when “The Bots Meet” and in “The Chamber” and “The Radar Puzzle,” then lightens up again in “the Stone Puzzle.” The entire soundtrack runs the gamut of emotions with a strong, well-defined musical theme throughout and a whimsical feel reminiscent of soundtracks by Alan Silvestri or Danny Elfman. It is certainly as enchanting as the work of any well-known film composer. And it is hard to believe that this entire soundtrack was done electronically and not performed by a live orchestra! I know from my own experience that making a composition sound the way you hear it in your head with a computer program is no mean feat, but Lister accomplishes this nicely with great attention to detail in this recording.

An “Apocalypse” would indeed be beautiful with this score by David Lister behind it, and I recommend that you check out the Bandcamp link as this album is enjoyable whether or not you play the game.

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Interview conducted on Dec. 14, 2020

By Dan Locke

Elthia. “I love you, but you make me cry” shows the beginning of the songwriter’s new venture towards indie-pop music with dance elements, showcasing delicate instrumentation, soft, dreamy vocals and glittery guitar harmonics.

You are from NY and now live in LA. What is your upbringing?

I am from Long Island, NY, and traveled to San Francisco to study classical guitar. After I graduated, I moved to Los Angeles (only a few months before the beginning of the Covid-19 quarantine).

How did you discover music?

My father was a classical guitarist, so there were always guitars around the house when I was growing up. He used to tell me that I should learn how to play the guitar, and I always refused. One day I said, “Dad if you keep telling me to play the guitar, I won’t do it.” He stopped telling me, and then I picked it up.

How did you start to write music?

I started writing music when I was 15 years old, after I saw another girl at my school perform her own song at a talent show. It was great, and she was younger than me, so it infuriated me and I started writing my own songs.

Describe your music.

My music is a blend of my favorite elements of pop and classical music; my songs feature the poetry that I love, the pop music that I listen to, and the classical guitar elements that I studied to create the indie pop that you hear in my music.

How did you get your first guitar, and do you still have it?

My first guitar was a gift from my father. I had been studying classical guitar for about 5 years when my father bought me a Ramirez (a very beautiful Spanish guitar). I still have it!

What is your guitar of choice now? Year, make and model? And does it have a name?

My guitar of choice now is a guitar that was custom-built for me by a luthier named Steve Connor. He built this guitar for me in 2017, and it has the most lovely tone and a gorgeous design. When he was building my guitar, Steve was doing a series that he called his “Portrait Guitar Series”, where he would center the design for the guitar around the person he built it for. I showed him a bunch of my designs and doodles of flowers, and he took this idea and ran with it, creating a whole floral design for the guitar. This guitar is also a bit smaller than most classical guitars, making it more comfortable to play, so I named my guitar Joy, because it finally felt good to play guitar.

Are you a classical musician who enjoys pop?

Yes! I studied classical guitar for years and then started writing pop music. Now, I love bringing my classical guitar background into my new music.

How were you hooked up with Orangewood guitars?

I was a big fan of their guitars after I had heard a few demos that my friends had done, and I was lucky enough that they would contact me for the unveiling of their first line of nylon-stringed guitars! I was so excited when I first received this guitar and I wrote apiece called Guanacaste with it, and the video of me playing it is on the Orangewood YouTube channel now.

Why did you change your name?

I changed my name for a few reasons; the first is that my real name wasn’t completely uncommon, so a few people already had it, and it made it harder for me to establish my social media sites because all of my handles had to be different.

I also changed it because I really like the distinction between the art and the artist; I really love the freedom that a pen name gives me as an artist, because not everything I do is a true reflection of who I am. It has made me feel a lot more joy when making art.

What makes a good songwriter?

A good songwriter is a good storyteller.

Do you belong to any to songwriters’ organizations like the International singer-songwriter association, BMI or ASCAP?

Yep! I belong to ASCAP.

What was the title of your first original song? 

It was called Get Together.

Did you record it?

Yes! I actually recorded a few different versions of it. I did an acoustic version of it for my first EP, titled Island of Mine.

How was it to build your home studio?

I’m still building it, actually! I built sound panels and set them up in my closet to create a little home studio, and I have a table set up for my computer, interface, and preamp as well. I also record videos in there, so I have my ring light and I lined the walls with star lights. 

Tell me about your debut single under the name of Elthia?

I wrote this song when I was going to a songwriter’s circle that was hosted by my friend, and the prompt for the evening was to bring a song that was about an object, but never says what the object is. That is when I decided to write the song, “i love you but you make me cry”, about an onion. 

What is the mental health situation of the United States? How can the public help the doctors and nurses on the front line?

At the moment, many people in the US are still finding it difficult to cope with the issues that Covid-19 has brought. We all need to continue wearing our masks (over the mouth and nose) so that we can reduce the spread of the virus.

What song from the past is in your mind right now? Moreover, what is the meaning of that song to you?

I always have Venus by Lady Gaga on repeat; this song is just so interesting and powerful, and it’s one of my favorite songs.

Do you feel the Covid-19 virus going to affect the music business in the future?

Yes, I believe it will certainly affect the nature of live shows going forward. I think it will be a long time until people can safely stand in a crowd at a big show, so we will have to adjust and change the rules/regulations of each venue. In fact, many venues have unfortunately closed due to the pandemic. I think that many musicians will start relying on live streaming compared to live performances, and we will see a lot of innovation with the ways that musician’s live-stream.

What have you been doing with your self-quarantine? Have you discovered or rediscovered any new hobbies?

I’ve been writing and recording more songs, which has been amazing! I’ve gotten back into reading as well, which I have really been enjoying lately.

How can bands keep their fans if they cannot play live in front of the fans and sell Merch to them at the show?

I believe that live streaming will be the way that artists market themselves throughout the pandemic and in the future. 

If you cannot do music, what would you like to be doing?

If I couldn’t pursue music, I would likely pursue something else in the arts.

Anything you would like to say in closing.

Be safe and wear your mask!

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Interview conducted on November 17, 2020

By Dan Locke

Jennifer Rüth was born in Würzburg. She began to attend piano courses at Würzburg conservatory at the age of 16, and after graduation from academical high school she studied the piano in Würzburg and in Tarragona (Spain).

Ming is a classical pianist, born in Hanover and raised in Hamburg (Germany), her parents are from South Korea. She studied at the conservatories in Lübeck (junior student at the age of 13), Rostock and Bern (Switzerland) and is a multiple first prizewinner of Steinway & Sons Competition Hamburg and jugend musiziert (federal level).

The Queenz of Piano are at home at the most renowned venues and classical music festivals. Their energetic stage show and their charming presentation style have made them a talking point internationally (in Taiwan, China, Hong Kong, England, Portugal, France, Poland, the Netherlands, Switzerland, Austria), and they now present their show in four different languages.

What is your upbringing?

Jenny: I grew up in a small southern German village with my parents and little sister. Music was always part of the family because my mother was a music teacher.

Ming: I grew up in northern Germany in Hamburg with my parents and two sisters. My parents are from South Korea and love classical music very much.

We both learned the piano at a very young age, did piano competitions, and practiced many hours a day.

How did you discover music?

We both started playing the piano at the age of 6 at a music school. At the age of 14, we both were chosen for a scholarship to study the piano as so-called „young students“ at the university of music in our home towns. We both love classical music, won several competitions, and were meant to become a classical pianist. But we also listened and danced to pop music like „normal“ teenagers do.  I (Jenny) studied Jazz Singing and played in Jazzbands. Ming played electronic guitar in a punk band. Later on we played in different pop or classical crossover projects like „Salut Salon“ or „Adoro“. In our program, we combine these different musical genres with show elements.

How did you start to write music?

Already as children, we composed easy melodies on the piano. Later we experimented with synthesizers for additional sounds and beats. When studying at the university music composition and arrangement was part of our education.

Besides arrangements of pop songs and combinations between different musical genres, it is also part of our musical language to compose by ourselves. So it just came naturally to integrate four original songs on our new album.

Ming you toured with Jocelyn B. Smith Seed and with the classic pop quartet Adoro. Tell me about how it was touring during that time?

In all the classical concerts I did so far, there was total silence until the end of a piano piece and the applause started, when everybody was really sure, that the piece has ended. Performing with these great and famous artists, the direct interaction with the audience was so impressive to me. Having a much more faster, intensive, direct response, and the reaction of the audience, I decided to work more in that direction.

How did you meet?

In 2009 I (Jennifer) was looking for a pianist for my piano duet. I did a research and had a look at Mings’s Website. „Berlins coolest pianist“ that sounds good, “ I thought, „but maybe she is too busy.“ So I didn`t contact her. But I made a little notice in a notebook I am using for many years for creative ideas or anything that has to do with Queenz of Piano.  In 2017 again I was in the situation to look for a new duet partner and found this little notice from 2009. And this time I called Ming. I told her about our plans for recording a new album and our collaboration with Mousse T. (Tom Jones, Sexbomb). Our first meeting was very special because it was 10 days before the birth of my daughter. I could hardly walk anymore. We really liked each other from the first moment on, both of us love the music we do. And we also managed the time with a baby on tour as a perfect team. We are really thankful for this little notice from 2009.

How did you come up with your name- Queenz of Piano?

To be honest finding a good name was quite a challenge for us and took ages. At the end we decided to call us Queenz of Piano. „Queenz“ not to be meant arrogant but with a twinkle in the eye. The „z“ to make it sound modern. And „piano“ to make it clear tor everybody that we don`t play the (fucking) recorder 😉

What was your first performance together like?

Our first concert was an Open Air Concert at an old castle in Hamburg, Germany. Two pianos in front of a river. The atmosphere was amazing, quite romantic in the sunset with a cool Northern-Germany summer breeze and birds singing and responding to our songs. A concert you will never forget.

What makes a good songwriter?

Having a soul, having something to say. Knowledge in composing, music theory, and arranging helps, but it is no condition for composing music that touches. In my eyes.

What was the title of your first original song? Did you record it?

The title of our first original song was „Two Roads“. The Songtext is an adaption of Robert Frost’s poem „The Roads not taken“,  which was very inspiring for us. We recorded this song for our new album.

Tell me about your classical music That Rock Live Tour. What was the idea behind it?

We believe that classical music rocks as much as rock & pop music. Johann Sebastian Bach has as much groove and rhythmic energy as and AC/DC`s Thunderstruck. In our show, we combine the virtuosity and depth of classical music with the atmosphere of a pop concert to break the boundaries between Bach and Beats on two grand pianos. We integrate innovative ways of playing the piano like plucking and bowing the strings in order to get creative sounds out of the piano and to imitate instruments like drums and guitars. We also sing in our concerts and have a lot of interaction with the audience. We also integrate live visuals and electronic sounds to make it a piano concert of modern times!

Have you ever heard any feedback from any artist in which you used their music within your performance?

Not so far. But we would really be interested how Sting would like our Mash Up of Shape of my heart and  Chopin`s Nocturne.

You released your CD “Queenz of Piano”, during the lockdown. Did you have trouble getting the word of about it since you could not tour?

It is really not the best time to release a new album during the lockdown. Parts of our promotion tour, interviews with radio stations and magazines had to be postponed to autumn 2020 or even to 2021. But we were lucky to do at least some interviews and TV-Shows which helped a lot to reach the people. Last week we made it to Number 3 of the Amazon Classical Charts and had very much support from our fans.

What is your favorite track on the album?

It depends on our mood and changes from day today. „Thunderstruck“ and „Smells like teen Spirit“ are very energetic and virtuos. Very good for rocking the stage at home. Our original songs „December Song“, „On the Fly“, „Reminiscence“ are perfect for relaxing days with their calm-down and atmospheric mood. If you like to sing along to a nice pop song „2 Roads“ is a good decision. But I also like our version of Ed Sheeran’s Shape of you. My little 2-year old daughter starts dancing at once.

How do you stay healthy while touring?

In general enough sleep is very important for us. As we travel most of the tour by train we always wear warm clothing in winter. During corona times we have very strict hygenic rules in Germany. So luckily the virus didn`t catch us so far.

What are you’re feeling about streaming music?

I have mixed feelings about streaming music. My first CD was Michael Jacksons Thriller. I was 14 years old and listened to this CD for two months long while having the booklet in my hands, studying every word until I knew it by heart. For me listening to music via streaming platforms feels much more unpersonal.

For artists, the selling of physical CDs and merch products is a real source of income, especially during these times. In contrast to this, the payment you get from streaming platforms is vanishingly small and doesn’t feel appropriate.

On the other hand, the streaming platforms are helpful to reach a bigger and also international audience. Our version of „Smells like teen Spirit“ made it to a very popular playlist „Classical goes pop“ on Spotify. At once the streaming numbers exploded and we got new followers from all over the world.

Ming- Have you had the chance to tour South Korea?

Not yet so far. We went on a five-week tour to China, and also to Taiwan.

I love playing in Asia. The Asian audience is very interested in western classical music. And especially in China, there were so many children at our concerts which I appreciated very much.

Digital vs. Vinyl?

Both! Digital to make it practical to use in every situation. Vinyl for evenings with a bottle of wine.

I love your blackout Tuesday logo. Who came up with the idea? What are your feelings about the social uprising going on in the United States?

It was our idea because we wanted to post something more individual with a message: On the piano, you find black and white keys in a very harmonic coexistence. A scale, a chord, a musical piece consists of black and white keys. No one without the other.

We watch what happens in the United States quite concerned. The country seems to be divided more and more and we deeply hope that the politicians of the next period will recreate a basis for people to be treated equally and to feel that they live in a country of peace and justice.

You had to reschedule your tour. And now you just played your first show. How was it? How did you feel once you hit the stage?

We felt like two wild tigers that were let out of the cage after half a year of imprisonment. Full of adrenaline, power, energy, and desire to finally play again. We miss that so much!

Next year you will be having a show with the New Zealand Symphony Orchestral. Is this your first open air big symphony orchestral concert?

Sorry, that`s a mistake. It is unfortunately not the New Zealand Symphony Orchestra. That would be fantastic. We would love to play in New Zealand.

It is the Babelsberger Filmorchester and the Leipziger Symphony Orchestra we play with, only in Germany so far.

Do you think kids should go back to school?

Do you mean in corona times? In Germany kids go back to school again and switch temporarily to online lessons. So far it seems to work quite ok.

What song from the past is in your mind right now? Moreover, what is the meaning that song means to you? 

It is „The bare necessities“ from The Jungle Book. My little daughter loves the music. So at the moment, it is our daily evening ritual to dance and sing along to the music. For me, it is not only a children`s song. I discovered the quality of this soundtrack. It has so many intelligent musical details. The composers must have loved their job. Besides it is heartwarming music and especially during these times on days where one concert after the other was cancelled this music helped me to smile, reflect on what is really important in life and to be still thankful for what we have.

How do you feel the Covid-19 virus going to affect the music business in the future?

I estimate the affects for the music business immense if the corona vaccine

Don´t come very soon. In Germany many especially small theatres and music clubs already have to close permanently. So far culture and music were part of everyone`s life and I hope that people don`t get used to not going to cultural events and concerts anymore. In any case, I think when the theatres reopen the people will be still careful and reluctant in buying tickets. We artists will have to cope with the situation that we probably at least temporarily play for less audience which of course has a financial impact on the whole music business. So now it is the moment to use the time wisely and find alternative ways to express creativity.

What have you been doing with your self-quarantine?

We worked on our program, recorded new songs, and are now planning to create new music videos. And we also got crazy about the idea of creating a Christmas program. Let´s see what happens.

Have you discovered or rediscovered any new hobbies?

Yes, we started to do some workouts and yoga. And also enjoyed our time outside in nature. I live near the bavarian alps and went on hiking tours more often. Ming went to these very nice lakes around Berlin very often during the summer.

95% of people said that they have changed the way they watch television. This includes people who don’t have television and using their computers to do streaming of programs and movies. Which is your favorite streaming channel?

It is exactly as you say. I didn’t watch TV for about 2 years. So instead of zapping around, we choose the films and series more consciously. We use Amazon prime and i-tunes, also Netflix. But to be honest we don`t stream a lot.

Many artists are doing nightly concerts over either YouTube, Facebook, Twitter, or Instagram. In October that is going to change at least on Facebook. Facebook is cracking down on live-streamed shows that include recorded music with new terms of service, preventing artists from using the platform for “commercial or non-personal” purposes, unless they have obtained the relevant licenses.
The updated music guidelines state that users “may not use videos on our products [which include Instagram] to create a music listening experience […] This will include [Facebook] Live,” and stipulates that such content should be posted for the enjoyment of friends and family only. 
How do you think this will change the landscape of Facebook?

For us artists, social media is not only a platform for personal and private issues but more and more an advertising vehicle. And these platforms earn a lot of money with the adverts artists do to reach old and new fans.

In these days artists lost their jobs from one day to another in most cases without getting any appropriate financial supply.  

Social media and streaming platforms are able to make a lot of money with the creative work of artists. Now would be the time to give them something back and to find a way to support the artists during these times. It could be the time to develop more special programs or features for artists.

In addition. From October 24 onwards, you can no longer simply paste your links in WordPress to make your Facebook and Instagram content appear on your site. Will this affect how bands use Facebook?
How can bands keep their fans if they can not play live in front of the fans and sell merch to them at the show?

Maybe it is soon time for new platforms. Some years ago we all had a myspace- account. A platform you hardly remember nowadays.

Is pay to play still a thing?

We played the piano since the age of 6. We practiced like 8 hours a day. We studied piano and worked really hard to get the status of being an artist that can make a living out of it. Although we love what we do and although it is fun what we do it is also a lot of work and a job with many unpaid hours. As it is a job and not a hobby it should be paid fairly. As I further mentioned musicians aren`t paid fairly for their music on streaming platforms. So if live-concerts also only guarantee a „pay to play deal“ we artists would lose totally the appreciation and acceptance of our work.

What about Holographic concerts in our living room?

Great and interesting  idea! But I think it doesn’t replace real live-concerts. 

The virus has caused the layoff of all the symphony orchestras in the United States. How do you see the Covid-virus affecting live symphony music?

I don`t know how it works in the US. In Germany, as members of symphonic orchestras have the status of state employees, they are at least financially supplied.  But of course, they also have to deal with the situation as all artists during this time, to have temporarily lost your mission and a job you love.

If you can’t do music what would you like to be doing?

We can imagine doing something else temporarily, like teaching for example. But giving concerts and being an artist is our passion and it is what we love to do.

Anything you would like to say in closing.

Yes, thanks for these interesting questions!

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by Mary Andrews

Guitar virtuoso. Tommy Emmanuel, has brought his immense talent to Tucson’s Fox Theatre many times. Emmanuel was born in Australia originally and moved to the US. He has built a reputation for his sizzling live performances. Emmanuel emulates a full orchestra with his guitar. He is a treasure who continues to inspire the world.

We were able to catch up with Emmanuel as he was traveling to his next gig. Here is what we learned.

Mary Andrews: We are thrilled to have this opportunity to chat with you.  It seems like you are constantly on the road. You play with Jerry Douglas often on tour.

Tommy Emmanuel: The two of us are a good combination for a tour.

Me: Can we talk about the album, Heart Songs, you are released after the first of the year?

TE: Yes, it is an album of all love songs. John Knowles is performing with me on the album. He is a Nashville guitar player who I met through Chet Adkins years ago. We’ve enjoyed working out arrangements and playing together. We decided to cut an album. That happened last year and we finally got the whole project finished and ready to go.

The album features songs like “Somewhere” from “West Side Story”, Bonnie Raitt’s “I Can’t Make You Love Me,” The Bee Gee’s “How Deep Is Your Love.” Ray Charles’ “I Can’t Stop Loving You.”  Also, we did Hank Williams’ “Cold, Cold Heart” and Billy Joel’s “Lullaby.” There’s a bit of everything on this album.

Me: There is a video out for “Walking My Baby Back Home.” Was this the first single off that album?

TE: It’s one of the songs on the album to give people an idea of what is on the album. We were in a room in our office with a couple of microphones and we sat down and played the tune. I wanted to let people know about the kind of style we play together.

Me: You are from Australia. How often do you get back to Australia?

TE: I get back every year. Even if I don’t play there, I’ve got to visit friends and family and do some television and stuff like that. I played in Australia last year and I’m bringing Jerry next year. He has never been there so it’s going to be exciting for him and the audience because he’s got a lot of fans out there.

Me: Where do you call home now?

TE: I’ve been living in Nashville, Tennessee for 15 years. I’m getting ready to move to California. My daughter is going to school there. My wife is working for Apple now. If I want to be with them, I have to move.

Me: You got your first guitar at the age of four years old. Is it true you were playing professionally at the age of six?

TE: I was the world’s youngest professional guitar player. We (the Family) traveled all over Australia. We had dreams and aspirations of going overseas, going to America. My father died when I was ten and I never got to see that come to fruition until I was in my late 20s. I made the pilgrimage over here and came to Nashville to meet Chet Adkins. I started to get to know people here and get to know how things were done here. I wanted to see if I was good enough to make a stand here. It took a long time and I just kept at it. I kept coming back trying to grow as an artist. Eventually Chet rang me in the early 90s and he said, ‘We could work together. It would be really great if you came over to stay at my house and let’s do some work together.’

We were both with Sony and we were both on the Columbia label. I had had some fairly successful albums, four in a row actually with Sony. So they were very aware of me. Chet was established. I came to Nashville for a country music showcase. Chet came down with the record company because they had never seen me play live. That was what did it. I got a call a week later saying we had to work together and record. That’s how all that came about.

Me: At one point in time, you toured with Tina Turner. What was that like?

TE: It was incredible. She’s amazing. I was in the band, Dragon, and did the whole tour. Dragon was a very successful rock band out of Australia and we were a good opening act for her. We did about 36 shows with her all around Europe. I watched her every night and got to know her and her band. It was a great tour. She was lovely.

Me: So you went solo after that?

TE: Yes, I had been doing stuff on my own since the mid-seventies. I started to write the songs and really focus on being a solo performer around that time. In the mid-nineties, I recorded my first solo acoustic album called Only. It got me into all the guitar magazines. It opened a lot of doors for me because I had a lot of songs and I was free to travel around the world.

Me: It seems like you are constantly on the road. How do you keep from getting road weary?

TE: I have breaks from time to time. I’m very much used to it. It doesn’t drive me insane. I woke up this morning and my first thought was ‘Oh good, I have a show tonight. I’m excited about that.’ The fact that I know its sold out is an extra buzz.

Me: We have talked about Chet being a major mentor as a musician. Who else is a guitar hero for you?

TE: There are so many. There is everybody from Django Reinhardt, George Benson, to Stevie Ray Vaughan. There is George Harrison, Paul McCartney, and John Lennon. I listen to the Beatles more than anyone else. I want to learn about songwriting and those guys put a pretty high bar up.

There are so many really good guys around the world, creative people not just in America, but in all countries. It makes traveling all around the world so exciting. You never know whom you are going to meet. The level of creativity out there is pretty amazing.

Me: Have all of your dreams come true as far as what you wanted to do?

TE: Everything that has happened has been far more than I ever expected. I’m one of these people that I’m already on the next thing. The next thing for me is the Heart Songs album and the tour that goes along with it.

Me: If you had to live the next year with only three albums of your choice to listen, what would those three albums be?

TE: Donald Fagan, The Nightfly, Stevie Ray Vaughan, Texas Flood, and Stevie Wonder, In a Square Circle.

Me: What inspires your music?

TE: I get inspiration from different things. I’m inspired by something as simple as watching a movie and getting inspired by the film itself or being transported by it. When you get yourself out of your normal existence to another level of inspiration, that’s when music can flow from you. Sometimes listening to something is when an idea can pop into your head. For instance, I wrote the song “Lewis and Clark” when I read the “Journals of Lewis and Clark.” I was so amazed about their story that I just felt that I had to write something. I thought ‘how can I describe the great unknown traveling on the rivers, the mountains, the prairies, the Native people and the American West? How can I describe that in music?’ That was the challenge.

Me: You’ve been able to travel all over the world. Do you get to see things like a tourist during your travels?

TE: Sometimes, I do. When I travel as I am right now on a bus, I get to see every day where we are going and I get to experience those beautiful drives especially stuff like coming down the Columbia river and going across through Oregon and into Idaho. That is a beautiful drive. When you get into Arizona, you have a completely different landscape. I love it.

Me: Before wrapping this up, there is one more question. If you were interviewing yourself, what would you ask Tommy Emmanuel?

TE: Peanut butter, crunchy or smooth?

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Interview conducted June 05, 2020

By Dan Locke

Areti Kokkinou is a Greek composer, arranger and also guitar and mandolin player. She has played in numerous concerts and studio works.

ΤΗΕLMA KARAYIANNI / ARETI KOKKINOU

What is your upbringing?

Αρετή Κοκκίνου: I wasn’t brought up in a family of musicians. I was born in the city of Athens, where I have mainly lived and worked ever since.

How did you discover music?

I really can’t recall. I started playing, without guidance, several simple musical instruments available around at my pre-school age. Radio was very popular at the time and played every day at home, Greek music mainly. I tried to reproduce every melody that came to my ears with a little keyboard available and sang a lot, although I have never wished to become a singer.

How did you start to write music?

A few years after I started playing with local bands.  But there was still much to learn in order to do things professionally.

Do you remember how you got your first guitar?

Yes, when I was eleven. My mother brought me my first acoustic guitar and I started lessons immediately at the local music school. After a few years, I decided I would like to practice on classic rock style, quite popular among Greek musicians at that time.  I bought my first electric guitar with much excitement.

And do you still have it?

Of course, both of them.

Let’s talk about your latest release “NO TEARS IN A BLUE MOON”. Is there a story behind it?

This is part of my common work with a person I love, the female poet Mary Grammatikakis. As an English teacher, she can also write lyrics in English. We had worked together in several performances regarding poetry and music.

Where was the video shot?

To tell the truth I don’t know. We had prepared the audio and wondered about the visual part for YouTube upload when another friend of ours, Katerina Vasilakou, listened to the song and made this video for us. It was a nice surprise. Now I think of it, all the creative part of the song turned to be” female business”.

The song reminds me of the 60s hit “Aquarius”?

To be honest, I had never thought of it. Indeed, the meaning of the song lyrics is very close to the optimistic and humanitarian spirit of “Aquarius”.  And there are common references to the sun as a symbol and craving for world peace. People still fight for these ideas

 I am sure Mary didn’t have the song or the musical in mind when she wrote “No tears in a Blue Moon”.  These are ideas and references also found in her Greek lyrics and poems.

As for the music, the two songs are of quite different mood, I think. “Aquarius” is an extrovert melodic pop song, while “No tears in a blue moon” is more mystical, acoustic rock with ethnic elements, like the traditional stringed instrument “lyra” played by the folk musician Othonas Bikakis.

How was it to work with Dimitris Samartzis and Mary Grammatakakis?

Dimitris was the main singer of the album. Thelma (Karayanni), the singer of this single is a guest artist in this album. All of them are friends I love and have worked with in several projects. Apart from work, we have often shared bottles of home- made wine or “raki”, the famous alcohol drink of Crete, Mary’s home island.

How soon will the album be out? And can you tell me about it?

In fact, “No tears in a Blue Moon” is a single from Mary’s personal album under the title “Body and Soul”, released three years ago.  
  Three songs with my music are included in this album. I have also played guitars and done more of the arrangements.

However, this single will also be a part of another acoustic-ethnic rock project you will hear from me soon.

What is your favorite track on the album?

I have no favorites! I love each one of my songs. As it happens with children, though, the youngest is the most caressed and beloved.

How do you stay healthy while touring?

I am not sure there will be much touring this summer. At that time of the year we used to have busy tour schedules, as Greek summer is, by tradition, full of events all over the country. This season is completely different and uncertain and artists are badly struck, as few of them are rich enough to go thought it easily. In our –fewer- performances all of us intend to follow all the hygienic instructions given to protect ourselves and others.

What are you’re feeling about streaming music?

It is an interesting alternative. I have done a couple of streaming during the lockdown. It cannot replace live concerts’ unique experience, definitely the excitement is not the same. However, it is an easy way to communicate your live performance unlimitedly to everyone that has access to internet connection.  A different, new situation which could add new perspectives as far as performance is concerned.

Digital vs. vinyl?

Vinyl sound quality is unique and incomparable to any digital means. But things cannot go back. The vast majority of people (I can only talk about Greek people, of course) will listen to a song on Spotify or YouTube, even if the vinyl or the cd with the song stands on a shelf nearby. I am not an exception to that, I am afraid.

What song from the past is in your mind right now? And what is the meaning that song means to you?

I can’t name one and only song from all the ocean of Greek and international songs I have loved and cried with. For some reason I found myself thinking of “The show must go on” by Queen. Maybe because lately, I have been thinking more about people fighting for a good reason all over the world “holding the lines”, despite their personal pain, trying to win life.

How do you feel the Covid-19 virus going to affect the music business in the future?

Frankly, I have no idea what will happen in the long run. Here in Greece the majority of the music business and people involved have suffered deeply. The future remains uncertain. New live entertainment formulas may be developed, which is the good part if artists and art workers benefit from that. Many unemployed people are the bad part. I feel the whole situation will gradually recover, with the weakest left behind as “victims”.

What have you been doing with your self-quarantine?

At the beginning I felt deeply depressed thinking of all this situation. Then I slept a lot, since I had spent years of non-stop day and night work. Then I found myself in a daily routine taking my dog for long walks to pleasant sites of my area I hadn’t discovered before.

Have you discovered or rediscovered any new hobbies?

Not really, but at last I had the chance to enjoy long nice talks with friends without having to look at my watch.

Lots of people are doing nightly concerts over either YouTube, Facebook, Twitter or Instagram. I see you were doing “Staying at home with our writers”. Tell me about that project?

I am impressed you searched for it. This has been one of the activities organized by “Bookia”, an important site dealing with literature, quite well established in Greece. I was interacting and playing music accompanying the poetry performance of Dimitris Verykios,  a  well-known Greek actor with deep knowledge about poetry.

Do you think it will be possible to make a living doing concerts this way?

For the time being, this way is not established yet in order to be widely profitable. On- line performances in Greece are still considered as a substitute of the real live thing, mostly offered for free. I can’t tell yet whether on-line concerts are a real commercial tendency. The future will show.

First it was an article in the New York Times, then Rolling Stones talked about it and finally Live Nation CEO said that concerts may not start again until fall of 2021. Do you think this could happen?

I really hope this will not happen. However, small local performances could be supported to make up for the loss. The whole structure of music business will reorganize if all these huge productions and festivals cease work for such a long time.

With Social Distance being the norm, do you feel that it maybe the end of music fest for the next couple of years?

This is a whole new situation, l of course. I really can’t say. As I told before, I strongly hope this won’t happen. I think governments and local authorities should support festival activity under safe conditions to help art go on.

What about Holographic concerts in our living room?

Well, it sounds science fiction to me. Why not, though?

Any plans to tour?

Some small lives in Athens, few concerts around Greece, much studio work for this summer.

How do you see yourself in the next five years?

I hope I will keep enjoying setting up new exciting projects being healthy, and having added five more years of experience!

Anything you would like to say in closing.

It’s our duty to care and stand for the fellow human, for the environment, for justice, in order to “to let children smile to the sun”.

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Interview conducted on Aug. 28, 2020

By Dan Locke

It is our job as artists to find beauty, hope, and strength and to share it with the world. It is our job to tell the story, as heart-wrenching as it can be, and hope that the message we send out will bloom and bring peace to a world in turmoil.

What is your upbringing?

I grew up in a suburb of Montreal in the province of Quebec, Canada. My mother was a nurse in a hospital for over 35 years, and my father was an administrator for the city of Montreal. They are now both enjoying a well-deserved retirement in the mountains. I have two siblings, an older brother, and a younger sister. Although some years were more frugal than others, we had a beautiful home and caring and devoted parents. We were taught empathy and to respect life in all its forms, the love of learning, the power of imagination, and the importance of hard work.

How did you discover music?

I don’t know if it was a discovery so much as something with which I grew up. My parents listened to singers-songwriters from Quebec, to classical music, Celtic and folk music. We rarely listened to opera though. As a child, I would make up my own songs, and would team up with my cousins and brother to build our own musicals and plays. We would force our parents to attend the shows haha! Not much has changed after all… to this day, whenever I perform in their area, my parents and siblings make it a priority to attend the show. I could not have wished for a more supportive family.

How old were you once you picked up the violin?

I was eight years old. My father had been playing for a year or two and was bringing me with him to lessons. If I behaved, I got a candy bar. I am pretty sure my love for chocolate fueled my love for violin… after I insisted on getting lessons, I received my first violin for Christmas and got started not long after.

How did you start to write music?

Around 12 years old, I was obsessed with medieval music. I would learn medieval tunes by ear and write them down on staff paper. A few years later, after transcribing a lot of music and getting used to how musical phrases are shaped, I composed my first piece, a medieval-style ballad for which my father wrote the lyrics.

What was your first performance like?

I sincerely cannot remember the very first concert… I guess I was not too nervous haha! The student recitals were often in the basement of a church, and we would alternate between violinists and pianists. I remember hearing the more advanced students thinking “I need to play like this, and soon”. I was ambitious, and I wanted to progress quickly. It is in high school that I fell in love with the stage, and that concerts became a way to communicate with the audience, as opposed to simply showing off what I had learned during the semester. That one night where I felt the energy of the public become mine and flew back to them in a perfect circle changed everything.

What was the title of your first original song? Did you record it?

The title of that medieval-style ballad is “Mélancolie”. I have it written down somewhere, but I never recorded it. Now that you mention it, I’ll have to find that music sheet and record it for posterity!

You are a singer/violinist for Märchenbilder, Gone in April, Wave Transform recording studio. And the violist for Symphony of the Mountains, Oak Ridge Symphony Orchestra, and a singer for Marble City Opera. How do you have time?

As a musician, it is very hard to do only one thing and earn a living, there are not many full-time jobs for performers. A lot of us combine performance gigs of all sorts with studio work and teaching. On my end, I decided to study until I could play violin, viola and sing professionally; this way, I would be sure to find work in music. It has definitely paid off, and I cannot complain! I will admit that I never sleep as much as I would like to, but I am never bored and I love what I do!

What past project means the most to you?

Past project… I was part of an early music ensemble, La Sainte-Barbe, for about 5 years. With them, I recorded my first album and played many shows and festivals. I was the youngest of the band, only 17 years old when I joined. I learned a ton about the professional world, met incredible performers, and made so many awesome souvenirs. I definitely cherish these years.

Tell me about your new album Gone in April “Shards of Lights” which came out on September 6, 2019?

Amidst the turmoil, we need to find a safe haven where to rest. Amidst the darkness, we need to find the light. There is so much hate, destruction, and violence in the world. We witness it every day on the news, and sometimes right in front of us. Shards of Light is an invitation to focus on creation and unity, as opposed to destruction and division. It is an invitation to find the light in every situation to lift us up and continue the good fight.  

What is your favorite track on the album?

That’s a very hard question! I think it depends on the day… Empire of Loss, If You Join Me, A Torch in the Night and Reign are in my top four.

How do you stay healthy while touring?

Sleep is definitely the most important thing! Of course, as a singer, I have to make sure I drink tons of water, limit alcohol, exercise and avoid speaking too loud when I am at the merch booth.

What are your feelings about streaming music?

I have mixed feelings about it… I personally love having the chance to listen to an album before buying it. I actually buy more music since it is more readily available.
On the other hand, creating an album requires so much work and is quite costly, and streaming revenues are still pretty low as we speak. I think there is still some work to do to make sure that artists receive the share they deserve, but I believe that we are on the right path.

Digital vs. vinyl?

I know I will make enemies with this answer haha!
I would say digital because of its convenience, but of the highest quality available.

What are your feelings about the social uprising going on in the United States?

Where to start… I believe in the very simple principle that we should treat each other with compassion and love, as we want to be treated ourselves. Discrimination is present everywhere: where there are humans, there is discrimination and violence. It is our duty to always strive to be better persons, to learn from each other, to admit our faults, to fight for respect and equality. I am glad that voices are finally getting heard. I think we need to listen to the voices of the minorities even more, and continue the battle against ignorance and hate.

What is the mental health situation of the United States?

2020 is definitely a trying year for everybody. I cannot speak for an entire country, but I think people are tired. Tired of the pandemic, tired of the anger displayed everywhere, and tired of the anxiety born from the unknown.

How can public help the doctors and nurses on the front line?

There are so many opinions on this virus and what should or should not be done. On my end, as the daughter of a nurse, I put my trust in the healthcare workers and follow the guidelines. In the areas where the virus is still spreading a lot, limiting social gatherings to a minimum, staying at home when possible, washing hands often, social distancing and wearing the mask are all things we can do. This is a new virus and we are still learning about it every day so I believe we should stay patient and flexible.

Do you think kids should go back to school this fall?

I think it depends on the area and the number of active cases… Some schools offer both online classes and in-person classes, and the parents get to choose what they want to do. I think that is the best setup.

You are still accepting students are you afraid?

Well, as a singer, I cannot say that I am not afraid of a virus that scars the lungs… like other musicians, I spent years working on mastering my instrument, and I would be heartbroken if a virus was to ruin all that hard work. So, I am very careful. I teach violin in person with masks in a very large room. When students come to my house for lessons, we do lessons on the covered deck with the birds and cicadas singing in the background, and my voice students are still online (I am following the guidelines of the National Association of Teachers of Singing). With all these measures, I feel safer. 

What song from the past is in your mind right now?

The opening theme for the 3 Musketeers, anime version from the ’90s! “Sous le Signe Des Mousquetaires”

Moreover, what is the meaning that song means to you?

I loved that show as a kid! One of the badass musketeers was a girl dressed as a guy haha! It reflected my tomboy temperament.

How do you feel the Covid-19 virus going to affect the music business in the future?

It already did so much damage… everybody involved in live performances has been affected horribly, losing a big chunk, or all their income. Lots of venues are closing.
It will take time for the industry to get over this… I nonetheless stay positive as a few countries are already starting to resume live performances.

What have you been doing with your self-quarantine?

It was not much different from usual to be honest. The time I would usually spend performing, I spent it doing band management and composing for Gone in April, doing session work for bands (composing/recording strings or voice) and collaborating with other metal musicians. For example, in June, I was invited to collaborate with Phil Demmel (Vio-lence, BPMD, Machine Head), Dirk Verbeuren (Megadeth, Soilwork), Dino Jelusick (Trans-Siberian Orchestra), Marta Demmel (Bleeding Through) & Steve Di Giorgio (Death, Testament, Gone in April) for a Dio/Sabbath cover of “Falling Off the Edge of the World.” A few days ago, another collaboration on which I worked with Phil, Dino, and Martha was also released, Ozzy’s “Revelation (Mother Earth),” this time with Mike Portnoy (Sons of Apollo, BPMD, Dream Theater) on drums, and Rudy Sarzo (Quiet Riot, Ozzy Osbourne, Whitesnake) on bass. 

Have you discovered or rediscovered any new hobbies?

Unfortunately, no… I used the free time to work on marketing and on the house, which needed a little bit of love! I nonetheless spent a day here and there in the woods to relax.

95% of people said that they have changed the way they watch television.
Which is your favorite streaming channel?

I used to not watch TV at all. I would sometimes rent movies on the weekend and that was it. I started to watch TV shows a lot more with the arrival of Netflix. I try to do household chores while I watch shows, this way I don’t feel guilty for being unproductive, and I get the boring stuff done without thinking about it!

How do you feel about the annual Great Battle of Bicolline this year being cancelled?

The Great Battle of Bicolline is a medieval festival held every year, which lasts for a week. You go there with a week of period costumes and enjoy the daily concerts, the campfires, the fighting contests, the banquets, and the good company. The week finishes with an epic battle with over a thousand people on each side. I have been going to this event almost every year for the last twenty years. There is a very special ambiance when the sun goes down and the torches are lit all over the village. For many of us, it is also the chance to see old friends that we don’t see often. The cancellation of the event was to be expected since there is such a big attendance, but it definitely saddens me.

Many artists are doing nightly concerts over either YouTube, Facebook, Twitter or Instagram.
You did something called Late Night Practice. Are you planning to do anything else?

With Gone in April, we organized a Q & A, a contest and we filmed a playthrough. We released 3 playthroughs, a live video, and are currently working on more videos.

Live Nations just started Live Nation from Home. Which are concerts from artist homes. An all-new virtual music hub keeping fans connected to their favorite artists featuring daily live streams, performances, new music and more. Do you think it will be possible to make a living doing concerts this way?

I think that it would be possible for certain musicians who are very good with online marketing and social media.

For smaller bands who do not play large crowds, this is not really an issue. How do you see bands going back to smaller venues and doing things like play for the door, with no guarantees?

For bands that are not local, it will be very hard to do smaller venues with a smaller attendance. There is money that goes towards transportation (a tour bus costs around $1000/day!), towards paying the musicians who do this full time, and towards paying the crew, to name only a few of the expenses.

In addition, at the present time for a band to go on tour from one state to another they may need to self-quarantine for 14 days. How is that going to work? With Social Distance being the norm.

To be honest, I think we will have to wait for these restrictions to go away. Musicians are pretty resilient, and we are used to managing our time efficiently. A lot of us will use this time to do what we can’t do when we are performing (compose, film music videos, record and album, etc).

Do you feel that it maybe the end of music fest for the next couple of years?

At this point, it is hard to say. In the last months, we all have seen governments change their minds quite often about how to handle things, and it is totally understandable. We have a saying in French “Il n’y a que les fous qui ne changent pas d’idée” (only lunatics do not change their minds). This is a new virus and, although we know a lot more about it than we did a few months ago, we still have a lot to learn. This being said, I am hopeful that by next summer we will have a solution.

What about Holographic concerts in our living room?

I did not think about this option! I think that’s a great idea!

If you had to pick an opera for a first-time listener to listen to, which one would you pick for them to enjoy?

I would pick Carmen. The plot is not overly complicated, it’s exciting and passionate, and the music is beautiful.

How do you see yourself in the next five years?

That’s a good question haha! For an artist, there is never a day like the previous one, our calendars are different every day, and it is hard to plan what next year will look like. I am working towards more performances and more touring. Time will tell!

Anything you would like to say in closing?

I would like to thank you Dan, for your time and for everything you do for artists out there! I would also like to thank all the readers; you guys keep us going!

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Interview conducted on July 28, 2020

by Daniel Locke

Professional opera singer Valentina O is the eclectic and multifaceted songwriter, vocalist, arranger, and producer behind Nymphya. Valentina has appeared throughout the United States as an opera singer, actor, and performer, as well as on numerous soundtracks for television, film and commercials (Time/Life Warner, IMAX, and Garfield), and on multiple CD projects for recording artists, including backing up John Cale (The Velvet Underground) on the Tonight Show and appearing on MTV with her group Screaming Divas.

What is Ethereal Baroque Pop?

Let’s start with Baroque Pop. It’s a genre that emerged in the 60s when pop and rock artists started incorporating orchestral instrumentations into their arrangements. It can sometimes have a melancholic flair to it, and always has a hint of drama. It takes the Pop or Rock song format and elevates it with timbres that are unexpected…a French Horn, or a Harpsichord, for example. Artists such as Kate Bush, The BeeGees, Scott Walker, and more recently, Lana del Rey, are considered Baroque Pop artists.

Interestingly, for me, I didn’t set out to make any particular genre of album for my first release, Dream Dance, but I discovered by the time I was finished with it that it was, indeed, Baroque Pop. (Or perhaps even a new-ish genre called Folktronica).

But the interesting part is that I listened to the entire Bee Gees catalog from the time I was 13 years old to 18 years old, and then I became obsessed with Kate Bush and listened to her entire catalog. (And still do). And now here we are years later, when in 2017, I released my very first original album, and it turns out to be the same genre as those two very formative artists that I spent hours and hours listening to. 

Baroque-Pop is also sometimes called Art-Pop or Alt-Pop, which is pop music that has an artistic or alternative sensibility… And the terms can be used interchangeably. I sometimes like to create music that doesn’t fit into a typical song format; that it’s just music, which is also an Art-pop sensibility. So, there are some instances where my music is also described as Cinematic Art Pop.

However, I feel that adding the word “Ethereal” helps to describe my music with a little bit more specificity, as my lyrics tend to have a mystical / metaphysical nature, and the arrangements of the instrumentations, as well as the tonal color of my vocals, remind listeners of the Ethereal. I have also been told that my music tends to take the listener on an immersive experience, and that experience has a quality of being Ethereal. Which is just fine with me! Some of my favorite music is that which takes me on an Ethereal journey.

What is your upbringing?

I was raised in an upper middle class suburban American household in Valley Forge, Pennsylvania. However, my dad, Julian, was a true original; a brilliant, iconoclastic, anti-establishment, beatnik motorhead who wasn’t quite willing to go all the way into that Bohemian world, and so hedged his bets with comfort and family. My mom, Irina, was a World War II German immigrant who valued food and aesthetics and traditional female roles, while also having her own at home business. So, both of my parents embraced dichotomies, perhaps without even knowing it. I was the youngest of three children, and all of us were taught to be independent, skeptical, and self-reliant. But I was always the weird, eccentric one, teased by my older brother and sister, defended by my father, and lived through vicariously by my mother. My family and extended family were populated mostly with scientists, engineers, and teachers, but I always wanted to be a musician. From the time I was six years old, I envisioned myself singing on television and being a recording artist. I used to play with my Dad’s old tape recorders, layering vocal harmony parts with myself, dreaming of the day that I would be able to do that in a real recording studio. I would also interview and record myself on my own talk show.

How did you discover music?

My mom and dad listened to music during their cocktail hour on Friday nights when they got home from their weekly grocery shopping trips. So that was really the first music I was exposed to: Johnny Cash, Glen Campbell, Merle Haggard. Although, when my dad was at work during the week and my mom did house work, she would listen to adult contemporary music like Vikki Carr, or Andy Williams. From early on, I never could relate to that kind of music, but I definitely thought that Johnny Cash was cool. My mom occasionally would put Opera on as well, which I thought was just… weird.

So, when I was very young, I considered myself a country music fan. (Which would explain why my very first song was a country song). But then, I had the first of many watershed events that every musician has, where you get introduced to a sound that turns your world upside down…

I was listening to my little Bakelite radio next to my bedside late at night. Somehow, I had a station on that was not a country station, and I started hearing the sound of rainfall, and this loping bass line that was very mysterious… Then in came these electric piano lines that also sounded like falling raindrops. I was so intrigued… What IS this? Country music or Vikki Carr never sounded like this. And then Jim Morrison’s achingly sexy voice started: “Riders on the storm…” I was hooked, riveted, titillated. And, I never looked back. Music was IT for me. And not just any kind of music…. THIS kind of music.

How did you start to write music/poems?

When I was six, our family moved into a 1930s stucco A frame house in Dayton, Ohio with a great attic; the kind of attic with a real stairway that led up to a high, peaked roof room the size of the whole house. One hot summer day, I went up there and found a beautiful, black Hohner accordion with pearl inlays. I dragged it down to my room and started fooling around with it, and ended up writing my very first song, a country song called “Goodbye Darlin'”. It was very simple, but I felt very accomplished having written my very own song. Of course, I didn’t play it for anyone but myself, but I still remember it to this day.

After that, like any self-respecting, middle class pre-teen girl, I started writing poetry, and song lyrics.

When I picked up the guitar at 13, I began playing and singing in earnest. One of my greatest triumphs in junior high school was being asked to sing back-ups with a junior high school rock band that was playing at a school assembly. From then on, I was more determined than ever to be a musician, and learned how music worked, structurally, from my guitar teacher, which really helped prepare me for when I went to music school later on.

How did you start to perform Opera? Who was your teacher?

When I was in undergrad at Temple University (for my first degree in Mechanical Engineering), I played and sang in varying rock bands. All throughout my time there, I kept telling everyone who would listen that I never wanted to be an engineer and that I wanted to be a musician. I had gotten an academic scholarship to Temple and just picked engineering because my Dad told me it would teach me how to think. But I just couldn’t figure out how to go about breaking into the recording industry.

By the time I graduated, I was starting to notice some vocal strain from belting rock in loud bars, and I saw an article in the paper about a classical voice teacher named Julianne Baird (who is a gorgeous, early music soprano). I contacted her and started studying with her, and a whole new world of classical music opened up to me.

It felt so rich and beautiful and pristine, that I ended up immersing myself in the classical and Operatic music world. Since I couldn’t figure out how to break into the recording industry, the path of auditioning for specific roles for specific productions had a linearity that made sense to me. I left my engineering job after 1 year and fled from Pennsylvania to San Francisco to go back to undergrad and study music and vocal performance.

It was in San Francisco that I started recording radio jingles and television and film soundtracks, and eventually sang with the San Francisco Symphony and the San Francisco Opera, before singing with New York City Opera.

What was your first performance like?

While I was still in music school, I performed with a lot of Bay Area arts organizations, and one of my very first gigs ever was with a company called Underworld Opera, (now known as Oakland Metro Opera), where we created a hybrid rock opera called Dick Dines Out. It was my first time wearing a headset microphone and doing a fully choreographed, through-composed piece. I had found nirvana! And to this day, I still have a very special place in my artist’s heart for hybrid/avant-garde theatrical/ musical experiences. I am considering creating one based on my Nymphya music.

My Opera debut in the big houses is definitely in the top 5 of my most exciting experiences as a performer. The magnitude of artistry that goes into those productions is humbling and awe-inspiring. And I will never forget the day I walked into my first music rehearsal for The Ballad of Baby Doe at San Francisco Opera. I was to be rehearsing the final trio, a scene I had with the two stars: soprano Ruth Ann Swenson and bass Jim Morris. Now mind you, I had watched each of these singers from the audience multiple times and was a huge fan of them both. So, to be now in the same rehearsal room with them was mind blowing. And nerve-wracking.

We began working through the scene with the conductor, and getting closer to when I had to sing my bit… I was so extremely nervous…

I sang my lines, and the most amazing thing happened. My Opera idol, Ruth Ann, turned to me and whispered “That was perfect!” And smiled at me. All of a sudden, I felt that I had been inducted into the club.

Yet, each time I was rolled out onto the huge San Francisco Opera stage on the platform for my performance of this scene, my heart was pounding out of my chest. But I would just take multiple deep breaths and go for it, because at that point, that’s all you can do.

In the end, there is something deeply transformational about conquering moments like that.

If someone had to listen to Opera for the first time, what should they listen to?

I have thought about this so much… what is the best way to introduce someone to this extraordinarily compelling, yet also somewhat ludicrous, art form? And I always end up landing back on the tried and true.

My personal favorite for new listeners is the Habanera aria from Carmen by Bizet. (And not because I am a mezzo soprano). It’s because it has a lovely slow-groove bassline that listeners can relate to, and an immediate melodic hook that seduces you… Which is exactly what Carmen, herself, is supposed to do, by the way.

If you find that you like this aria, then I would continue on with the rest of the Opera, which is truly an absolute masterpiece.

If you find that you liked the entire Opera of Carmen, then I would recommend next trying La Boheme by Puccini.

And then I would recommend Verdi Operas, such as Rigoletto or Aida.

What was the title of your first original song?

Aside from the classic “Goodbye Darlin'”, which has not been recorded, another of my first songs is called “Sarah Jackson”, which was the name of someone I saw on a gravestone in a cemetery in Pennsylvania. (I’m one of those people who likes walking around cemeteries). I wrote this song when I was 15, maybe? It’s in an open D guitar tuning inspired by “Daylight Again” by Crosby, Stills and Nash, and it’s about mortality and the non-linearity of time, which is something I’ve been pondering my entire life, with a lyric: “81 years from death it was time that she was born”.

Did you record it?

We had a 4-track cassette recording of this song that I made with my high school collaborator at that time, (who is now video game music composer, Jack Wall). But I don’t know if it still exists…there might be some cassette mixdowns floating around somewhere…

You were a backup singer for John Cale (The Velvet Underground) on the Tonight Show. Tell me about that day?

That was a somewhat surreal day. And it ties in so nicely with what we just talked about because it involves my friend Jack Wall, who was at that time in the late 90s working with John Cale in the studio on his recordings. Jack contacted me and asked if I and two other singers could come to LA from San Francisco to back up John Cale for The Tonight Show because there was some issue with Cale’s current backup singers. So, I grabbed two of my fellow singers in my group, Screaming Divas, (the late, great, Lilli Oldfield, and Pamela Nissley), and we flew to LA.

What was so interesting is the song that he needed us to back him up on was “Dancing Undercover” from his “Walking on Locusts” CD. The backups for this particular song were very straightforward, and since we were 3/5 of a working acapella group, we were used to singing together, figuring out harmonies, and doing very complex things vocally, which made learning the parts for this particular assignment quite easy for us.

We showed up at the music rehearsal the day before The Tonight Show, met John and the band, and started rehearsing the tune. We nailed it the first time through, and John was genuinely surprised and delighted. In fact, he really didn’t have any notes to say at all except for something like “Wow, that was great. You women are amazingly quick.” (Of course, we loved hearing that.) But just because, we ran through the song two more times and that was it. We were to meet the next day at the NBC Burbank studios for a 10:30 AM taping.

Being on the iconic Tonight Show was another peak life performance experience. I remember feeling like this was where I belonged and wanted to be forever; surrounded by such a skilled production crew and musicians in such a highly visible setting. We ran through the song onstage for the director to get all of the camera angles, and then retreated to our dressing room to await showtime. Jay Leno came in and introduced himself to each one of us, shaking each of our hands and welcoming us as a truly gracious host. I was so impressed with his warmth and presence with each one of us as individuals, realizing that he does this with all of his guests, day in and out… It was clear to me that he is a genuine people person.

The performance went off without a hitch, and after the show, John told us that he was going to look into us joining him for his concert tour, because he was so delighted with what we had done. (Ultimately, that never came to pass due to budgetary issues.)

The most surreal part of this whole experience was, though, we then flew home that afternoon, and that evening I sat on my couch and watched myself singing on The Tonight Show.

What was Screaming Divas? Do you think that acapella can make a comeback?

Screaming Divas… I have such love for the 5 women that I shared this group with. The group’s genesis was from an acapella group called Sirens that was put together by another woman. It turned out that she was a bit of a control freak, and we ended up mutinying, and striking out on our own. I had no idea if I could arrange for acapella vocals but I took my 4-track and dove right in, becoming sort of the de facto main arranger for the group. Our hallmark was doing unexpected acapella arrangements, more like what is known as a vocal band, with vocal percussion and instrumental imitations. We were doing this in the 90s, decades before the huge success of Glee and Pentatonix, but unfortunately, being an all-female band, we lacked the low end of the male voice that could really drive the bass sound. Even though we were limited by that, it didn’t stop us from doing acapella arrangements of songs like Pink Floyd’s “Money”, Jimi Hendrix’ “All Along the Watchtower”, or instrumental numbers like “Sing Sing Sing” or “Bolero”. We had a good run for 7 years, performing for Hillary Clinton, and opening for Dana Carvey, George Benson, and eventually Todd Rundgren at the Fillmore Auditorium. When our high soprano decided to move to LA, that was the beginning of the end of the group. The camaraderie and intimacy that we shared on the road, on stage, in rehearsal and in the dressing rooms… it’s a gift I will never forget and will cherish always.

To answer your second question, it seems to me that acapella did make a huge comeback with Glee and Pentatonix, which really surprised me, to tell you the truth.

What made you create “Naked Kate”?

Well, when I released my first album, “Dream Dance” in 2017, a lot of people told me it reminded them of Kate Bush. And as people started buying that album, I discovered from their emails and comments on social media that they also loved Kate Bush.

What was funny is that a couple months before I got the inspiration to do my “Naked Kate” album, I had stumbled across the opportunity to buy a signed copy of Kate Bush’s recent book of lyrics “How to Be Invisible”. There was only 1 copy left on eBay, and it came down to a bidding war between someone in the UK and me. The bidding was formidable… I could tell we both really wanted this book.

So, I was delighted and excited to wake up the morning of the final bid to see that I had won it!

When the book arrived from the UK, I placed it in my studio as a talisman of sorts to inspire and feed me for working on my next original album. I held my hands over her signature to absorb the energy.

Fast forward a couple months later after that, and one of my fans had commented on social media to please don’t wait so long for the next album. That triggered me; I started contemplating how I could release an album sooner rather than later. I then woke up a few days later on the morning of March 25 with a fully formed vision, and a clear inner voice saying to me: “Why don’t you record a stripped down, all acoustic cover album of Kate Bush material and call it “Naked Kate”? And in the next moment, the cover art was also revealed to me.

It was a few months after that that I remembered my talisman from late January, and realized that it had worked its magic so well, that much to my surprise, I ended up recording an entire Kate Bush cover album!

Once I got deeply involved in listening through her complete catalog for the curation process, I realized another big reason why I made this album. Multiple times I would have people over for a social event, and would attempt to put on some Kate Bush as a subtle way of introducing them to her. But because of her wonderful audacity, eventually they would often say “What is this? Can you please play something else?”

I realized it would be a great thing to be able to put on my “Naked Kate” album during a dinner party, for example, and have their ear attracted to not only what we made of it, but also to the pure music, her brilliant lyrics and melodies; to be able to really listen to her songwriting. After all, when she’s asked to describe herself, that’s often the first word she uses: “songwriter”. So, this album is really about exposing the beauty of her songs in such a way that you can really hear them. And I get comments from my listeners about that all of the time. . . how much they love how you can really hear the lyrics and the melodies and just sink right into each song.

What is your favorite track on the album?

Oh, boy, that is really difficult to answer.

Because in all honesty, “Naked Kate” turned out to be one of those magical studio experiences where every track captured multiple moments of inspiration. Let me just stop right here for a moment to acknowledge something really key to how this album turned out: my collaborators. I brought New Orleans singer/songwriter/guitarist Alex McMurray to California for a long weekend to track his guitar with mine as well as to contribute his fantastic, gritty vocals. He was the first person I thought of that I wanted to collaborate with me on this record, so I was extremely excited that he accepted. We spent a couple months prior emailing and meeting a few times in Zoom to go over arrangement ideas and the material. Kate Bush music is not basic, and yet Alex arrived completely prepared. So, when we went into Jamie Bridges’ excellent studio “Room With a View”, we were ready to go. I worked them both hard for those 3 days to make sure that we got all the basic tracks down for the 15 songs on the album before Alex needed to return home…12 hour days in some cases, and we did it. They both were a dream to work with: committed, calm, caring, fun, and professional.

We spent the last evening before Alex had to fly out reminiscing and philosophizing over Scotch into the wee hours of the morning; and I was so touched that this project had caused them both to fall in love with Kate’s music, too.

However, I remember waking up the next morning and realizing: “Holy crap! Now I have to complete this! The work has just begun!” And I then spent the next three months in Jamie’s studio, completing the album with the additional guitar tracks, bass tracks, percussion tracks, and vocal tracks, playing each part and finalizing the arrangements. There were times, of course, that I ran into roadblocks, like “How am I going to make this one work?” And so, I had to woodshed again with the original material, listening, digging for inspiration of what to include in the stripped-down arrangements to bring the song alive in this new setting, but with just its essential elements. And of course, vocally, each piece was its own challenge. Coloring my voice to meet the demands of each song, keeping it my own, yet also doing Kate’s melodic shapes and lyrical intent justice. I look back on it now and its almost dreamlike…. What a deep joy that work was… 

Now, after all that said, if I had to pick, among my favorite tracks are “Joanni”, “Don’t Give Up”, “Hounds of Love” and “Suspended in Gaffa”.

How did you get your pink Telecaster? In addition, does it have a name?

There’s a story to everything isn’t there? And, I love so much that you are asking about my Paisley tele!

I bought my first pink Paisley Telecaster in the 80s when I was playing in an 80s cover band. It was a Japanese reissue, but was still really cool. On July 3 of 1996, the Omphale houseboat that I lived in in Sausalito (and where Alan Watts used to live) burned down to the pilings, along with nearly every bit of its contents. I lost everything I owned except for the clothes I had on my back… we had to flee the flames in order to survive. My beloved cat Miss Peanut did not survive. It remains to this day one of the most traumatic events of my life.

The next day we met with the fire marshal to poke through the ashes to see what we could salvage. Surprisingly, he recovered my Shure Beta 58 microphone (which I used for 20 years after that until it gave up its ghost), and two and a half guitars… The half being my beloved pink Paisley Telecaster, which was beyond repair.

In 2003, my fiancé, the late Keith Keller, who was a guitarist, producer and owner of Chez Flames Studio in New Orleans, surprised me by giving me a gift of a Japanese reissue of a pink Paisley Telecaster that he had found. I was stunned, deeply touched and delighted. I treasure it. And especially now, since Keith passed suddenly in 2006, (the first most traumatic experience of my life) … My pink Paisley Telecaster is very, very special to me. So special that I guess it transcends a name.

How do you stay healthy while touring?

By not touring. I’ve been focusing solely on distributing my music online, although was actually just starting to plan to do some live shows; I had a festival gig booked for the Fall of 2020 that I was starting to prepare for, and then the Coronavirus hit.

It’s an interesting dichotomy that I struggle with often: live shows vs. studio recordings and online presence. The music industry has undergone a complete transformation from when I was a little girl listening to my Bakelite radio and dreaming of being a Rockstar. In this new world of the music industry, an indie artist such as myself can work my own distribution to get my music out to my fans, and not owe all of the expenses back to the record company and end up empty-handed. Setting up a tour and hoping it will be profitable and will spread your music doesn’t have to be part of the equation anymore. There is an upside and a downside to that, for sure… Live music venues were already struggling and now due to the pandemic, it feels like they are on their last legs, which is very, very concerning to me. In the meantime, I am beyond grateful for the reach of the Internet in order to distribute and sell my music all over the world.

What are your feelings about streaming music? Digital vs. vinyl?

Yeah, another dichotomy! I use streaming music and I absolutely love it…. I love that I can search for something on Spotify, put it on my phone and have it with me wherever I am. I love that the algorithm causes me to discover new artists that I otherwise wouldn’t be able to find.

And yet, as an artist myself, the streaming services leave a lot to be desired in terms of compensation, as you know. Yet, they are great discovery tools for Indie artists to be found. Ultimately, I have found that there are two types of people: people who still like to buy CDs and vinyl and people who don’t and want to stream everything or buy digital downloads. I am the 1st type, yet I also find for me that it matters what the music is as to whether I will buy the CD or the vinyl. I actually just bought a vinyl record today: The Allman Brothers Band Live at the Fillmore East. I bought the entire Kate Bush catalog on vinyl when the remasters came out last year. The recordings I buy on vinyl are the types of albums that I want to sit and listen to from start to finish. Not every recording is like that, and so can work well for streaming or for a CD that you can play in your car.

I do want to release both of my recordings to date on vinyl because they’re both the type of records that you want to just sit and listen to. So, that’s something I will be working on in the future.

I see you are into the Pretenders. Have you heard Chrissie’s jazz music yet?

Oh my god!!  I have NOT!! Let me take a moment right now and listen…

OK, so, I just went to sample a few songs from it. “How Glad I Am” and “Caroline, No” … spectacular.

Let me start by thanking you for turning me on to this. Wow. (Another story unfolding right in front of my eyes…. I will always remember this conversation as being the one that turned me on to “Valve Bone Woe”.)

Did you know there are only two female musicians whose autographed talismans I have in my studio? One of them, as you now know, is Kate Bush, and the other is Chrissie Hynde. Her autographed album “Stockholm” hangs directly over my studio monitor. It’s almost like she and Kate are the yin and yang of my musical personality. The soft, soprano side of me and the hard-assed rocker, alto side of me. Chrissie for me was an early role model of a fierce, independent woman holding her own in the rock world. And that voice of hers is perfection…. Still is. Strong clear, expressive, distinctive, no bull.

What are your feelings about the social uprising going on in the United States?

Well, I definitely fall more into the artsy-fartsy category than the social activist one. So, I admire and appreciate the people who care enough to put their personal safety out on the line for the sake of an ideal and for societal change. The way I see it, we each have a role to play, and my role falls more in the realm of consciousness, and touching people’s spirits through art and music, causing insight and hopefully transformation, soul by soul, if I can.

What song from the past is in your mind right now? And what is the meaning that song brings to you?

“How Glad I Am”, actually… Because I just discovered Chrissie’s superb rendering of it. As I was listening to it, I was marveling at how effortlessly she moves through the vocal registers, and how after decades of singing rock and roll and doing some hard-living, herself, her voice is completely intact. She is such a skilled vocalist to understand the importance of singing on the fine edges of the voice, which is how you achieve dynamic control. Let me tell you, as a vocalist, using these tiny little pieces of tissue half an inch in length to project your instrument into the wall of sound that can be the stage noise, is daunting. And the impulse to push is always there, whether you’re singing Opera, unamplified, on a huge stage over an orchestra of 40 instruments, or whether you’re singing into a microphone next to a crashing drum kit and wailing guitar amps. So, to hear her skill after all these years of navigating those waters, and how pristine her instrument is, virtually unchanged from when she was in her 20s, is astonishing. So, for me, I wasn’t particularly thinking about the meaning of the song itself, more about how impactful great skill can be in bringing music alive. And that inspires me more than anything: what can I do to bring music alive?

How do you feel the Covid-19 virus is going to affect the music business in the future?

I’m not an industry analyst, but it seems to me that currently, at least, it is a wake-up call for a lot of independent artists to start moving their music business into the online space and not have to rely so much on live shows. As you have seen, there’s been an explosion of online concerts with online tip jars… so many of my musician friends I know personally have lost all of their gigs. My friends in the Opera world, too, are struggling with the Opera companies shutting down, and their unemployment running out. 9 months ago, Billy Corgan of Smashing Pumpkins said what he advises musicians is to put their whole focus into using the Internet to reach people. Perhaps the live presenters will start cashing in on this idea themselves and coordinate large online experiences for ticket prices. Although there still is nothing that replaces the visceral experience of sharing live music with the musicians themselves and the other people in the immediate space around you. So, whether that will translate into creating social distanced-style venues, or more drive in concerts in cars…. It remains to be seen.

What have you been doing with your self-quarantine? Have you discovered or rediscovered any new hobbies (how is your garden coming along)?

Daniel, wow, you’ve really done your research. I’m so impressed!

You know, I was commenting to someone when this began how enormously grateful, I felt (and still do feel) that my life on a day-to-day basis hasn’t really changed too much. Especially in the face of so many people who are suffering right now, all over the world. It’s absolutely devastating to read and watch how many lives and livelihoods are being destroyed by this pandemic.

The reason my life hasn’t changed much is because of the Internet and the connectivity that we have. I can remain at home and continue to work on my music, uninterrupted, and all of my ventures, as well as interact with my fans online. I look around at my garden in all of its beauty and splendor that inspires me so much, and I don’t mind at all being “stuck” here. I am not suffering from depression or feelings of cabin fever, and while I do check into the news occasionally to stay up to date on what is happening, I generally avoid it and the negativity, as that just derails your focus.

I’ve always had as a very high value to create my living space as a sanctuary, unknowingly following William Morris’ admonition (that I just discovered while reading a book about the Pre-Raphaelist painters): “Have nothing in your house that you do not know to be useful, or believe to be beautiful.”

And I’m no good to myself or others if I allow myself to be brought under by fear or negativity.

So, during quarantine, my lifestyle basically just got accentuated, in a way. Because even prior to quarantine, I always started every day with my cup of tea and contemplation under either my willow tree or walnut tree. Now, given a little bit more free time since I’m not running around going anywhere, my periods of contemplation are longer, allowing me time to read more, and to start writing the lyrics for the third and fourth songs on my next album, or to continue writing notes on a metaphysical book that I’ve been working on. I have had more time to paint, and I’ve learned a few new techniques that I’m excited about.

I used to go to the gym three days a week and now I’m doing that via Zoom. I’ve been studying acting for film and television in San Francisco for the past few years and now I’m doing that via Zoom. I work with my vocal maestra via Skype. I meet with my close group of friends every Saturday via Zoom. I only venture out for the necessities, such as groceries, or the post office to mail off signed CDs. Occasionally, when there is music outside, I will go and listen. Recently there was a band playing on a float in the middle of the river, and we were all able to sit on the riverbank, socially distanced safely, and still enjoy the music. I also will venture out for hikes, or trips to the beach. But that’s about it. And I’m finding something I really am enjoying about the simplicity of this lifestyle.

Many people are doing nightly concerts over either YouTube, Facebook, Twitter or Instagram. What are you planning to do?

Yeah, I have put a lot of thought into that, and it is on my ridiculously long list of all the tasks I need to do to create a setup in order for me to do occasional live shows via streaming. It basically requires the same thing, musically, that setting up to do a live show in person would require. Since I’ve been a solo recording artist, creating and producing the majority of the music myself, and layering it, I need to start incorporating other musicians and rehearsing with them. And then there are the tech considerations. I guess I’m a little bit of a control freak, too; I’m just not willing to slap something together just for the sake of streaming live and not have it be the highest quality possible.

Do you think it will be possible to make a living doing concerts this way?

Yes, I do think artists can make a living in this way. I wish I could remember the name of the artist, but someone came across my radar lately via my network of online musicians who is making an excellent living just doing live shows from her Facebook page.

Just as I really kind of enjoy the simplicity of not having to drive to San Francisco for my voice coaching, there is something highly attractive about not having to leave your home and still do live performances, right? And the same goes for the fans. How nice to not have to deal with driving, parking, crowds…. Yet, at the same time there’s something viscerally exciting about dealing with all of that in order to be able to experience a show that you miss out on with the virtual experience. So, it’s a mixed bag.

Live Nation is starting to do the first ever U.S. drive-in concert series — LIVE FROM THE DRIVE-IN — This will bring fans a live music tailgating experience unlike any other, kicking off July 10-12 in Indianapolis, IN, Nashville, TN, and St. Louis, MO. Brad Paisley will headline performances in all three cities, marking the start of a much anticipated return to in person live events. Darius Rucker and Jon Pardi will also headline the series. Is this something you would be willing to do?

Absolutely. When I first heard about this idea I was very excited about it, because I always loved drive-in movies as a kid, and it seems to me it would be fun and thrilling yet comfortable to experience a concert in this way from the audience’s perspective.

From the performer’s perspective, it’s really hard to know what it would be like to be up there singing to a bunch of cars. In some ways, it might be liberating, because you’re not seeing all of the faces and everyone’s gaze upon you, so if you suffer from stage fright, this setup could mitigate that. On the other hand, not receiving the love back via the collective audience reaction could be quite disconnecting and disorienting.

For smaller bands who do not play large crowds, this is not really an issue. How do you see bands going back to smaller venues and doing things like play for the door, with no guarantees?

Small live music venues were already struggling, and this shutdown has only made it worse, obviously. I read an article on NPR that reported that 90% of independent music venues will be going out of business if they can’t get an infusion of funding.

This makes it even more difficult for the artists, because if the venues themselves are struggling, they are going to be even less in a position to offer anything to the bands. This is why it seems to me that Corgan’s advice of focusing your efforts as an Indie musician on the online world is excellent. Again, I am feeling grateful that I started focusing in this way a few years ago.

But the thought of no live music, except for the 1% megastars, or the amateur players who gig for free, is extremely painful to consider. It’s like the disappearance of the middle class in a society… It’s not a healthy trend. So, we can only hope that the venues will get some government support to make it through this storm, and that we can rebuild a live culture.

In addition, at the present time for a band to go on tour from one state to another they may need to self-quarantine for 14 days. How is that going to work?

Clearly, it’s not going to work. I think touring during this period is simply out of the question.

With social distancing being the norm, do you feel that it may be the end of music fest for the next couple of years?

Yes, I do. Projections from the big live presenters are for shows to resume in 2022, and even if the presenters themselves want to get back to business, how do the patrons feel about it? I know in the circles of people that I’ve polled about going out and about, the majority of them shake their head and say they’re not ready. And it’s so hard to sift through all the conflicting news. There is a lot of fear-mongering, as well as solid data floating around. I believe in the end it will be a personal decision on when people will be ready.

What about Holographic concerts in our living room?

Oh, YES!! I LOVE that idea!

How do you see yourself in the next five years?

Well, I look back to five years ago from where I stand now, and I was halfway through writing and recording my first album, “Dream Dance”, and still writing and acting in theatrical productions. The impact that releasing that album in 2017 had on my life was nothing short of tremendous. My trajectory and self-identity became solidified, as I transitioned from an Opera and theater performer to original recording artist, which in all actuality was what I always wanted to be in the first place. I see all of these colorful and wild and woolly experiences along the way as just what led me to be here and be able to make the type of music that I make.

So, five years from now, I will have continued to grow my global online audience through my label’s marketing efforts, I will have released my third album, Through the Looking Glass (which I am writing and recording as we speak), as well as released my EP of remixes, which I am also working on as we speak. I’m planning on the EP coming out in the next year, and for it to include some officially unreleased tracks, as well as remixes of other material. Right now, one of the remixes I’m working on is a driving, electronic version of my acoustic recording of House of the Rising Sun, and I am so extremely excited about it, I can’t tell you! I’m thinking of focusing on that as a single release on Spotify, and I already have the storyboard for the music video laid out in my head.

I also can see myself doing live sets at festivals both here and in the UK… But never the grind of a long tour. Because, similar to Kate Bush, I’ve always been mostly inspired by the alchemy of creating recorded music. I also can see myself doing a fully staged, multimedia, theatrical show with a story and through line featuring just my Nymphya music.

Anything you would like to say in closing?

Daniel, your insightful questions and research have honestly made my time spent doing this interview so fulfilling. Thank you. You really took me on a journey into my past, all the way up through to the present, and into the future! I very recently lost my Dad, who was the first love of my life, and when you lose someone so special, it really puts how you spend your precious time on this Earth into perspective.

I wake up every day and amongst my first three thoughts is something about my music. And, nearly every single day, without fail, I am interacting with people from all over the world, via social media or email, who are funny and colorful and interesting, and who are excited about what I’m up to or what is about to come, musically.

Knowing that in some small way, an inspiration that I get which then becomes a lyric, or a melodic phrase, or a musical hook, that then touches another human being across the planet, and brings us closer together…brings us closer to understanding one another… or to understanding ourselves… and perhaps causes a shift… that really is the point of it all, isn’t it?

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Interview conducted Jan. 07, 2019

by Dan Locke

Dark progressive rock band from Brighton, UK. Birdeatsbaby blend elements of rock, classical and metal music to create a sound that’s striking and unique. Their live shows are spectacle not to be missed.

Press quotes:
“Kate Bush on acid” – Powerplay Rock and Metal Magazine
“A touch of class…hints of everyone from ELO to Marilyn Manson” – Q Magazine
“Splendid cabaret style art-rock” – BBC 6Music (Chris Hawkins)
“Tori Amos and Muse bewildering a church coffee morning” – Prog Magazine

Band Members
Mishkin Fitzgerald – Piano, Vocals
Hana Maria – Violin, Cello, Vocals
Garry Mitchell – Bass, Guitar
Anna Mylee – Drums, Percussion

What came first the classical or Metal?

Definitely, the classical – Mishkin was raised on church hymns, Holst, Chopin, Satie, and Beethoven. And some Jimi Hendrix.

 What were the Best Elbows from The Charlie Award 2017?

Clearly, we are the band with the best elbows and Charlie agrees. Challenge us if you dare.

 What was your musical up bring like?

Mishkin – I grew up singing and playing piano/organ at a church in London. I was heavily influenced by choral music and classical but later progressed into all things dark and moody. The discovery of heavy metal, punk, and progressive music was a revelation for me and I became obsessed with many totes the disappointment of my family. They encouraged my piano playing but not so much my guitar!

 How met Gerry at the University of Brighton. What were you studying at the time? And how did you know you could make music together?

Mishkin – Garry and I were studying composition when we met. We were polar opposites in many ways but the common ground was wanting to form a band that was completely different from anything we’d heard before. I had already begun the songs with a drummer and violinist so Garry joined on bass and we formed Birdeatsbaby officially in 2009 with our album „Here She Comes-a-Tumblin. It was labeled „punk cabaret“ or „dark cabaret“ but we always wanted to push things further musically and over the years we’ve done that. 

 How did your name come about?

Mishkin – I had bad insomnia during my teenage years and had vivid and disturbing dreams. The entirety of „Here She Comes-a-Tumblin’ was inspired and written during this period of my life.

 You are self-funded. How well is your crowdfunding doing?

It’s going great – we have a fantastic group called The Flock who are ever-growing and support us, even when our music goes in strange and different directions. Currently, we’re using Patreon as a funding platform and we quite enjoy that.

 Mishkin- What is full-time dweeb?

It means I can only commit some of my time to music sadly, as I must spend a lot being a dweeb. 

 Mishkin- Zelda?

The best game ever made. 

Mishkin- How good it the Veggie food at Profumo di Pane?

I’m not sure, I don’t remember this particular experience but it sounds promising.

 What is the best recipe for a Vegan dish?

Mac n Cheese. Garry makes the sauce with Engevita and mustard. It’s rather delicious although not very healthy. He makes it when I’ve had a bad day or if it’s my birthday.

 Hana- You play the harp. How did you discover it? 

I decided it was time for a new instrument – the violin is beautiful but it’s not great for accompanying yourself when you sing. It’s expanded my musical abilities as well as opened up a whole new world of songwriting. And it looks cool.

 Hana- Tell me about Wednesday Child?

Wednesday’s Child is my first solo harp record – it’s a gothic fairytale with an accompanying book (out soon) about a doomed princess’s demise. Cheery stuff. If you like a bit of goth in your folk then it’s the album for you.

 Hana- you were born during a hurricane?

Yes. Under a rebel moon. Listen to my album it explains everything.

 Hana – you play the violin like Jimi Hendrix? Are you left-handed?

Apparently so. No, I’m not left-handed, just always right.

 Hana- Have you heard of The Great Kat?

No

 Hana- How was it to work with Lana Del Rey?

Great, but she was a bit of a softie.

Hana- I interviewed an artist I think you will enjoy. Jett Kwong https://www.unratedmag.com/shimmering-experimental-pop-that-who-jett-kwong-is/

 Check her out.

Ok, thanks

 Anna- How is it being a kick-ass drummer?

Haha! All good so far! Enjoying it for sure. 

Anna- You are now a part of the Ludwig Artist family. Who is your favorite drummer?

John Bonham has always been one of my main influences which explains the kit I have. However, my main influences are more Jeff Porcaro (TOTO) and Pat Torpey (Mr. Big). They were two giants!

 Anna- Now that Motley Crue is about to go on tour. And they had a female drummer (Samantha Maloney) between 2000-2004. Would you love to be that drummer?

Not really. I have nothing against their music, I actually quite enjoy but they are a few reasons why I would never join such a band. Firstly, I find it a bit of a joke those bands who go back on tour after doing a farewell tour… I never understood it. I think it’s deceiving and disrespectful to the fans to lie in order to promote their tours. If you’re not sure it will be the last tour, just don’t promote it as such! Besides, I really don’t see Motley Crue as a feminist band just because they had a female drummer. I think the movie ‘The Dirt” illustrates my point quite well. I hadn’t seen a movie in which women were degraded this much in a while. It’s like saying that someone who votes extreme right parties is not racist because he’s got that foreign colleague at work…

 Gerry- fretless or fret?

Fretless, of course.

 Gerry- What year, make and model guitar do you play?

It depends which one – currently a PRS SE and a Marcus Miller fretless bass. I don’t know when they were made that’s not important it’s how they sound that matters.

 Garry- How did you start playing guitar and bass?

Listening to Pink Floyd in my teens led me to my first guitar. It was either buy that or an engagement ring for my girlfriend at the time. Needless to say, I didn’t get married.

 If you had to pick five videos which reflect your band the best, which videos were they be.

Painkiller

Temple

Mary

My Arms Will Open Wide

Deathbed Confession

 How long did it take you to get your latest cd “The World Conspires” ready to be released?

About three and a half years! We went through a lot during this time. 

 I can hear the unmistakable work of John Fryer in your production. How did you get the chance to work with him?

We met through a mutual friend, online at first then finally in person during one trip to LA. He’s a lovely guy with a brilliant vision, definitely the right person for this album. We’re incredibly happy with the sound of The World Conspires, it’s by far the best production we’ve ever had.

 Are you planning to tour behind the CD?

Of course. We already did a short tour of Germany but we’re returning to mainland Europe in May/June 2020 then on to America later in the year.

How do you see yourself in 5 years?

Not much has changed, we’re just even sexier and play even more instruments. No joke, we just bought a baritone euphonium and planning on a trumpet…

Anything in closing?

 Well, we’ve just released our most ambitious album so far. We better get started on the next one… please do support us on Patreon if you’d like to get access to the Birdeatsbaby VIP lounge.

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Interview conduct on Sept. 26, 2019

by Dan Locke

Boston native Zakiyyah Sutton is a professional singer who is well versed in Opera, Jazz, R&B, and Gospel. After graduating as the Student Body President and Valedictorian of Boston Arts Academy with a major in voice, she pursued a degree in Political Science and Sociology from Wellesley College.

Upon graduating from Wellesley College in 2012, she worked in communications for local City Councillor Tito Jackson, while also teaching voice part-time at her alma mater, Boston Arts Academy.

Daniel Locke: Why did you decide to use only your first name?

Zakiyyah: I feel like my first name suits me best. Zakiyyah is an Arabic name that means “one growing in purity and intelligence”. I try my best to live up to the meaning of my name.

You are a professional singer (opera, jazz, R&B, Gospel, and rock) what was your upbringing like and your training in music?

I grew up initially singing along to my parents’ music. They played a lot of Old School R&B like Patti Labelle, Smokey Robinson, and even Frankie Lymon. I started performing live as a singer at about 7-years-old and when I discovered there was a high school in Boston for the visual and performing arts, I knew I had to be there. I found a voice teacher to help me with my audition for the school and turns out she’s an opera singer so from then on opera became a part of my life. I thankfully got into the high school, Boston Arts Academy, and studied voice the four years I attended the school. Although I didn’t focus on music when I got to Wellesley College, I still took private voice lessons there and then later continued to train at New England Conservatory.

How was it to work for Tito Jackson?

Tito Jackson is a great guy who loves to give back to his community and it’s always great to work for people like that. He did put me on the spot a lot when he discovered I could sing though. When I would go to events with him he would randomly ask me to sing Minnie Riperton’s “Loving You” and then he’d dedicate it to the audience. It was special.

What opera should a person check out if they never saw an opera?

That’s an excellent question. Thank you for asking. There are so many great choices. People always loved it when I would perform a piece called “The Queen of the Night” from Mozart’s “The Magic Flute” so I’d recommend that one—mainly because it has a lot of drama and people tend to like the songs. Then again, the drama is not difficult to find in an opera.

You were a political science major. What are you’re feeling about Trump Immigration policies?

In one sentence, Obama is my president.

Boston Art Academy was a very progressive high school. During the time you were there you took their free college-level classes that were offered. What classes did you take?

WOW! You really do your research. I took one Liberal Arts class through Boston Conservatory for college credits, and I was also a part of a rigorous, competitive program called the Harvard Crimson Summer Academy. Through that program, I was able to study on Harvard’s campus for three summers and take college classes in addition to classes specifically offered by the program. I wound up taking everything from an intense Spanish course to American Government, poetry, and then the program’s classes like quantitative reasoning and photography.

So, out of the famous people who have gone to Boston Art Academy included
Russell Ferguson- The winner of season 6 of “So you Think you can Dance”
Diane Guerrero- Orange is the new black
David Davidson- guitarist from the band Revocation
Issac Akiba- principal with the Boston Ballet company
Did you know any of these people?

Ha! I didn’t spend time with any of these people, but I did know of Diane Guerrero and Russell Ferguson. Diane, I would see around but never interacted with her much because she was two or three years ahead of me. Russell was one year ahead of me I believe but I interacted with him some in high school and I am happy to say we’re still in contact with each other. I remember when I would go to the cafeteria for lunch, I’d always see him Krumping with other students and even teaching them how it’s done. He’s a sweetheart!

How was it to travel for a year, around the world?

Traveling is one of my favorite things in the world and having the opportunity to do that for a year was amazing. I went through this program that was called “My Wander Year” and everyone in the travel group was using the opportunity for something different. Some people were entrepreneurs, others were remote workers, and I was learning about the music in different countries and working with local artists. We spent three months each in four countries: the Czech Republic, Thailand, South Africa, and Colombia. I’ve grown so much from that experience both as a person and as an artist and I’m so grateful the opportunity existed.

What is Ethnomusicology?

Ethnomusicology marries two of my loves: music and sociology. It’s essentially the study of how music is used in various cultures and the relationship between culture and music. I, unfortunately, have never had the opportunity to take a course in ethnomusicology–but it’s on my list to do!

Tell me about the event Black Live Matter SD Edition?

That was a very interesting day! When I was living abroad, it was important for me to engage with communities that I felt I could learn from and whose experiences I thought might have mirrored mine in the States. Because of this, I decided to host Black Lives Matter events in both South Africa and Colombia. I knew given the recent history of South Africa that it would be a challenge but I didn’t anticipate that the main conflict might be between colored and black instead of black and white. That was an oversight on my part because in the States–we’re all black, but mixed people in South Africa are an entirely different race and carry themselves as such. The owner of the establishment we were in tried to shut the event down because people were complaining, but even after he shut off our mics and put music on to drown us out, we kept the conversation going, and that to me made it a success.

What can you tell me about D.A.S.H.?

D.A.S.H. stands for Defensive Aids in Situations of Help. My first full-time job out of college was working for Sheriff Steven Tompkins in Public Relations. While I was there, I saw an opportunity to utilize the skill set that the officers had by offering them to women in the community. It wasn’t easy initially because people were concerned with the risks but by pushing harder and creating a proposal, I was able to start a women’s self-defense program that would travel all around Suffolk County (which includes Boston and some neighboring areas). I believe the program is still going and that’s something I’m very proud of.

How did you form Free For All Concert Fund?

I didn’t form the Free for All Concert Fund, but I am a trustee on the board along with former Massachusetts Governor and Presidential candidate Mike Dukakis, State Senator Sonia Chang-Diaz and other active members of the community. The board is charged with making sure classical music is available to the masses and Landmarks Orchestra is currently one of the main beneficiaries.

What is GRLZ radio?

GRLZ Radio, “where girls are heard and respected”, is a webcast radio program that is run by high school girls and promotes positive messages about women and girls on air. It was also my very first job! My name was DJ_Ladyharmony and I learned how to use the radio equipment, how to interview people and create great content. When I was there it wasn’t webcasted but played throughout different sections of Boston and I remember how empowered I felt being able to determine what messages I wanted people to hear about women and people of color.

You have a certificates Coursera in Songwriting and music production. Do you feel more people should take classes from Coursera?

That’s amazing that you know this. I absolutely recommend people take courses through Coursera or any other platform that offers courses online. I’m someone who is always trying to learn more and gain new skills, which was part of my incentive to take those classes. I believe that knowledge is power and once you realize that, there’s no limit to how powerful you can be.

I am going to name some black opera composers. I would like you to say something about each if you can.

Scott Joplin- Treemonisha 1911—I love Treemonisha because it’s such an important story with themes that I think can still resonate today. What happens when people choose own their education and destiny as opposed to simply holding onto what they’ve been told? Joplin is a treasure I wish more people would celebrate and recognize. I really appreciate how he blended African-American musical styles with traditional classical music. Thanks to him, Hip-Hopera can exist!

H. Lawrence Freeman- Voodoo 1914—I know of Voodoo but I’m not really familiar with it.

Shirley Greham DuBois- Tom Tom 1932–Shirley Graham DuBois was as fascinating as a person as she was as a musician. Even though she was married to W.E.B. Du Bois, she was an activist in her own right and fought for women’s liberation. She faced so many barriers towards becoming a composer and yet still created a beautiful work of art. She’s a true inspiration to artists like myself.

James P. Johnson0 De Organizer 1940–I love the very idea of blues opera and appreciate James P. Johnson for that reason. De Organizer is in a sense Hip-Hopera before Hip-Hopera. It features the theme of black liberation juxtaposed to the idea of infusing your cultural identity with what is recognized as a traditional white art form. The fact that Langston Hughes contributed poetry to the work is the icing on the cake.

Anthony Braxton- Trillium J 2009–I’ve heard of The Trillium Operas but have yet to engage with them. I’ll have to add it to my list!

Would you like to create your own opera?

Yes! It’s actually on my to-do list. That would more than likely be a long-term project but I have seriously considered it and when the time comes, I’ll definitely jump on the opportunity!

Did you know that Terence Blanchard just got hired by the Met to put on Fire Shut Up in my Bones?

WOW, I did not know that but I’m already ready for it! Definitely, something I want to see and experience!

Can a black opera singer make in the world of opera music?

I do believe black opera singers can make it in the opera world because I’ve seen it done—but it isn’t easy. I think part of the issue is that people of color need to create platforms where they are valued, as opposed to waiting to be recognized by white spaces.

How do you see yourself in 5 years?

I pride myself on using my artistry in a way that’s not only entrepreneurial but also rooted in activism. In 5 years I’d like to be an established artist who not only has a well-known, respected name, but also programs and grants that are making a positive impact in the communities that I care about.

Anything in closing?

Stand for something, or fall for anything.

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