In “Insomnia,” Lagos, Nigeria-born, Edmonton, AB-based Osasioo perfectly captures the feeling of losing a lover and knowing you deserved to do so. It’s about realizing that you didn’t treasure someone when they’re around and accepting that they made the right choice to protect themselves from the pain you inflicted by walking away.
Osasioo, born Osas Igbinosun, is known for his descriptive songwriting style and his captivating blend of R&B and modern pop. The Nigerian-born Canadian based artist has amassed a great number of fans with his unique voice and relatable lyrics. His songwriting processes, much like his songs, are a journey, as he originally started “Insomnia” in 2021 during the pandemic.
The song is written from a place that many will find relatable: whether they’re the abuser or the one that was abused. Whichever side of the fence you belong to, his distinctly warm and velvety voice carries the song’s lyrics straight to your heart and you find yourself immediately drawn to the song’s message from the get-go.
“’Insomnia’ was inspired by a friend’s nasty breakup which left him inconsolable. It takes listeners on a journey of the regret that he feels for the wrongs that he did in his past relationship,” he said of the inspiration.
For this soulful track, he enlisted the help of his longtime collaborator Femi Sobaki and worked with Calgary-based producer Colin Carbonera to match the song’s deeply meaningful lyrics with a sad, melancholic instrumental, giving listeners an overall immersive experience.
“Sunday morning’s not the same without you/There’s no dancing around/Picture frames been taken down/Words you said completely shattered my heart/At the door as I stood/I was wrong,” he sings in the opening verse, before going on to describe the degree of his pain in the chorus.
The bridge is another part of the song that’s lyrically heavy and describes so much with its few lines, as he sings, “I’ll understand if you don’t come back/You deserve better and you know better/To find the one who can give the love right back.”
Growing up, he was inspired by the likes of Ne-Yo, Usher and Vianney, and like his influences, he is determined to create songs that’ll leave a lasting impression on the hearts of people.
What do Crystal Shawanda, Leela Gilday, Northern Cree powwow group, a dozen other Indigenous artists, and Roots band Sultans of String have in common? They have all come together in the spirit of the Truth and Reconciliation Commission’s 94 Calls to Action and Final Report that calls for Indigenous and non-Indigenous artists to work together to create Walking Through the Fire. This album and live show are a powerful collection of collaborations between the roots group and First Nations, Métis, and Inuit artists from across Turtle Island, with the CD releasing September 15, 2023, and a live concert tour launching on September 28, leading up to the National Day for Truth and Reconciliation. You can pre-save the album here and pre-order the pjysical CD here.
Fire can be destructive, as we have seen with the unprecedented forest fires still burning in Canada. But what we see right afterward is interesting, as collaborating Indigenous art director Mark Rutledge explains, referencing the title and cover art of Walking Through the Fire. “You’ll see the burnt-out husks of trees and the ash and the charcoal on the landscape. But fireweed is the first plant after a forest fire that emerges, and you’ll see rivers and fields of magenta within the barren landscape, and those nutrients are going back into the soil for the next generation of trees and flowers and regrowth.”
There is fear instilled within the very notion of fire because it can be so destructive, not just to the landscape, but to the lives of people. But what lies beyond fear that holds people back from achieving what they want to achieve? “The other side of fear is growth and potential with collaboration between non-Indigenous and Indigenous people,” Mark continues. “When we drop the word reconciliation on people, there’s a large group of people who don’t understand what that means. And when you don’t understand something, you are fearful of it. But if we go through the same experience together, we walk through that fire together, and we come out together on the other end and have that unified experience together, that’s the power in this album.”
Together these artists are making a safe, creative space where new connections can be dreamed of – not in the Western way of thinking and problematizing – but instead a deeper sharing and understanding, with music being the common ground to help cultures connect and understand each other. “We are opening doors for each other, as Indigenous peoples, as settler peoples. This project is about creating connections and spaces to learn from each other” explains collaborator Alyssa Delbaere-Sawchuk, violist with Métis Fiddler Quartet.
Nine-time Grammy-nominated Northern Cree and community organisers in Kettle and Stony Point welcomed Sultans of String to their annual powwow for one of these collaborations. Steve Wood, drummer and singer, explains, “When you’re collaborating with mainstream music, it shows that we can work together to bring out the very best in who we are as human beings, and we can bring out something very beautiful.”
A central theme running through Walking Through the Fire is the need for the whole truth of Residential Schools and the Indigenous experience to be told long before reconciliation can possibly take place. Grammy-nominated Elder and poet Dr. Duke Redbird, who in many ways provided the initial inspiration for this project, explains, “The place that we have to start is with truth. Reconciliation will come sometime way in the future, perhaps, but right now, truth is where we need to begin the journey with each other.”
Sultans violinist Chris McKhool, who was recently awarded the Dr. Duke Redbird Lifetime Achievement Award by Redbird and JAYU Arts for Human Rights for working to amplify these truths through collaborations, says, “This country has a history that has been ignored, distorted, twisted to suit colonialist goals of destroying a people. We are so fortunate for the opportunity to work with Indigenous artists, sharing their stories, their experiences, and their lives with us, so we can continue our work of learning about the history of residential schools, genocide, and intergenerational impacts of colonization. Music has a special capacity for healing, connecting, and expressing truth.”
McKhool leads the 3x JUNO nominated, 6x CFMA-winning band, who recorded the bed tracks at Jukasa Studios, an Indigenous-owned world-class recording facility on the Six Nations reserve south of Hamilton, Ontario. “We were so fortunate to be able to work at Jukasa, as well as consult with exceptional Indigenous artists on this project,” says McKhool. “We were lucky to be able to work with Indigenous designer Mark Rutledge and Indigenous filmmakers and videographers Eliza Knockwood and Marc Merilainen, working with our usual team, to come up with a look and feel for the album.”
The Honourable Murray Sinclair, former chair of the TRC, said, “The very fact that you’re doing this tells me that you believe in the validity of our language, you believe in the validity of our art and our music, and that you want to help to bring it out. And that’s really what’s important: for people to have faith that we can do this.” Sinclair also spoke about the importance of using Indigenous languages so these do not become lost. The recording and concert features lyrics in Dene, Inuktitut, Sm’algyax, Cree, and Michif.
Sultans of String is a fiercely independent band that has always tried to lift up those around them and has exposed many of their collaborators and special guests to new audiences at their shows, including at JUNOfest, NYC’s legendary Birdland Jazz Club, Celtic Connections Festival in Glasgow, and London’s Trafalgar Square. Led by Queen’s Diamond Jubilee recipient McKhool, they have collaborated with orchestras across North America and have played live on CBC’s Canada Live, BBC TV, Irish National Radio, and SiriusXM in Washington. They have recorded and performed with such diverse luminaries as Paddy Moloney & The Chieftains, Sweet Honey in The Rock, Richard Bona, Alex Cuba, Ruben Blades, Benoit Bourque, and Béla Fleck. Their work during the pandemic on The Refuge Project amplified the voices of new immigrants and refugees, earning them CFMAs and Best Musical Film at the Cannes World Film Festival.
Says Raven Kanatakta of Digging Roots: “We have to move beyond ally-ship, and we have to move into relationships of being co-conspirators, get down into the dirt and start working together and start moving forward. We’re all equals here, and we all need to communicate as equals. We actually need Canadians to step up and take that first move.”
TRACK LISTING
1. A Beautiful Darkness feat. Marc Meriläinen / Nadjiwan (Ojibwe)
2. The Rez feat. Crystal Shawanda (Ojibwe Potawatomi)
3. Take Off the Crown feat. Raven Kanatakta of Digging Roots (Anishinaabe Algonquin /
Onkwehón:we Mohawk)
4. Kǫ́ feat. Leela Gilday (Dene) & Leanne Taneton (Dene)
5. Nîmihito (Dance) feat. Northern Cree (Cree)
6. Lost and Found feat. Shannon Thunderbird & Kate Dickson (Ts’msyen)
7. Black Winged Raven feat. Shannon Thunderbird (Ts’msyen)
8. Our Mother The Earth feat. Dr. Duke Redbird (Chippewa/Anishinaabe)
9. Sweet Alberta feat. The North Sound (w/ Forrest Eaglespeaker – Blackfoot)
10. Humma feat. Kendra Tagoona & Tracy Sarazin (Inuit)
11. Highway of Tears feat. Don Ross (Mi’kmaw) & M.J. Dandeneau (Métis)
12. Chanson de Riel feat. Métis Fiddler Quartet (Métis)
13. Tkaronto Reel feat. Métis Fiddler Quartet (Métis)
14. Quviasuliqpunga feat. Kendra Tagoona & Tracy Sarazin (Inuit)
WALKING THROUGH THE FIRE TOUR DATES:
2023 Tour
With Leela Gilday, The North Sound, Don Ross, Shannon Thunderbird, Alyssa Delbaere-Sawchuk, Marc Meriläinen (Nadjiwan), and a multimedia extravaganza including Northern Cree, Kendra Tagoona, Tracey Sarazin, Duke Redbird and more.
Sep 28 – Markham Flato Markham Theatre
Sep 29 – Stratford Stratford Symphony
Sep 30 – St Catharines Niagara Symphony
Oct 1 – St Catharines Niagara Symphony
Oct 2 – St Catharines FirstOntario PAC Education show
Oct 3 – Brantford Brantford Symphony
Oct 4 – Lindsay Flato Academy Theatre
With Shannon Thunderbird, Alyssa Delbaere-Sawchuk, Marc Meriläinen (Nadjiwan), and a multimedia extravaganza including Northern Cree, Kendra Tagoona, Tracey Sarazin, Duke Redbird, and more.
Oct 10 – Sudbury Café Heritage – Education & Evening show
Oct 11 – North Bay Capital Centre
Oct 12 – Timmins Timmins Museum, O’Gorman HS
Oct 13 – Geraldton Geraldton Concert Series
Oct 14 – Thunder Bay Sleeping Giant Folk Music Society
Oct 15 – Dryden Dryden Entertainment Series
Oct 16 – Sioux Lookout Sioux Hudson Entertainment Series
Oct 17 – Red Lake Red Lake Entertainment Series
Oct 18 – Kenora Lake of the Woods Concert Group
Oct 19 – Fort Frances Tour de Fort Entertainment Series
Oct 22 – Burlington Burlington PAC
Oct 23 – Burlington Burlington PAC Education show
Nov 12 – Walkerton Victoria Jubilee Hall
2024
Jan 19 – Ottawa Centerpointe Theatre
Jan 23 – Kingston Kingston Grand Theatre – Education & Evening show
Jan 25 – Brampton Rose Theatre – Education & Evening show
Jan 30 – Guelph River Run Centre Education show
Jan 31 – Guelph River Run Centre Education show
Feb 1 – Guelph River Run Centre – Education & Evening show
Mar 2 – Winnipeg Winnipeg Symphony Orchestra
Mar 3 – Winnipeg Winnipeg Symphony Orchestra
April 15 – Markham Flato Markham Theatre – Education Show
April 16 – Markham Flato Markham Theatre – Education Show
From lead vocalist and guitarist Tyler Schlagenhauf, bassist and back-up vocalist Wes Schlagenhauf, and drummer Jason Guadalupe, comes MYLO BYBEE’s anticipated 10-song strong Master & Machine with its title track leading the charge.
Self-described as “organized chaos”, MYLO BYBEE invites listeners on a dizzying whirlwind mix of indie, hard-hitting, alternative rock. The album, from “Vintro” to “Best For Last”, is a journey of catchy tracks, mingled with introspective lyrics and exceptional musicianship. Birthed in Boise during the pandemic of 2020, MYLO BYBEE formed to create, concoct and contrive a musical synopsis of life and its feelings during lockdown. As a result, Master & Machine is a succinct summation – songs with “punch you in the face” energy; songs that make you want to cry, cheer, and break something all at once.
“It’s time we welcome you to the world of MYLO BYBEE,” says the Buzzslayers blog, adding: “and our particular and energetic brand of gusto-riddled alternative pop rock that has a way of making you feel all warm and fuzzy inside.”
A vintage nod to the alternative punk pioneers of yesteryear – think Jimmy Eats World goes to college with Ben Folds Five – MYLO BYBEE stamps their modern flair onto a familiar genre, ushering a seismic shift into a new chapter of alternative rock music. Master & Machine plucks and prods through each track with precision, boasting tightly-woven melodies and harmonies. As they explain – the music is “unconventional and energetic; our image is a canvas littered with capricious captivation and colorful landscapes.”
“The album name, Master & Machine, is really a conglomeration of how everything we do is impacted by someone else. Societally, personally, professionally, artistically, etc.,” says MYLO BYBEE. “Most of this album was written during COVID which ended up being a Jackson Pollock painting of raw feelings, scattered with emotions depicting the best as well as the very worst in people.”
The result is a prose on life and living it. Tracks range from dark, ominous instrumentals, to heavy, punch-hard rock, to softer, melodic, piano-driven pop vibes. “This album has been a regurgitation of content that I have written years ago that went through many different iterations, as well as songs written recently incorporating some out of the box experimentation from the collective band,” reveals Tyler Schlagenhauf.
Master & Machine leads off with its title track as its lead single. “M&M is our heaviest song on the album, and probably my favorite to play,” says Wes Schlagenhauf, adding: “It hits hard. You can feel the angst. But what it does, is it allows the rest of the album to slowly let hope bleed through the bleak. To me, the album as a whole is less of an indictment on the shortcomings of our world, and more of a look at people living their lives in between the darkness; finding a way to the light through love.”
Why choose between the Master and the Machine when you can get both from MYLO BYBEE. It’s an adventure you’re going to want to choose to take.
It’s easy to take what we have for granted in the moment, and Woolwich, ON-based folk artist Carla Muller perfectly captures that sentiment with her new single “Another Morning After” – available now.
Featuring whimsical violin, acoustic guitar, banjo, and upright bass, “Another Morning After” is both celebratory and introspective, taking the listener through snapshots in the life of a couple, beginning with their courtship and ending with them looking forward to the rest of their lives together. In fact; it’s actually the story of Carla and Tom, her husband of 32 years.
The chorus begs “I want another morning after” as Muller looks at the day after each big day. For example, here’s the morning after the couple’s wedding:
I want another morning after
Wedding veil still hanging on the wall
And we haven’t left our bed
We just ordered in instead
And outside the summer rain began to fall
“‘Another Morning After’ is about everything we have to look forward to,” muses Muller. “Just one more morning after a special day. The morning after the first time you knew you were in love. The first morning of your honeymoon. The morning after your little one came into this world, as you settle into your new life together. And it’s easy to think you’re running out of firsts, but there are still so many morning afters to come.”
The song features cowriter Scott Metcalfe on piano, cowriter Drew Jurecka on violin, Chris Quinn on banjo, Nathan Hiltz on acoustic guitar, Ross MacIntyre on upright bass, and Dave MacDougall on drums and cajón.
Carla Muller is a singer-songwriter from Woolwich, ON. This is the first track from the upcoming In Between album, which is a part of the In Between Project, a six-album project currently in production at Canterbury Music Company in Toronto. She also owns a children’s boutique called Baby Charlotte in Kitchener, ON.
The music streaming market is set to grow by USD 31,101.37 million from 2022 to 2027 progressing at a CAGR of 15.67% during the forecast period. Discover Advertising industry potential and make informed business decisions based on qualitative and quantitative evidence highlighted in Technavio reports.
Key Market Segmentation
This report extensively covers market segmentation by type (free and paid), end-user (individual users and commercial users), and geography (North America, Europe, APAC, South America, Middle East and Africa).
The market share growth by the free segment will be significant during the forecast period. The free music streaming segment is expected to grow moderately during the forecast period. Providers leverage ad-based models in free music streaming services to generate revenue through ad placements during streaming or in conjunction with in-app purchases. Notably, Spotify and Alphabet are dominant players in the realm of free streaming services. These free subscriptions offer limited music access, coupled with periodic ads. For instance, Spotify’s ad-supported music streaming provides free subscribers access to around 750 songs beyond the on-demand collection, interspersed with ads every two tracks. Similarly, Alphabet permits free users to explore up to 50,000 songs from their music repository, interspersed with ads between tracks. This robust free music streaming segment is anticipated to be a driving force behind the market’s growth during the forecast period.
Regional Market Outlook
North America is expected to account for 44% of the global market growth during the forecast period. The music streaming market in the North American region is expected to register stagnant growth during the forecast period. A pivotal factor contributing to this trend is the early adoption of music streaming services by the United States, a prominent player within the region, which has now reached a state of near-saturation. Notably, the music streaming services market across the region is fortified by an extensive array of music subscribers effectively managed by service providers. This expansion is further accentuated by the decline in sales of physical music components like compact discs (CDs) within the United States, attributed to the widespread prevalence of music streaming services. Engaging in strategic maneuvers, regional players are strategically broadening their operations through partnerships with artists, securing exclusive song rights, and even acquiring smaller entities within the music industry.
Market Dynamics
Driver
Increasing preference for music streaming services is notably driving the growth of the music streaming market. The growing preference for music streaming services is poised to propel market growth throughout the forecast period. A notable surge of one million fresh subscribers gravitates towards music streaming services each month. These services serve as a pivotal deterrent against the unlawful downloading and sharing of music. Remarkably, the majority of these subscribers fall within the age bracket of 18 to 40 years. Among this youthful demographic, there exists a strong inclination towards accessing free music via various platforms. Notably, Pandora extends both paid subscriptions and free channel access, attracting a substantial user base due to its compatibility with diverse operating systems like Android, IOS, and Windows. Furthermore, entities such as Pandora and YouTube are actively exploring diverse avenues to encourage the migration of users from free music streaming to subscription-based models devoid of advertisements.
Trends
The increasing introduction of differentiated music streaming services is an emerging trend shaping market growth. Differentiated music streaming services are progressively being introduced by providers within the music streaming market. Key players like YouTube Music, Pandora, Spotify, Deezer, and Tidal offer an array of distinct features, encompassing seamless cross-platform accessibility, automated playlist tailoring, and superior audio quality. Notably, YouTube Music and Pandora stand out by furnishing users with personalized recommendations, a distinguishing attribute among their counterparts. For instance, Alphabet’s YouTube Music employs artificial intelligence technology alongside user-specific Google account information to curate song selections and recommendations, further enhancing its offerings based on geographical location. Leveraging its patented Music Genome Project, Pandora is venturing into podcast replication, catering to its customer’s preferences. Similarly, Spotify has emphasized social components, ensuring global streaming availability on varied operating systems, including Android, IOS, Windows, and Adobe. Apple and Amazon also contribute to the landscape by rendering music streaming services via their respective hardware platforms. Hence, the mounting embrace of diverse music streaming services stands out as a pivotal trend propelling market expansion during the forecast period.
Challenge
Lack of ownership in music streaming is a significant challenge hindering market growth. Publishing music digitally is a crucial part of music publishing. This sector operates within its own distinct confines, where the dynamics revolve around subscription-oriented licenses that furnish consumers with extensive song repositories. However, a notable drawback inherent to music streaming services is the absence of music ownership for subscribers. Furthermore, not all providers in this domain facilitate music downloads, obliging users to maintain an internet connection for real-time music streaming. The dearth of ownership is poised to discourage potential customers from embracing music streaming services, potentially impeding the market’s growth during the forecast period.
Related Reports:
The music on demand market size is estimated to grow at a CAGR of 13.41% between 2022 and 2027. The music on demand market size is forecast to increase by USD 38,775.66 million. This market report extensively covers market segmentation by type (music streaming and radio on demand), end-user (individual users and commercial users), and geography (North America, Europe, APAC, South America, Middle East and Africa). Increasing preference for music streaming services is notably driving the growth of the music streaming market.
The music production software market size is estimated to grow at a CAGR of 7.47% between 2022 and 2027. The market size is forecast to increase by USD 333.24 million. This report extensively covers market segmentation by type (editing, mixing, and recording), end-user (professionals and non-professionals), and geography (North America, Europe, APAC, South America, Middle East and Africa). The rising number of musicians and artists is driving growth in the music production software market.
Paula Cole fans rejoice! The Grammy Award-winning singer-songwriter’s iconic album “This Fire” is set to blaze its way onto vinyl for the first time ever. The much-anticipated vinyl release is scheduled for September 22nd on Slow Down Sounds, bringing the timeless masterpiece to fans and music lovers in a whole new way. Pre Order Vinyl Here
Originally released in 1996, “This Fire” solidified Paula Cole’s status as a pioneering force in the music industry. She is the first woman to be solely nominated in her own right for the Grammy award for Producer of the Year for her brilliant production work on “This Fire”. The album, featuring hit singles such as “Where Have All the Cowboys Gone?” and “I Don’t Want to Wait,” captivated audiences with its introspective lyrics, soulful melodies, and Cole’s unmistakable powerhouse vocals. Paula opened cultural confines and broke glass ceilings, demonstrating an unparalleled talent for blending elements of pop, rock, folk and jazz to create her intricate sound.
To commemorate the vinyl release, Slow Down Sounds will issue three color variants. The options include a fiery red edition, a translucent blue edition, and classic black. Each variant encapsulates the spirit, passion, and dynamic sound of the album.
The original album, which was mastered by the legendary Bob Ludwig, has undergone meticulous vinyl mastering by the esteemed Kevin Gray at Cohearent Audio. Gray’s expertise in the art of vinyl mastering ensures that every delicate nuance and raw emotion of Cole’s music is faithfully captured in the vinyl format.
To guarantee the highest level of quality, the vinyl pressing was entrusted to Record Technology Inc. (RTI), renowned for their commitment to excellence and their craftsmanship in producing top-notch records.
Paula continues to record and tour with an entire catalog on her independent label, 675 Records. Expect an update on 2024 tour dates and new music releases at PaulaCole.com.
Paula Cole fans and music enthusiasts alike are encouraged to mark their calendars for September 22nd, when “This Fire” will be available on vinyl for the very first time.
The radio market is to grow by USD 8,509.2 million from 2022 to 2027 progressing at a CAGR of 3.09% during the forecast period. The report offers an up-to-date analysis regarding the current global market scenario, the latest trends and drivers, and the overall market environment. The market is driven by access to the latest music and live updates. Access to the latest music and live updates is a key factor driving market growth. The cost of subscribing to most radio channels is very low and the cost of the equipment is the only cost incurred by the radio, which must be adjusted. In addition, live broadcasts via radio channels include live coverage of sports, politics, regional news, local news, new product launches, traffic updates, date, and time savings, offers, etc. Listeners are updated without having to connect to any of their devices or the internet with these live updates on radio broadcasts. Hence, these factors are expected to drive market growth during the forecast period. –Here is an Exclusive report talking about Market scenarios with a historical period (2017-2021) and a forecast period (2023-2027). Download Sample Report in minutes!
The report on the radio market provides a holistic update, market size and forecast, trends, growth drivers, and challenges, as well as vendor analysis.
Radio Market 2023-2027 – Market Dynamics
Major Trends
Online radio services are a major trend in the market. Online radio streaming is getting popularity among listeners as a platform for listening to radio. The vendors in today’s market provide their services over the Internet. Moreover, several radio channels have merged with streaming portals and other radio channels to serve both online radio and music streaming services on the same platform. The demand for internet radio is increasing due to the availability of mobile internet and increasing internet penetration. Thus, online radio services are expected to drive market growth during the forecast period.
Significant Challenges
The lower impact of radio-based advertising is a significant challenge restricting market growth. The main source of revenue for the radio market is advertising. However, radio has a limited reach and limitations associated with it compared to other advertising mediums. Radio was originally a local media platform restricted to small areas of the country. Moreover, radio ads can become attractive with the help of a jingle, other tests like graphics are not possible in this form of advertising as they are only sound. Hence, the lower impact of radio-based advertising is expected to restrict market growth during the forecast period.
Radio Market 2023-2027: Market Segmentation
The radio market is segmented by type (broadcast radio, online mobile radio, and satellite radio), revenue (advertising, public license fee, and subscription), and geography( North America, Europe, APAC, South America, and the Middle East and Africa).
The market share growth by the broadcast radio segment will be significant during the forecast period. The signal is transmitted from the radio station to the audience through a repeater station or directly through the broadcast station. Radio has types like amplitude modulation (AM) and frequency modulation (FM). The main driver of this segment is that it doesn’t require any special equipment to connect. Most smartphone manufacturers have integrated broadcast radio chips into their smartphones, enabling radio transmission to smartphones due to the latest advancements in technology. Hence, these factors are expected to drive market growth during the forecast period.
North America is estimated to contribute 30% to the growth of the global market during the forecast period. The growth in the region is due to the rising number of advertisements and subscription revenue from Canada’s satellite radio. The US is the key contributor to the market in the region. Furthermore, the demand for digital radios is increasing due to the transition to using digital rather than analog standards in this region. Hence, these factors are expected to drive market growth in the region during the forecast period.
The isolated vocals of Chris Cornell for “Nothing Compares 2 U” stand as a poignant tribute to his remarkable talent and emotional depth. As the lead vocalist of Soundgarden and Audioslave, Cornell’s signature voice resonated with raw power and vulnerability. When stripped down to isolated vocals in his cover of Prince’s timeless classic, his voice takes center stage, baring the soulful intensity that made him an iconic figure in rock music.
Helen O’Hara decided she was going to be a violinist at the age of nine. Her violin was her badge of honour. She was brought up on a mix of classical and pop music, but it was pop that ruled her heart. A prodigious talent, she rose through the ranks in youth orchestras, but at seventeen she rebelled, left school and joined a progressive rock band. At twenty-one, she was back in college studying classical violin, where she was headhunted by Dexys Midnight Runners. Declining an offer from the Bilbao Symphony Orchestra, she joined Dexys instead. Weeks later ‘Come On Eileen’ was number one in the UK charts.
What’s She Like provides a vivid account of the euphoric experience of recording and touring the album Too-Rye-Ay, and the tumultuous story of the making of Dexys’ masterpiece album, Don’t Stand Me Down. After Dexys disbanded in 1986, Helen started a long working relationship with Tanita Tikaram and recorded two solo instrumental albums, featuring acclaimed pianist Nicky Hopkins, before taking a break from music to raise her family. The break extended for 23 years. Once her two sons had grown, driven by forces almost beyond her control, she dusted down her violin and began the hard journey to once again make music the centre of her life, honouring the commitment she had made to herself aged nine.
Here, in her own words, she finally answers the question posed in the lead song on Don’t Stand Me Down: this is what she’s like.
During the 1997 Emmy Awards, the beloved Fred Rogers, now fondly remembered, was honored with the Lifetime Achievement Award. In a truly selfless manner, he delivered a heartfelt speech that emphasized the importance of love for one another and the significance of cherishing the memories of those we have loved and lost.
