The Last Chord: Beatles' Final Piano Played After Decades in Silence

For decades, it sat untouched—an elegant, unassuming upright gathering dust in the corner of a private studio. But last night, for the first time since the Beatles' final recording sessions, the last piano was played again. And when its first note rang out, it wasn’t just music—it was history vibrating in the air.

Believed to be the very instrument played during the final moments of the Let It Be sessions and parts of Abbey Road, this piano—owned by the estate of a longtime Beatles engineer—has been out of public earshot for over 50 years. It was recently restored to full working order and unveiled at an intimate event in London, where musician and Beatles aficionado James Blake was given the honour of reawakening it.

The performance was simple: a stripped-back version of “Golden Slumbers” followed by a haunting, wordless improvisation that seemed to echo the ghosts of Lennon, McCartney, Harrison, and Starr. There were no big speeches, no marketing gimmicks—just a reverent hush and the sound of keys that once carried the emotional weight of a band at the end of its road.

Experts have confirmed that the piano still bears the wear and character of its legendary users. A barely visible “M” etched into the wood, allegedly by McCartney himself. Cigarette burns on the top panel. A chipped E key. All silent witnesses to the pressure, beauty, and fracture of the Beatles' twilight era.

In an age when AI-generated voices and holograms threaten to replace legacy with simulation, the return of a real, living piece of Beatles history is a powerful reminder: authenticity still matters. Instruments carry stories. This one carries a final chapter.

There are now tentative plans for a limited tour—select artists will be invited to play the piano in special sessions, with recordings archived for future generations. But for one night, in a small room filled with reverent fans and stunned silence, it wasn’t about what comes next. It was about what once was.

And, remarkably, still is.

Miley Cyrus Pays Tribute to Sinéad O'Connor at SNL 50th Anniversary Special

Miley Cyrus delivered an emotional and powerful tribute to the late Sinéad O'Connor at the Saturday Night Live 50th Anniversary Special, proving once again why she remains one of the most dynamic voices in contemporary music. The pop icon took to the legendary SNL stage to honor O'Connor, whose influence on music and activism has left an indelible mark on generations of artists.

Dressed in a simple yet elegant outfit that echoed O’Connor’s signature minimalist aesthetic, Cyrus performed a heartfelt rendition of Nothing Compares 2 U, the song that catapulted O'Connor to global fame in 1990. As the first notes rang out, the audience was instantly captivated, recognizing the weight of the moment. Miley’s raw and impassioned vocals paid homage to Sinéad’s legacy, capturing the vulnerability and defiance that made O'Connor a cultural icon.

The tribute was not just about the music; it was a poignant nod to O'Connor’s courage in speaking out against injustice, mental health struggles, and the complexities of fame. Cyrus has previously expressed admiration for O’Connor, despite past public tensions between them. In recent years, she has acknowledged the Irish singer’s foresight regarding the pressures placed on women in the industry, making this tribute even more significant.

SNL’s 50th Anniversary Special was packed with nostalgic and historic moments, but Miley’s tribute stood out as one of the night’s most touching. The performance resonated deeply, not only with fans of both artists but also with those who appreciate the impact of fearless women in music.

As the song came to a close, Miley stood in silence, visibly moved, as a black-and-white image of Sinéad O’Connor appeared on the screen behind her. The moment was met with an outpouring of applause and emotion, cementing this performance as one that will be remembered for years to come.

Cyrus’ tribute at SNL 50 was more than just a performance—it was a celebration of an artist who defied conventions, challenged norms, and left behind a legacy of truth and resilience. In honoring Sinéad O’Connor, Miley Cyrus reminded the world of the power of music to transcend time, heal wounds, and pay homage to those who paved the way.

Steven Tyler Makes Long-Awaited Comeback with Star-Studded Performance

Music legend joins Mick Fleetwood and Jessie J for electrifying Jam for Janie performanc

Steven Tyler is back. The 76-year-old rock legend made his long-awaited return to the stage on Sunday, February 2, 2025, delivering a powerful performance at his Jam for Janie Grammy Awards Viewing Party at the Hollywood Palladium in Los Angeles. This marks Tyler’s first major performance since Aerosmith retired from touring last August following his severe vocal injury—and if last night was any indication, the Demon of Screamin’ isn’t done yet.

The event, an annual fundraiser for Tyler’s Janie’s Fund—a foundation supporting abused and neglected girls—was already a star-studded affair, but the night became truly unforgettable when Tyler took the stage. Joined by legendary Fleetwood Mac drummer Mick Fleetwood and pop powerhouse Jessie J, the rock icon tore through a setlist that reminded everyone why he remains one of the greatest frontmen of all time.

A Triumphant Return After a Career-Threatening Injury

Fans have been holding their breath since September 2023, when Tyler’s doctors discovered that he had fractured his larynx during Aerosmith’s Peace Out farewell tour. The injury forced the band to cancel all remaining dates, and just months later, Aerosmith officially announced their retirement from touring. For many, it felt like the end of an era.

But true to his rock-and-roll spirit, Tyler defied expectations. His Jam for Janie performance was not only a fundraiser but also a statement—he's still got it.

Opening with a soulful, blues-drenched take on Aerosmith’s “Dream On,” Tyler’s voice, though slightly raspier, carried the same raw intensity that has defined his five-decade career. As he hit the song’s iconic high notes, the audience erupted in cheers, proving that even after a career-threatening injury, his signature wail still packs a punch.

A Star-Studded Celebration of Rock and Soul

Tyler’s set was filled with unexpected collaborations, adding to the night’s magic. Mick Fleetwood provided thunderous percussion, elevating the performance to an even grander level, while Jessie J, known for her powerhouse vocals, complemented Tyler beautifully. The two singers traded verses on a high-energy rendition of “Walk This Way,” a moment that had the crowd on its feet.

Fleetwood, a longtime friend of Tyler’s, later joined in for a stripped-down blues jam, paying tribute to the deep musical roots that both legends share. It was a rare and intimate moment, showing the raw talent and camaraderie between two of rock’s greatest showmen.

What’s Next for Tyler?

While Aerosmith has retired from touring, Tyler’s performance raised questions about his next move. Could he embark on a solo tour? Release new music? So far, he’s keeping his cards close to his chest.

Bassist Tom Hamilton has hinted that while Aerosmith won’t be hitting the road again, future collaborations or one-off performances aren’t off the table. And with Tyler proving he can still command a stage, fans are hopeful that this was just the beginning of a new chapter.

A Rock Legend Who Refuses to Fade Away

Steven Tyler’s Jam for Janie performance was more than just a return—it was a testament to resilience, passion, and the enduring power of rock and roll. For a man who has spent decades defying the odds, this was yet another reminder that he’s not going quietly.

As he stood center stage, arms outstretched, basking in the glow of adoring fans, one thing was clear: Steven Tyler isn’t done singing just yet. And the world is all the better for it.

Beyoncé Just Made Grammy History (Again). This Time, She Did It in Boots.

Beyoncé Just Made Grammy History (Again). This Time, She Did It in Boots.

At this point, Beyoncé collecting historic wins is as predictable as the sun rising—but this one? This one hits different.

On a night where legends roamed and trophies found their rightful homes, Cowboy Carter sealed its place in the record books, earning Album of the Year at the Grammys. And with that, Beyoncé finally lassoed the one major award that had somehow dodged her after decades of dominance.

Let’s be clear: this wasn’t just a win. This was a statement. A neon-lit, steel-stringed, country-stomping mic drop.

For years, country music’s gatekeepers treated Beyoncé like an unexpected guest at their honky-tonk party—curious but unconvinced. The skepticism started when she performed Daddy Lessons at the 2016 CMAs and reached a fever pitch when she dared to go full cowboy with this album. But, in classic Beyoncé fashion, she didn’t knock on the door—she built her own damn saloon and invited the world inside.

From the moment Cowboy Carter hit the airwaves, it was clear this wasn’t just Beyoncé “trying” country—this was Beyoncé expanding it. Blending classic storytelling with deep Southern roots, the album honored country’s past while dragging it, boots first, into the future. It was fresh. It was bold. It was undeniable.

So when her name was finally called for Album of the Year, the moment wasn’t just about Beyoncé. It was about the artists who paved the way but never got their due. It was about the history of country music itself—one that has always had Black fingerprints all over it, despite what mainstream narratives might suggest.

And now? Well, country music has officially entered the Beyoncé era. Whether Nashville likes it or not, the biggest genre in America just got a new sheriff—and she runs on sheer talent, unmatched vision, and a little something called destiny.

Saddle up, Grammy history. You just got Carter’d.

Jelly Roll Set to Ignite the Screen in Acting Debut on ‘Fire Country’

Jelly Roll, the genre-blending country star known for his raw authenticity and soulful storytelling, is about to step into a brand-new spotlight—acting. The multi-award-winning artist will make his television acting debut on CBS’s hit action-drama series Fire Country, a show that has captivated audiences with its high-stakes firefighting action and deeply emotional character arcs.

Born Jason DeFord, Jelly Roll has built a career rooted in vulnerability, blending country, rock, and hip-hop influences into deeply personal music. His transition into acting might come as a surprise to some, but for fans who have witnessed his gripping performances on stage, his ability to bring passion and grit to storytelling is undeniable.

Fire Country follows a group of inmates who volunteer as firefighters in exchange for reduced prison sentences, tackling raging wildfires while wrestling with personal redemption. Details on Jelly Roll’s character remain under wraps, but speculation is already swirling about whether he’ll portray a hardened convict, a local hero, or something in between. Given his background and ability to channel real-life struggles into his art, it’s likely his role will carry the same emotional weight that defines his music.

The crossover from music to acting has been a natural evolution for many artists, with country stars like Tim McGraw and Dwight Yoakam proving their chops on the silver screen. If Jelly Roll’s emotional depth and charisma in music translate to the screen, Fire Country may have just landed a fiery new fan-favorite.

Jelly Roll’s acting debut is expected to air later this year, and fans can’t wait to see if he brings the same heart, grit, and raw honesty that made him a music industry powerhouse. One thing’s for sure—he’s about to turn up the heat.

Manic Street Preachers Channel The Waterboys and R.E.M. on Poignant New Single ‘Brushstrokes Of Reunion

Welsh rock legends Manic Street Preachers have long been known for their ability to weave literary depth, political defiance, and anthemic melodies into their music. On their latest single, Brushstrokes Of Reunion, they pay homage to two of their most formative influences—The Waterboys and R.E.M.—blending folk-tinged grandeur with shimmering alt-rock textures.

From the opening acoustic strums, there’s an undeniable echo of Mike Scott’s poetic storytelling and the "big music" ethos that defined The Waterboys’ mid-'80s output. The track’s sweeping instrumentation, layered with piano flourishes and violin swells, channels the spirit of This Is the Sea-era Waterboys, creating a rich sonic landscape that feels both nostalgic and immediate. Lyrically, the song paints vignettes of lost connections and faded ideals—classic Manics territory—but with a romanticism that nods to Scott’s own lyrical mysticism.

Then comes the unmistakable R.E.M. influence. James Dean Bradfield’s vocal melody carries a distinct Michael Stipe cadence, particularly in the chorus, where his delivery moves between tender restraint and soaring urgency. The chiming, arpeggiated guitars recall Peter Buck’s signature jangle, reminiscent of Murmur and Reckoning, while the rhythmic pulse drives forward with an effortless momentum akin to R.E.M.'s early-'90s period.

Speaking about the track, bassist and lyricist Nicky Wire remarked, “Both The Waterboys and R.E.M. were crucial in shaping how we saw songwriting—not just in sound, but in storytelling and a sense of place. This song is a love letter to that era of music.”

With Brushstrokes Of Reunion, the Manics prove once again that they are masters of reinvention. By channelling their formative influences while staying true to their own poetic fire, they’ve crafted a song that feels like both a tribute and a timeless addition to their ever-evolving catalogue.

Jeff Goldblum’s New Album: A Star-Studded Jazz Affair with Ariana Grande and Cynthia Erivo

Jeff Goldblum, the ever-charismatic actor and accomplished jazz pianist, is back with a new album—and this time, he’s bringing Broadway magic into the mix. Known for his smooth piano stylings with The Mildred Snitzer Orchestra, Goldblum’s latest musical endeavor features none other than Wicked co-stars Ariana Grande and Cynthia Erivo, adding a theatrical twist to his signature jazz sound.

Goldblum has long balanced his acting career with his passion for jazz, frequently performing live and releasing albums that blend classic standards with his signature playful charm. With this latest record, he continues to surprise fans by enlisting two powerhouse vocalists who are currently preparing to take on the roles of Glinda and Elphaba in the highly anticipated Wicked movie adaptation.

Ariana Grande, known for her powerhouse vocals and deep love for jazz and soul, lends her voice to a sultry rendition of an American songbook classic. Meanwhile, Cynthia Erivo, a Tony-winning vocal virtuoso, brings her rich, emotive tone to another standout track. The fusion of their Broadway-caliber voices with Goldblum’s jazzy improvisations makes for an unexpected yet thrilling combination.

In a recent interview, Goldblum described the collaboration as a “dream come true,” praising both singers for their artistry and ability to adapt to the free-flowing nature of jazz. “Ariana and Cynthia are not only extraordinary performers, but they understand the spirit of jazz—it’s about playfulness, spontaneity, and, most importantly, heart,” he said.

Fans of jazz, Broadway, and Goldblum’s unique musical stylings are in for a treat with this album, which promises a mix of nostalgia, theatricality, and pure musical joy. Whether you’re a Wicked enthusiast or a jazz aficionado, this collaboration is set to be one of the most exciting crossovers of the year.

Marianne Faithfull, the iconic English singer, songwriter, and actress, has passed away at 78

Marianne Faithfull, the iconic English singer, songwriter, and actress, has passed away at the age of 78. Born on December 29, 1946, in Hampstead, London, Faithfull's career spanned over five decades, leaving an indelible mark on the music and film industries.

Faithfull's journey into the limelight began in 1964 when she was discovered at a Rolling Stones launch party. Her debut single, "As Tears Go By," penned by Mick Jagger, Keith Richards, and Andrew Loog Oldham, became a chart success and established her as a prominent figure in the British Invasion of the United States.

Throughout the 1960s, Faithfull released a series of successful singles, including "This Little Bird," "Summer Nights," and "Come and Stay with Me." Her ethereal voice and striking beauty made her a symbol of the Swinging Sixties. During this period, she also embarked on a highly publicized relationship with Mick Jagger, further cementing her place in the cultural zeitgeist.

The 1970s brought significant challenges for Faithfull. She battled heroin addiction, anorexia, and homelessness, which led to a hiatus from her musical career. However, demonstrating remarkable resilience, she made a triumphant return in 1979 with the critically acclaimed album "Broken English." This work showcased a raw, emotive sound, with her once melodic voice now imbued with a husky, world-weary timbre that critics described as "whisky-soaked."

In addition to her musical achievements, Faithfull pursued acting, appearing in films such as "I'll Never Forget What's'isname" (1967), "The Girl on a Motorcycle" (1968), and "Hamlet" (1969). Her artistic versatility and willingness to confront personal demons in her work earned her a reputation as a fearless and authentic performer.

Faithfull's later years were marked by continued creative output. In 2021, she released "She Walks in Beauty," a spoken word album featuring her recitations of 19th-century British Romantic poetry, accompanied by musical arrangements from Warren Ellis, Brian Eno, Nick Cave, and Vincent Segal.

Her contributions to the arts were recognized with numerous accolades, including the World Lifetime Achievement Award at the 2009 Women's World Awards and being made a Commandeur of the Ordre des Arts et des Lettres by the French government.

Marianne Faithfull's life was a testament to resilience and artistic evolution. Her ability to navigate the tumultuous landscapes of fame, personal struggles, and creative reinvention leaves a lasting legacy that will continue to inspire artists and audiences alike.

Ultimate Ears - The Speaker Predicament

by carysmegansound

Ever since I've had a concept of what music I enjoy I've had an ongoing predicament: how do I listen to this music? I thought I'd give my two cents on what current equipment helps me to hear the good sound.

I was born in the mid-90s so my first personal listening experiences were via tape and those tiny headphones you can see me wearing. I obviously don't remember sound quality of these but there's definitely a reason they don't make them like that anymore. My earphone/headphone journey began mostly with JVC jelly in-ear earphones which I swore by for years and still probably would now for casual listeners. They were the most comfortable I could find, dead cheap and lasted me at least 4 years of school journeys. 

In 6th form I studied Music Tech so it was time to upgrade, and I used relatively basic Sennheisers (that they've now stopped making) throughout the two years. They did the job but I don't particularly rate them over anything else. Then I got a pair of Beats solo 2s with my mac (I miss student deals) and I didn't want to be that guy... but I definitely became a Beats user. I found those pretty comfy and they're still alive now so I respect how well they've lasted. Flashforward to about a month ago and I was shopping for some wireless headphones not just for convenience but... well really mostly convenience.

Going wireless changed my life to the point where now I don't even like that I have to charge things with a wire. Why does my TV even need a power supply?

Anyway, I went to the apple store and tried out a pair of Beats Studio 3s and honestly I was sold instantly. Not just the sound quality but the adaptive noise cancelling was a massive selling point for me. You're there with the music and not there with everyone else on the bus too. On the box it says 'change the way you hear sound' which makes it out like its one of a kind which it isn't necessarily, but there's certainly nothing wrong with them and I'd recommend them to anyone... as long as they were on sale!

This is what I'm really here to talk about: Ultimate Ears and their range of bluetooth speakers (again, wireless is such a fab thing). I came across the UE Boom 2 thanks to a friend who uses his religiously. He always has it on him ready to go and we used it on a holiday in Greece where water, sand and the heat didn't phase it at all. Soon after that it was Prime day and I bought one for about the price they are now (a year later) and I used it regularly, even dropping it onto a hard floor from a 9ft height.... It came out of that ordeal with no dents and the music continued playing as if nothing had happened!

This year on Prime day I upgraded to the UE Megaboom, with an extra 30hz of low-end and double the power. I'm sure I'll always be a strong advocate of the UE range. They changed the way I hear sound.

UE have a vast range, from the small to the large (now with styles including Alexa voice control!) all decently priced for the quality and sheer durability of their products. I'm not sponsored in any way, I just believe that UE aren't necessarily first choice for people but it definitely should be on peoples radars.

Have a look at their range and find out more over at ultimateears.com

Existential Dread and Clever Lyrical Content: The Underground Indie Scene

By carysmegansound

This may seem a rather odd topic but it's one close to my heart. My musical taste largely consists of music in the Math Rock and (underground) Indie Rock genres, and bands in this scene often have funny song names: I haven't had a lunch break since window's vista came out - Alpha Male Tea Party, lyrical content that can only be written by a 20-something year old having an existential crisis: I need to sort my life out / I need to sort my hair / but the barber's got no answers only stories i don't care about - Don't Worry, and an aesthetic and relatability for so many of my generation.

Don't Worry's recent release Who Cares Anyway?

Can guitars sound sad? Absolutely. I don't believe any other genre makes guitars sound as sad as underground emo/indie/math rock does, and I know 'sad' definitely isn't a technical term but as soon as you listen you'll understand what I mean.

This blog was inspired by a band I discovered by accident at Tooting Tram and Social a couple of years ago. They were playing alongside an underground Math Rock band called The Yacht Club (who incidentally have a really exciting album in the works - and I cannot wait for it to come out and tell you all about it).

Anyway, I was totally drawn to Don't Worry because line after line was relatable and so cleverly crafted. Why am I so Unorganised is the first and main lyric of the chorus to Three Nil. The bridge of the song consists of the singer talking in a matter-of-fact way, and it's one of my favourite parts of any song I've ever heard (see below)

“I walked out of the tube station and waited for the bus driver to finish his cigarette so that we could all get on board and he could start the engine.
I sat facing backwards looking only at where I’d been and not where I was going and a sense of non-interest and disappointment flooded my brain.
I couldn’t wait to get home to carry on feeling this way. But once I was at home I would be alone and more comfortable, and my eyes wouldn’t be bouncing around in my head like the numbers on the national lottery.”

— Three Nil - Don't Worry

Something else that I've always loved about going to underground gigs is how intimate they are. The bands are usually fans of each other anyway so when they're not on stage, they're right next to you in the crowd. Also, you get little personal touches when you buy things from them - my Don't Worry cap came in shiny paper with a handwritten note. Even though these bands I listen to sing about the relatively sad things in life, they're happy as lary doing what they do and I massively respect that.

What I really want you to take away from reading this is to go to local and underground gigs. They're cheap so it's no worry if you don't particularly enjoy the band you took a gamble in seeing. The venues are usually unusual and a bit interesting so you get a decent night out either way, and you might even come away with a love for a new band you wouldn't have otherwise come across. 

A recent example of this for me was Leo Nappier in The Ram Jam. Him with his band were relatively new in playing together back in March and ended up blowing everyone away, and they're back again on 28th July!

A great way of discovering underground artists is to look for indie record labels and look at their artists. A great one to check out for the sort of 'sad' / math rock I'm in to is Big Scary Monsters. They released a fantastic Math Rock record titled Animals by This Town Needs Guns, and some of their current artists include Gnarwolves, Alpha Male Tea Party, and Nervus (who very recently played in Kingston). Another indie record label I'm a big fan of is Failure by Design records. Alternatively, find some venues in your local area and look to see who plays there regularly or is playing there soon!

This Is America... Some Thoughts

By carysmegansound

I'd never listened to Childish Gambino before, and I'm definitely not up to date with the rap/hip-hop scene of this decade (my HipHop/Rap playlist on Spotify pretty much has stuff exclusively from the early 90s to about 2007). But a friend of mine suggested this video to me and since then I've seen many articles pop up about it, so I thought I'd go through some of these and throw in my two cents.

source: youtube.com

This Is America has sparked online discussion and even the BBC are reporting on its message. Music Journalist Natty Kasambala describes the contrasting tones of the song as being similar to scrolling through a twitter feed; you'll see violence and then something funny, and your emotions can flick through from laughing to sadness in a second. This is something I wholeheartedly believe was the idea behind the video - in America you have strong black communities celebrating their heritage (shown with the traditional African singing used in the song) and that is interrupted by the violence and gun crime. She also mentions that watching more black deaths in the video "isn't going to have any more of a revolutionary impact" which I agree with, but don't believe the video was created with that intention - I think the intention was more artistic and metaphorical in the way that he chose to arrange the music and pair the video with the song... Natty's final comment was that she was "a little shocked and a little overwhelmed with the way he chose to say [something so important]". 

Source: glassnotemusic.com

Who Is Childish Gambino?

Donald Glover is an American comedian, actor, writer, director, producer, DJ and songwriter/rapper, under which he uses the stage name Childish Gambino. He's currently signed to Glassnote Records (Chvrches, Daughter, Two Door Cinema Club) and his latest release 'Awaken, My Love!' achieved vast critical acclaim, particularly for the song Redbone. I've not yet seen a negative thing about him, in fact quite the opposite. The image below is a comment under the BBC News article about This Is America.

Source: Facebook

Source: youtube.com

Picking Apart The Video...

The first scene in the music video shows Glover with apparently 'exaggerated' dance moves and facial expressions, and many (The Guardian, AJ+) have likened this to a gross characterisation of African-Americans and their culture by Thomas D. Rice from around the 19th Century known as Jim Crow.

The strongest piece of imagery for me was the contrast and confliction in the video, first of all from the dancing to the shooting and second of all between the foreground and the background. In the scene with an all-black gospel choir, Gambino comes in dancing and smiling then all of a sudden his body and facial expression just drops and at that point the gun is thrown into his arms and he shoots the choir. This to me is what the video is all about; black identity being interrupted by the reality of racism and the gun crime in America. "We Just Wanna Party" are the first words sung, and potentially the most underrated as I haven't seen this picked apart in any of the articles I've read. This hugely contrasts with "Guns in my area / I gotta carry 'em".

The conflicting imagery between Gambino in the front and the chaos ensuing in the back of most of the video is widely accepted as a commentary on the media being a distraction to what is actually going on in the world, however I also took it potentially as showing black communities trying to push on with lives despite what is going on around them.

Source: youtube.com

According to Time magazine, Gambino has said his next album will be his last... Every one of his albums so far have been vastly different to one another and each one has achieved greater praise than the one before; can we expect it to be a political mic drop as a poignant end to his Childish Gambino Persona?

If you would like to check out the articles and sources discussed and drawn on for this blog, here are the links below:

• This Is America by Childish Gambino on YouTube
• The Guardian
• Time
• BBC News
• Glassnote Records 
• AJ+

Last Week... JD and The Electro-Tones EP Launch 7th April '18

By carysmegansound

On Saturday night, Kingston celebrated the release of debut EP by JD and The Electro-Tones. It was a completely sold-out event and everyone had a fantastic night, from staff to the band and of course the audience too!

JD and The Electro-Tones in The Ram Jam

The band comprised of main man Julien D'imperio on harmonica and vocals, Chris Corcoran on guitar, Francesca Shaw on double bass and Loris Peverani on the drums. 

Julien D'Imperio in The Ram Jam

The staff at The Grey Horse know Julien outside of music, and we'd have never guessed he had this harmonica BEAST inside of him! He's always the one dishing out bags of compliments to musicians who come and play at The Ram Jam and is completely modest about his talents. He has a really rounded, easy-to-listen-to Blues voice and a gritty harmonica sound to contrast with that. During the second half of the evening, he jumped down off stage to play harmonica in the crowd and the audience LOVED it! His lovely and cheeky personalities shine through and he had everyone hooked.

Julien is a really clever songwriter and arranger and has music that Blues enthusiasts and anyone else can enjoy, and he picks his musicians really well - they're all really lovely, easy to work with, great in their field and brilliant to watch!

Accompanying him were 3 regulars on the Blues scene in London, including badass bass player Francesca. I love seeing her play - she's a petite woman playing one of the largest and most physically demanding instruments, yet her energy on stage is awe-worthy and she never breaks a sweat!

Francesca Shaw 

Francesca Shaw and Loris Peverani 

Chris is Julien's regular guitarist and features on the EP - I always hear high praises from Julien about him and on Saturday I got to see why. He's an influential and professional Blues guitarist with a smooth tone, perfectly complimenting the rest of the musicians.

Finally, Loris is a solid drummer with fantastic groove, and I eagerly await the part of the night where he can let loose when introduced by the frontman. I particularly like the way Loris builds up gradually to excite the audience, making it a formulated solo rather than just going crazy.  

If you're interested in getting your hands on a copy of the EP, contact Julien via his band's Facebook page.

Did You Know... Judging Music By How It Looks?

By carysmegansound

Recently I have become pretty obsessed with a podcast called No Such Thing As A Fish, hosted by 4 of the QI Elves. For those of you who have not seen the BBC programme QI, it's a panel show where celebrity guests give 'Quite Interesting' answers to the slightly bizarre questions Stephen Fry (and as of late, Sandi Toksvig) ask. Behind the scenes there are people known as the QI Elves whose job it is to research these odd and fascinating facts for the show, and in March 2014 a few of them started a podcast just to share their favourite facts they discover each week.

In a recording from June 2016 with special guest Tim Minchin, Anna said "My fact this week is that we judge music more on how it looks than how it sounds". 

Anna explains this information comes largely from a study conducted in 2013 by Chia-Jung Tsay from UCL, titled 'Sight over sound in the judgement of music performance', where it was discovered "people can reliably select the winners of classical music competitions based on silent video recordings of performances".

The 'boring' bit: To summarise, 886 participants (a mix of novices and professional musicians) were given either video-only, sound-only or video and sound versions of short clips of top performances from 10 international competitions. Before the study 83% of the novices and 96% of the professionals say that sound mattered most for their evaluations of a person's musical performance. The findings of the study were that 20.5% of experts identified the winners of the competitions when listening to sound-only recordings (no better chance than random chance), whereas 46.6% correctly identified the winners when watching video-only recordings. If you're interested in seeing how you'd do, below is a YouTube video from the conductor of the study showing you how!

You have three options on which to guess the winner of a classical music competition: audio only, silent video or video with sound. Can you guess who won a music competition based on short clips? About UCL: UCL is consistently ranked as one of the world's top universities.

Dan Schreiber, producer and one of the elves, relates the study to watching Mumford and Sons live, saying that the pianist is properly rocking out even though 'he's only playing G', and simply because of the visual cues it gives the audience the impression that how he's playing affects what he's playing.

... I hope I haven't lost you yet!

This all really interested me, being fascinated by the psychology of music and sound, and it made me think about my gig experiences and how my best memories are when the bands were particularly energetic and wild on stage. I saw Enemies live in I think March 2016 at The Lexington, and if you listen to Enemies you might not particularly associate them with mad stage energy (mostly because they're so easy to listen to just as background music), but still to this day I don't think I've seen or felt energy on stage in quite the same way as I did at their gig.

I don't have any contest with this study - before I heard about it I hadn't thought about the fact that the visual aspect of music massively affects a person's perception. I thought I was comparing a live sound with an album recording, but now I realise it's not just live vs recorded; it's greatly to do with the visual and performance given. On the right is a photo taken at a Tim Penn gig in The Ram Jam, Kingston of saxophonist Ayo Odea. You can see his eyes are closed and he's leaning back, both things that wouldn't be on a recording and things that would enhance a person's perception on his playing ability and performance. Thinking about it, musician's also seem to 'follow' their music they're playing; for example 'dropping' when the music drops - which I guess helps you to 'see' the music too!

Ayo Odea performing in The Ram Jam 

Tim Minchin in the podcast also mentions what he called 'The Stradivarius Effect', wherein there's actually little difference in sound between playing 'a £1m Stradivarius violin and a £1k violin', but that doesn't mean it doesn't make a difference psychologically. Tim says "maybe it doesn't matter that it's bollocks because the musician feels more passionate about the music when they play it" and I think that's 100% what to take away from this study and listening to the podcast, and that is what you put in physically and emotionally into what you play makes the difference. It's not what you play, it's how you play.

Thank you for reading and I hope this study was even half as interesting to you as it was to me!

Dan, James, Anna, Andy and special guest Tim Minchin discuss performing racoons, blue hailstones, and the giant that provides constipation relief.

If you'd like to find out more, the episode of No Such Thing As A Fish mentioned above is Episode 117, they start the discussion at around 14:00 and the soundcloud link is just to the left. 

If you're more interested in the study by Chia-Jung Tsay, here is the link to the PDF, it's a relatively short read (for a study)!

Last Week... Leo Napier in The Ram Jam - 17th March '18

By carysmegansound

Last week in The Ram Jam venue at The Grey Horse there were a couple of firsts. On Friday at the Crack Comedy event, there was not only a trombone and a squash-turned-instrument with a carrot mouthpiece played as part of a comedy set, but we had a few new faces on the scene in the form of Leo Napier and The Fever on Saturday.

The group's set covered an incredibly vast range of genres and styles, showcasing the vocal talent of Leo and versatility of all members. They performed renditions of classic songs familiar to the audience but with a modern-twist, such as Lean on Me and Use Me by Bill Withers, but also put a Blues/Funk take on more modern songs including a very clever cover of Passin' Me By by Pharsyde. 

Source: facebook.com

Leo's background and influences similarly cover a plethora of styles; he grew up across LA and London, eventually settling back in the US and according to his bio on leonapier.com, there was always music playing around the family home in the form of artists such as Al Green, Miles Davis, Ray Charles and Aretha Franklin. You could hear the influence his musical interests have in his original songs as well as his choice of covers, you wouldn't have expected to hear rapping in the set performed in the Ram Jam on Saturday if you didn't know Leo!

The 4 of them were one super tight unit, the band knowing exactly what Leo wanted by just a simple flick of his wrist. What really struck me was the fact that without the lyrics, the covers performed were barely recognisable because of how originally they had been arranged and in most cases, the instrumental parts re-written. It was refreshing to hear these songs performed so differently!

Leo Napier and The Fever in the Ram Jam

One of the notes I wrote for myself on the night simply says "The Grooviest" - not that I exactly needed reminding. You couldn't help but feel the music they were playing, every part complimented another and each drop to a new groove added another dimension to the song. The crowd grew throughout the set till the end when it was standing-room only, and there were compliments being thrown around the room from one person to another because they were a fantastic Saturday Night Surprise. At around 11.45 they asked how many more songs they could play and the answer was simply "as many as you like" because everyone was just loving the whole experience.

Have a listen to Leo's EP Mind Up below!

Mind Up, an album by Leo Napier on Spotify

Keep an eye out on Leo's website which you can find here for upcoming tour dates and for more information, or check out his Facebook for regularly updated info on his antics.

Open Mic Night in the Ram Jam Club - 21st Feb '18

By carysmegansound

If you’re looking for music in Kingston, there’s pretty much always something going on. Whether you want to buy some music from Banquet Records or watch some at The Fighting Cocks, The Hippodrome or The Grey Horse, there’ll be something for you. This week’s Open Mic Night in the Ram Jam at The Grey Horse showcased a vast and eclectic mix of performers, making it one of RJ’s busiest Open Mic events to date!

There were a few particularly stand-out acts, including BBC Introducing performer Jack Grace who had just popped in after a University of Kingston Alumni gig at The Rose Theatre. 

Jack Grace performing in The Ram Jam

Bournemouth-born and raised, I overheard Jack explaining to an audience member that he grew up in Folk clubs in the South-West and it’s clear to see this Folk and Soul influence in his songwriting and singing style. What really turned my head was the power in his voice. When he sang out, his voice was completely controlled and filled every crevice in the room, which was a beautiful contrast to the quieter parts of the songs. Jack managed to completely silence the venue with this technique. His songs were largely melancholy but more than that, they had an almost cathartic feel to them. It was a pleasant surprise to have Jack and I know for a fact that he left a lasting impression on many people.

Below is one of the songs he played on the night and one of my personal favourites, Clocks.

Here is the official 'Clocks' music video by James Ray. As always, all audio was captured by my good friend Joe Reeves Recording. Available to pre order now....

Another Folk and Soul influenced act from the night was the acoustic duo ‘The Beare Sisters’. 

The Beare Sisters performing in The Ram Jam

The girls had a similar vibe to them as Swedish act First Aid Kit, utilising similar harmonies, but were more R’n’B than Country. They describe themselves as “Bringing soft, sweet, acoustic R'n'B tunes to you all” and that perfectly sums up their act. They began with a beautiful and unique rendition of Rock With You by Michael Jackson and ended on a few originals. What particularly intrigued me about their music was their use of space; they used both the guitar and their voices sparingly, leaving the listener to take in the sound for that little bit longer and reflect on it. This technique leaves the girls very open and vulnerable, which I felt enhanced the emotions of the audience.

Below is one of the songs played on the night, titled Girls.

The night ended with Surrey-based band HydroCell. Early-2000s Indie bands such as The Strokes heavily influence the group’s music, and they particularly reminded me of The Libertines. However they also had a strong rock influence, particularly in parts without the distinct indie-sounding Stratocaster.

Hydrocele on stage in The Ram Jam

Hydrocele commanded the stage and the music was well-crafted and fun, something people of all ages would be able to enjoy. At one point I had to pop out and just by the door swinging open, many intrigued customers in other parts of the pub pulled me aside to ask what was going on! The guys really looked like they were having fun and their playing reflected that. The confident group ended the night on a high and left the crowd buzzing!

Have a listen to their song Content With Concise below!

Hydrocele - 'Content with Concise' (Official Video) Our latest single 'Content with Concise' is available now: Spotify: https://open.spotify.com/album/3jhP2fwF5k5JyYhZiSLQuk Apple Music: https://itunes.apple.com/gb/album/content-with-concise-single/1314834856 Connect with Hydrocele: Facebook: https://www.facebook.com/hydrocele.of... Twitter: https://twitter.com/hydrocele_band Snapchat: https://www.snapchat.com/add/hydrocele_band Instagram: https://www.instagram.com/hydrocele_o... Soundcloud: https://soundcloud.com/hydrocele_offi...

If you’d like to check out any music by the acts mentioned, or follow them on social media, here are some links for you:

Jack Grace - Facebook

The Beare Sisters - Facebook

The Beare Sisters - Soundcloud

Hydrocele - Facebook

Hydrocele - Website