Invisible Threads

[Published in the Summer issue of Peppermint Magazine. EXCERPT]

Microfibres are emerging as one of the biggest environmental problems of our time, and they originate from the shirt off your back, writes Samuel J. Fell

It’s the biggest environmental problem you’ve never heard of, and it stems from the most basic of sources – the perpetrators are hanging in your wardrobe, in drawers, folded neatly in your linen closet. Microfibres, plastic fibres invisible to the naked eye that have been shown to shed from synthetic clothing during the washing process, are flushing via domestic wastewater through sewage treatment plants, eventually making it to rivers and the ocean.

A 2011 study by a number of scientists, including UNSW ecologist Dr. Mark Browne, found that microfibres make up 85% of human-made debris on beaches and shorelines around the world.

Microfibres themselves are tiny fragments of plastic debris that are micrometres in diameter, which emanate from myriad different sources – tyre dust; paints; the breaking down of secondary microplastics (plastic bags, take-away containers, plastic cutlery); airborne synthetic fibres; microbeads (which have been banned from facial cleansers and some cosmetics in the US and the UK).

The main culprit however, is synthetic clothing; fleece, rayon, acrylic and polyester garments, all of which emit thousands of microfibres every time they’re washed. Given, in 2014, 60% of all fabric produced by the textile industry was polyester, it’s little wonder microfibre pollution is becoming as rampant as it is.

The problem came to light in 2004, when Dr. Browne and a research team, through extensive testing, found these fibres to be the most prominent form of man-made waste washing up on shorelines worldwide. “A lot of the NGOs, who do their best to try and tell people about environmental issues, had been doing a pretty poor job of explaining the issue of plastic pollution,” explains Dr. Browne, a world-renowned authority on plastic debris pollution.

“They were confusing a whole range of issues… saying, it’s to do with microbeads, it’s to do with bags, it’s to do with packaging,” he goes on. “I [thought], actually, that’s really funny because I’ve gone around the world sampling on different shorelines from the poles to the equator, and most of the material we’re finding, although we expected to find bags and microbeads, are actually these fibres.”

Feature – Bigsound Turns Up The Volume On Gender In The Music Industry

[Published in The Guardian (Australia), September 10 2017]

‘We’re over it’: Bigsound turns up the volume on gender gap in music industry

Gender inequity in Australian music is as old as the industry itself – but this year’s Bigsound conference was focused on solutions. By SAMUEL J. FELL

Brisbane’s grimy entertainment district, Fortitude Valley, is home to a slew of live music venues, bars and clubs – and each year, the Australian music industry descends for annual conference Bigsound.

Tagging itself as a global gathering of musicians, media, brands and music lovers, Bigsound is at once a showcase for local talent, and a forum for discussion about an industry that’s in a constant state of flux. And two of the big issues on the table this year revolved around gender: sexual assault and antisocial behaviour at festivals and in live music venues; and gender equality and diversity within the industry itself.

The former issue was brought to the fore recently via a number of alleged assaultsat the Tasmanian leg of Falls festival. Helen Marcou, co-owner of Melbourne’s Bakehouse Studios, chaired a panel that argued for preventative, rather than reactive, measures.

Marcou is a co-founder of Your Choice, an initiative launched in Melbourne in July and heavily backed by industry heavyweights, which aims to curb sexual assault, violence and discrimination at live music events by making promoters, venue owners, artists and managers aware of the issue; and by giving them the tools and information they need to stop toxic behaviour.

As Marcou’s fellow panellist and PR head Stacey Piggott said, the only way culture will change is if people within the industry talk to each other about it: “The conversations need to be peer to peer,” she said.

The issue of gender equality was also on the table. In late July, the Skipping A Beat report was released by the University of Sydney, which assessed the state of gender representation in the industry. It found that women were poorly represented across festival lineups and industry boards; on stages and backstage.

The same week, industry copyright licensing body APRA/AMCOS released their own report which found that female members share in only 10% of the total royalty pool, and that more women are represented in cricket than songwriting in this country.

To many, these statistics come as no surprise.

“We’ve acknowledged there’s a problem; this is about how to deal with it,” Leanne de Souza said. De Souza is the executive director for the Association of Artist Managers, but also runs Facebook group MEGA (Music Equity Group for Action), advocating for a more inclusive industry.

“I think the conversation around gender equity has been so focussed on calling it out that we’re over it, women who’ve been working in the industry now for 20, 25 years are tired of that,” she tells me later. “We’ve heard those stories, so now it’s time to turn the narrative – what’s working?”

As a result of the research undertaken by RMIT, APRA/AMCOS have committed to a 25% increase in female members over the next three years. From October, the body will invest each year in the mentoring of female artists across a range of genres; and they have called for the entire industry to take action and eradicate gender disparity.

“So now there’s this energy for change,” de Souza said, “and there are some great things happening. There’s the Listen movement, safe spaces, there are youth mentoring services – there’s all this good stuff.”

Listen, based in Melbourne, is a diverse and inclusive feminist music collective whose focus is on giving a voice to minorities in the industry. It’s co-organised by Elspeth Scrine, who spoke on two panels at Bigsound and whose flyers could be found at venues across the Valley: “Top 5 Cop Outs For Booking A Lineup That Is Not Diverse” read one – no doubt a direct response to the Days Like This festival booking an all-male lineup in March.

Other fliers listed simple things everyone could do to make for a more inclusive industry: respect people’s pronouns; avoid reducing an artist to one part of their identity, like their gender; make sure your workplace has toilets that everyone can use.

They are deliberately easy ways to rebalance an industry that for decades has been seen as a boy’s club; a recent study by Triple J program Hack showed an overwhelming male bias within the majority of aspects of Australian music.

“It’s about individual accountability,” said de Souza. “There’s a sense in the industry that we’re moving towards a positive focus.”

Gurrumul – Australia’s Most Important Voice

[Published in Rolling Stone, April 2011, COVER FEATURE]

The Deep Part

Geoffrey Gurrumul Yunupingu might be one of Australia’s most enigmatic figures, but his second album, Rrakala, is all about showing the rest of the world how he lives.

By Samuel J. Fell

 

Silence. Complete and utter silence. Not for long, maybe only ten seconds or so, but a silence that threatens to consume the four of us sitting in the control room at Byron Bay’s Studio 301, if not for what came before it. Music as primal and raw and gritty as can be, yet as sweet and ethereal as sunshine after a storm, streaks of sound wrought from the heavens themselves, translated by a man as unassuming as it’s possible to be. Geoffrey Gurrumul Yunupingu, nodding his head slowly as what he’s just played becomes memory, his hands finally, after seven and a half minutes, resting in his lap.

Michael Hohnen, Gurrumul’s accompanist, producer and long-time friend, is smiling. Sound engineer, Anthony Ruotolo and his assistant are smiling as well, and I’m struck dumb, sitting at the back of the room, notepad abandoned on the table in front me, wondering to myself where the music I’ve just heard could possibly have come from, and how I’ll possibly be able to describe it. The song, played on an out of tune piano – due to the heat in the studio, Gurrumul needing it to be as close to the tropical humidity of Darwin as possible – was a rough version of ‘Ulminda’ which will eventually appear on Rrakala, what will become Gurrumul’s much anticipated second solo record. He’d finally wandered in, sat down, and just played this song, virtuosic, his voice on a plain nigh on improbable, its purity astounding.

“I remember the moment,” muses Hohnen a few days later, sitting on the grass outside the studio during our first of many interviews for this story. “It’s very exciting working with him when he goes into that mode of ‘Nothing else matters and I’m focusing just on the moment and this musical situation’.

“And that is music in its most pure form, I think, when you experience what you and I did that afternoon. In some ways it’s kind of why you live or why you are a musician, to go through those sorts of moments…and there was so much energy around what he did as well which was really special. It was almost like he pushed his chest out at the end of it, he knew it was really special.”

“It really is all about the performance,” adds Ruotolo a few months later from New York where he’s based. “Our job as engineers is to capture as accurately as possible those critical nuances of that performance. When Gurrumul is in his zone, it’s something very special.”

As far as Gurrumul himself is concerned, it’s a lot more simple. “It’s about the head, you know, it’s the deep part,” he says through Hohnen, tapping his head gently a few times, just a couple of inches above his forehead, giving that look as if it is very serious. “’Ulminda’ means the deep part.”

Earlier that first day, I’d sat with Hohnen and we’d listened through the entire album as it stood thus far; 12 un-mastered, unmixed tracks, the bare bones that would eventually come together to make up Rrakala. Gurrumul himself wasn’t present at that point, preferring instead the solitude of their apartment, not in the mood to enter the studio, content to lie on his bed listening to music. I wondered if I’d get the chance to see him in action, but didn’t press, and after a few hours of listening and talking, I got in the car to drive back to Brunswick Heads, 15 minutes up the highway, and before I left I asked Hohnen to let me know if Gurrumul decided to come into the studio.

It was bright outside, more so because of the gloom I’d been sitting in for the best part of the morning, and I squinted all the way home, pulling in, parking, walking up to the house, putting on the kettle with the intention of sitting down to go through my notes, and then my phone buzzed, a text message from Hohnen. “If you want to turn around,” it says, “he’s about to do piano.” I jumped back into the car.

***

The fact Gurrumul will only come into the studio when he feels like it, interests me somewhat. As both Hohnen and Ruotolo have pointed out, when he’s on, he’s really on, but as Ruotolo then says, “I think it is a very delicate place, where he draws his inspiration from, and on the days that he may feel like maybe he isn’t there emotionally, he leaves it alone.” Hohnen and Skinnyfish Music co-owner, Mark Grose, have learnt to roll with these situations, it’s part of working with an artist like Gurrumul.

The flip-side however, is worth the wait. “Yeah, when he’s on, he’s totally on,” reiterates Hohnen. “The night before [you were there], he didn’t want to go to bed. The others were exhausted, but he was going, ‘Maybe you and I can do something’, so he just wanted to keep going. So when he’s in that mode, he’s really focused. And he’s so connected to back home, he’s always on the phone back home, it’s almost like he’s there more than here a lot of the time. But when he walks through that door and the phone’s not on, he knows that, essentially, this is his voice for the next few years, he knows that this is representing him, so he’s really conscious about that.”

***

In 2008, Gurrumul released, through Skinnyfish Music, his eponymous solo debut, a record which took the planet by storm, shaking its very foundation. It wasn’t the first time he’d been exposed to the world – Gurrumul has a songwriting credit and an ARIA for ‘Treaty’ (amongst other songs), performed by Yothu Yindi with whom he played for many years (guitar, keys and vocal), and is a part of the Saltwater Band – but it was the first time he’d been laid bare on his own. His rise, which is well documented, was swift, and as such there’s a lot of anticipation as to whether this new record will match the first.

“He’d never say this, but I would think he would hope, or probably expect, it to be popular, because it’s really strong,” says Hohnen. “He’s put some very strong songs forward. One of the songs, ‘Baru’, is about the crocodile, it’s all about him, and I think he would expect people would like it, because it’s like him singing totally about himself and his identity. But if I ask him if he thinks this record will go well, he’ll ask me that back, it’s one of the questions he won’t answer.”

Indeed, when asked, Gurrumul merely says, “Just doing more songs. Like the first album but different. With piano. I just like these songs too. Maybe people will like it.”

***

The base difference between Gurrumul and Rrakala, is that Gurrumul plays drums and piano in addition to the guitar on this record. “Gurrumul is a multi-instrumentalist,” Ruotolo tells me. “I spent a few days with him where he wasn’t near a piano, then all of a sudden he sits down and it sounded like he had been playing every day, perfect fluid playing. I watched him lay down a drum groove at Avatar in NYC (where the bulk of Rrakala was recorded, early last year) in, like, one or two takes! And it was solid! That’s what struck me most about him, his ability to pick up an instrument and go.”

Then there are the subtle differences, the ones that are set to elevate this record, guiding Gurrumul’s star even higher. Watching him in the studio, it’s his confidence which strikes me, his ability to really push what he’s doing now, like he’s no longer afraid of anything, although again, according to Gurrumul it’s not like that.

“Michael and I knew people liked the first CD,” he says. “This is a bit the same for this one. People like it, you know. I want something that people like.” Hohnen expands. “He and I are sort of reaching into that well of his, which is so deep and the only way he wants to really expose that well, is through his music. There’s a lot of stuff in there, in his head, that never comes out, from the light stuff you’ve seen, the banter, the humour, but also all the cultural stuff. And this is his balance he’s found between the deeper cultural sides of himself.

“We’ve been trying to work out how we’d actually present the second album, and I think presenting it as him and his identity is probably the strongest way we can do it.” It’s a way which has seen Gurrumul rise to the occasion, and as such, the music itself benefits – Rrakala booms with confidence, it radiates power and at its core is Gurrumul himself, still the same as he was when portrayed on Gurrumul, but bigger and stronger.

***

“When I watch him sing, it’s not like watching an opera singer,” Hohnen says of Gurrumul a few months after the time spent in 301. “With an opera singer, you can almost see what they’re doing, it’s this learned process…that’s the first thing I think about when I compare him singing, how you’ve seen watching him up close; they’re doing something that’s learned and formalised and I find it’s almost less inspiring…they’re still acting, most singers are acting.”

“So when you’re confronted like you were up close with Gurrumul, it’s like you’re presented with something that is not following the path of all those other people,” he adds, searching for the right words. “I’m sure there are singers out there who are actually not acting that much, like some of the punk singers, you know? Some of them are acting, but some of them are just singing so much about what they believe in, and that’s what he’s doing; he’s singing totally, totally what he believes in, he’s not trying to be someone else, he hasn’t watched anyone else, so he doesn’t have to look a certain way, he’s just going, ‘I’ve listened to the great singers all my life, and the great traditional singers all my life, and I need to project like that to get recognised’, I think that’s how he works. I think that’s why it’s so refreshing.”

As I leave the studio on one of the three days and nights I spend there, I say goodnight to Gurrumul, accidentally mispronouncing his name – more of a ‘Garrumul’ instead of ‘Goorrumul’ – which Hohnen later tells me Gurrumul found very funny. He still finds it funny, three months after the fact. During those sessions too, he laughed a lot and made jokes with Hohnen, interspersing takes with yips and howls, then he’d turn around and play an amazing piece of music. Of all the musicians I’ve interviewed, at all stages and ages and levels of popularity, not one of them has been as humble and naïve and truly free of hang-ups as Geoffrey Gurrumul Yunupingu. This is a man with his feet firmly on the ground, purely because he knows of no other way.

“That’s right,” agrees Hohnen. “He’s just being himself because that’s all he can be.”

***

During the writing of this piece, Gurrumul and Hohnen fly down to Sydney to do the accompanying photo shoot. I speak to Hohnen the night before and he’s excited because Gurrumul is “excited about the photo shoot”, the reason being he actually understands the gravity of appearing on the cover of a magazine such as this one. “For years I have had to put up with Gurrumul’s taste in music being different from mine,” Hohnen then wrote to me via email whilst the pair of them waited in the airline lounge in Darwin on their way to Sydney the next day.

“Sure we both like lots of the same music too, but Dr. Hook is never a band I bought CDs of…years ago I remember he says, “Michael, you like this one?” and plays me a scratched CD he is carrying around. It is the Dr. Hook song ‘Jungle To The Zoo’. Gurrumul loves it, and I do too. I never remember hearing it back in the ‘70s.

“So we go to the airline club and have some lunch waiting for the plane. I get out my phone and play a YouTube link to him. He starts laughing from the first few bars of the music – the funny and clever and entertaining Dr. Hook song, ‘The Cover Of The Rolling Stone’ comes blaring out of my phone, in the no-phone area of our lounge and a man looks over sternly at me. I don’t stop it because the pleasure of the moment is too great. Gurrumul, who ironically will never see it, is totally excited to be getting what one of his favourite bands sang about. It’s a great clip on YouTube too. It’s a Powerpoint presentation of lots of jpegs of famous Rolling Stone covers and I flick between watching it and Gurrumul’s grin, whilst he listens to the familiar recording, rocking, funking and clunking away.”

***

I ask Gurrumul who he writes these songs for. “It’s just a meaning, that song, it is just about that part of the mind,” he says, meaning ‘Ulminda’. I ask about songs in general. “Some for family, or other Yolngu (the collective noun for all north east Arnhem people who speak this language). Some for my father or uncle. Or kids to hear in the future. They’re stories, like everyone writes songs.”

I ask where these songs come from, how much he draws on his cultural past, his cultural identity (the saltwater crocodile), his people. “This one is what we know, Yolngu, what we know about how we know things,” he tells, still referencing the ‘Ulminda’ song, before expanding. “From our stories, and our life. Then I change them into songs. Like Balanda (white people) do too, you know?  We have a lot of knowledge, so when me or other family write things, it is just describing things that happen…it comes from spirit. I am just singing from spirit.”

I then ask about Gurrumul’s family and how they impact upon his music, how it’s relevant to them, despite the fact it’s been thrust into the western spotlight. “They are everything. All family,” he says. “I sing some song they write too. Like ‘Bayini’ on this new album, and a funeral song and another one by my brother Johnno Yunupingu, and another song by Saltwater lead singer Manuel (Dhurrkay).”

“My family encourage me,” he goes on. “They want this to be happening. They want people to know about Yolngu. Family and people just say this is what they want, to show what we know to the rest of the world. To educate people about our world and our lives, and how we think and live. It’s different. It’s different.

“My family is everywhere.”

***

I’d asked Hohnen at some point how it made him feel to watch Gurrumul really nail something. When he came in to play ‘Ulminda’ in particular – here he was, making the most of an imperfect situation, what with the piano being out of tune. Hohnen talked about Gurrumul’s strength, and it occurred to me that that performance was true of Gurrumul’s whole life. Here is a man in an imperfect situation, being blind from birth, making the most of it, and then some, which is something Hohnen attributes to all indigenous people. “Yeah, that’s part of their survival technique in a way,” he explains.

“But I see that everyday,” he goes on regarding Gurrumul’s strength as a person, as a musician and artist. “When there’s something he doesn’t want to do, there’s nothing that will change him. But when there’s something he does want to do, he really makes it happen. And that’s probably what’s happened more with this second record, there was no hesitation about anything to do with it; the New York trip, the Byron trip, the photo shoot…it’s just part of what happens.”

What has happened here, what I witnessed and what I’ve been told is almost mythical. Watching him play in the studio, smoking a cigarette with him outside, having him remember who I was and what I was doing, being able to communicate with him, albeit through Hohnen for the most part, this is all a surreal experience because of how he is. Gurrumul isn’t a ‘normal’ musician, and this has little to do with the fact he’s blind. Yes, his blindness does colour how he acts and portrays himself, because he can’t emulate other people, other performers.

But it’s all so real. And from that, comes this music. Rrakala. In an industry sense, an incredibly anticipated release, but in a musical sense, to Gurrumul, a collection of songs that tell a story and serve no other purpose than to educate and enlighten and to be enjoyed. As Hohnen mentioned more than a few times, it’s refreshing, Gurrumul himself is refreshing. In the ten seconds of silence that followed his off-the-cuff performance of ‘Ulminda’ when I first saw him in the studio, it’s like I’m transported into Gurrumul’s head where nothing else matters, everything is free and it’s all about that one, single moment. And yes,  that is refreshing.

Lloyd Spiegel

[Published in the Jul/Aug 2017 issue of Rhythms magazine]

TOMORROW ALWAYS COMES

With the release of his ninth album, LLOYD SPIEGEL opens a new chapter, with help from an old, writes SAMUEL J. FELL

A little over two years ago, Lloyd Spiegel closed a chapter in the already long and detailed book that is his musical life. With the release of 2015’s Double Live Set, this most prolific of musicians effectively set free the songs and the show that he’d been performing for the better part of two decades, a final send-off, if you will, of the sonic children that had come to define him.

Spiegel, as an artist, was at a point where he was eager to move on. This isn’t to say didn’t love those songs, that set, that period of his life, but creatively it was time to chart new territory, and so today, almost exactly two years later, a new chapter has been written; in the form of This Time Tomorrow, said chapter is about to be released into the world – a new batch of sonic spawn that will also, no doubt, come to define one of this country’s best guitarists, blues players and storytellers.

“You never know that your kid was ugly until other people start recoiling in horror,” he laughs, saying that for the first time, these songs haven’t been road-tested prior to being recorded, that while he loves them, no one else knows them. “So I’ve gone into it a little more unsure of what the album is, but it’s a good thing. It’s the way I’ve got to move forward.”

Moving forward is Spiegel’s modus operandi here, but don’t think for a minute that in doing so, he’s moved on from his roots. This Time Tomorrow is Spiegel’s most bluesy record in a long time (“I have come back home a little bit,” he confesses), incorporating within its blues ranks elements of rock and jazz to make an album that’s a coherent whole. What moves it forward and makes it so good though, and it is truly an excellent album, is the marriage as Spiegel says, of three elements he’s been simultaneously chasing for almost the entire time he’s been a professional musician – the combination of fine playing and good lyrics, meshed into the blues form.

“To be able to put lyrics that I’m proud of into a blues groove, has been a longtime goal,” he confirms over the phone from Prague, where at time of writing, he’s on tour. “I’ve always been a songwriter, a guitarist and a blues musician, [but] was never able to blend the three together. I’d had albums that were blues albums, or songwriter albums, or guitar albums, so I revisited that concept with this album.

“Songs like ‘Devil On My Shoulder’ and ‘Lost Like Me’, they weren’t written as blues tracks, they were written… with a minor key, drone thing, they were more singer-songwriter. Until I got back to Kansas City in February, where I re-recorded a bunch of stuff because I reconnected with my foundations which really lie in Kansas City where I spent so much time as a young man. So I actually re-wrote a bunch of this stuff to be more blues.

“When I really got to the heart of recording this album, I realised I wasn’t happy with what I was hearing, and what it was missing, was that soul that I have and I know it’s in there. So returning to that thumping blues sound freed the songs up immensely. And now I get an album where there’s plenty of cool guitar on there, it’s a blues record, and my lyrics actually have some importance to them. I feel like I’ve finally blended those three things.”

On the songwriting front, This Time Tomorrow is much more autobiographical than other releases, Spiegel “writing as it happens… this is a much more recent history, I mean, [‘Kansas City Katy’] is about Kansas City, in February,” he says. “And that’s kinda cool, they’re current stories.”

Current stories from a man starting a new chapter, all the while keeping true to his past with an eye on the future. This is what you can expect from Lloyd Spiegel, from now on.

This Time Tomorrow is available now via Only Blues Music and Spiegel’s website HERE.

 

Sunrise To Sunset – Yirrmal Leads A New Generation Of Indigenous Music

[Published in the summer issue of No Depression (US) – EXCERPT]

His voice is pure. High and strong, it thrums like taut wire, resonating with a power that belies his young age. At 22, Yirrmal Marika shows signs of a talent set to bloom — a talent that could one day see him placed alongside his mentor Archie Roach, or other seminal artists like Ruby Hunter, Geoffrey Gurrumul Yunupingu, and Yothu Yindi, whose work has come to define an important part of Australian contemporary music and shine a light on often dark parts of Australia’s past.

“He’s an amazing young musician,” muses Roach. “When I hear Yirrmal sing live … it cuts right through you, it’s just so powerful.”

Last November, Yirrmal released his debut cut, an EP titled Youngblood. In commercial music terms, it’s essentially a folk album: largely acoustic, it features storytelling set to a simple sound, with an emphasis on the lyrical content as opposed to the instrumentation. It showcases the young man’s emerging songwriting talent, his skill on the guitar, his passion for what he’s doing. It’s not a release that’ll shake the music world to its core, but Youngblood offers a glimpse of what the Australian roots music scene can expect in the years to come. It is a foundation from which Yirrmal will no doubt build as he comes to terms with his talent, solidifies his vision, and immerses himself further into his ancient heritage and its culture and philosophies.

Yirrmal is a Yolngu man, an indigenous Australian. Hailing from Yirrkala, in northeast Arnhem Land on the northern edge of the country — locals call it the Top End — his people have one of the oldest cultures on the planet. It’s from this ancient tradition that Yirrmal draws inspiration. It informs his music; it’s the fertile earth in which his very being is rooted.

Yet, despite the fact he sings mainly in the Yolngu language — putting to song the stories of time and creation passed down from one generation to the next by his people — he sets his stories to Western folk music. This is where his sound intersects with that of his mentor. Roach, a man of both Gunditjmara and Bundjalung heritage — and one of the most respected musicians in Australia, indigenous or otherwise — is also largely a folk player, and has been since his debut release, Charcoal Lane, back in 1990.

While Yirrmal and Roach are touchstone artists, they’re also just two of many indigenous Australians who have combined their storytelling traditions with a Western musical form, whether it be folk, country, blues, soul, gospel, rock and roll, or hip-hop. Indeed, indigenous musicians utilising Western music has become such a part of the Australian music world since it became mainstream here in the early 1990s that it’s no longer regarded as odd, surprising, or a genre of its own merely because its purveyors are of a different race. Indigenous culture, after all, is built on the tradition of passing down stories and legends, so this tradition translates well to Western songwriting styles.

“It’s just progression,” reasons Roach. “Yirrmal especially. His music surrounds a lot of his stories and culture. For years, we’ve been doing it — it’s just an aspect of storytelling or communicating. [Adding] Western instruments, like guitars, keyboards … is just a continuation of that old culture [of] communicating and educating.”

Feature In No Depression Magazine (US) – Yirrmal & Indigenous Australian Music

Appearing in the summer issue of legendary American roots music magazine No Depression, SJF has a long feature on up-and-coming artist Yirrmal, and the scope, influence and identity of indigenous Australian contemporary music.

Issue out in mid-May.

And consider subscribing to No Depression – for only $6 a month, you can support ad-free, in-depth arts journalism. Head to the website HERE.

Eric Gales

[Published in issue #533 of The Big Issue]

THE NEW BLUES

ERIC GALES is a bluesman for the current generation, fusing myriad styles to create something new, as he tells SAMUEL J. FELL

Eric Gales grew up in a household where roots music was king, these old musical forms providing a sonic backdrop from which he’s never strayed. Memphis in the 1970s was still a blues, soul, rock and gospel mecca, and it was here that the young Gales soaked it all up.

“My parents would be playing gospel, and my brother, Eugene, he’d be playing blues,” Gales recalls on his early exposure to the music he now has flowing through his veins. “Then, [over the years] I was introduced to a whole range of other styles… and I just tried to figure out a way to fuse them.”

Hailed early on as a child prodigy on the guitar, Gales released his first album as a teenager, a heady melding of a range of rootsy designs with a strong rock presence, a fusion as he says. And this has been his signature ever since – based in the blues yes, the blues will always be number one to Gales, but he fosters a want to explore the myriad possibilities thrown up via hybrids of multiple styles.

“You’ve got your classic 1,3,5 blues, shuffles and this and that, and that can be restricting,” he says on his need to explore. “I like to make it new and fresh… so giving [the blues] a new twist, is something I think will draw in new audiences, new ears and eyes, and if I can be the [champion] for that, then I gladly accept the challenge.”

Touring regularly from an early age, spending time behind bars in 2009 on drugs and weapons charges, writing and recording with a slew of collaborators (including Carlos Santana, with whom he may well guest at the upcoming Byron Bay Bluesfest, where both artists are performing), Eric Gales has lived the life of a bluesman; sometimes chaotic and dark, other times triumphant and free, but always following the musical path, imbued within him from an early age, the ethos and philosophies that have been drilled into him ever since.

“For me, it’s a combination of both; capturing the vibe of the old days, with the passion of now,” he says on what’s it like being a bluesman in 2017, a far cry from the days when the likes of Son House, Blind Willie McTell and Big Bill Broonzy were plying their trade. As Gales says however, it’s not the time that defines this genre, but the passion that’s put into it by whomever is playing it.

“I think I’m managing to do that, combine these two [with passion], in an uncompromising way. Still respecting the old style, but using it as a foundation for the new, 2017 order, a [new] spin.”

It always comes back to the “new spin”, the fusion – Gales’ latest release, Middle Of The Road, his fifteenth studio album, has been described as, not a blues, rock or soul album, but an Eric Gales album, such has this “new spin” become his trademark. And he’s pretty happy with that, comfortable within the style he’s fashioned for himself.

Middle Of The Road stands as a sort of reinvention for this modern bluesman too, inspired by all he’s gone through thus far (ailed H“Just life man, surviving,” he laughs, explaining the inspiration in a nutshell). As he says in the record’s accompanying press material, “It’s about being fully focused and centered in the middle of the road. If you’re on the wrong side and in the gravel you’re not too good, and if you’re on the median strip that’s not too good either, so being in the middle of the road is the best place to be.”

Tracks like ‘Change In Me (The Rebirth)’ stand as testament to this, the man and the musician taking stock and deciding on a purer path, not one destined to lead him astray. Middle Of The Road is a freewheeling affair, bouncing from soul to rock to blues and back again, and yet in Gales’ hands, it all comes together in a way which doesn’t seem disjointed or patched together – such is his understanding of how these myriad styles may conflict, but also compliment.

It hasn’t hurt he’s brought in a few ringers to help him out too. “Oh man, they made it that much better,” he beams, referring to his brother Eugene (with whom he’s played in bands for years), Gary Clark Jr, Lauryn Hill and funk legend Raphael Saadiq, to name but a few. “If I have the opportunity to do this again, I’ll do exactly the same thing [with the same people].”

Blues/rock behemoth Joe Bonamassa has said of Gales, “[He] is one of the best, if not the best, guitar player in the world.” Dave Navarro of the Red Hot Chilli Peppers has also opined, “How [he] isn’t the hugest name in rock guitar is a total mystery.” Roots music works in mysterious ways, sometimes its best purveyors remaining anonymous to the greater unwashed, and yet it doesn’t stop them – Gales is testament to this. A modern bluesman, continually doing his thing, teaching an old genre new tricks, continually reinventing as he goes.

Eric Gales and band make their Australian debut at the Byron Bay Bluesfest, April 13-17.

The Waifs

[Published in the March / April issue of Rhythms magazine]

IRONCLAD

The Waifs celebrate twenty-five years with eighth record Ironbark, which is dedicated to their many fans, and sees them return to their informal roots, writes Samuel J. Fell

 Think back twenty-five years. Where were you? Who were you with? What were you doing? There aren’t many of us who can, firstly, remember, but secondly, claim to have been doing something we’re still doing now, having grown it exponentially over the course of a quarter century.

The Waifs can remember what they were doing – forming the band which this year celebrates this silver anniversary. It seems almost too hard to believe, that this trio – sisters Vikki Thorn and Donna Simpson, and Josh Cunningham (bulked out by drummer David Ross McDonald and pedal steel player/bassist Ben Franz) – are still going strong after such a long time. But it’s not, upon further reflection, that surprising at all. They’re one of Australia’s most loved bands, a group whose rootsy bonhomie, whose uniquely Antipodean tales of wanderlust and homeward bound, wind-swept and salt-encrusted, love and casual and barefoot and free, have endeared them to many.

It’s actually little wonder they’re still going strong.

Thorn, these days based in Utah with her family, cites there being “a lot of love between us and what we do”, as the secret to this success and longevity. “We’re family,” she says, “we love playing music, we love performing music, and we love connecting with people through music.”

There’s another part to it however, that “I don’t really talk about,” she confesses – this part goes deeper. “The band’s always been a democratic process as to what’s recorded, what goes onto albums, how [the albums are] recorded, basically it’s sort of fight for your song a little bit, get out-voted.”

“So there’s always been an element of compromise, as artists,” she says. “And I think that’s as big a part of the longevity – the fact we’ve, as individuals, always been willing to compromise, slightly, what we ultimately wanted in order for the band to go ahead and for the albums to come out. Every album we put out, there’s always a bit of an argument as to what songs should or shouldn’t go on there, and how they should be recorded, but in the end we’re looking at a bigger picture, and we realise that The Waifs is made up of three individuals, and what I love is not necessarily what everyone else is going to love… within all that compromise, something works.”

It does. From their eponymous debut in 1996, all the way through to 2015’s Beautiful You, the band have thrived. Sure, not everything is perfect all the time, but as a band The Waifs have endured and along the way produced seven records, each of which have brought them closer to their legions of fans the world over, fans who have literally grown up with the band, one big family, moving together.

“We’re having more fun, and we enjoy this more than we ever have, now,” Thorn says with an obvious smile. “Over a twenty-five period, obviously you have high points and you have low points, and there’s been a lot of both of those, but right now it’s sort of flat-lining into this very enjoyable part of our career. We have our lives and families, and then we get to go on tour when we want to tour, how we want to tour, where we want to play, total artistic control, and we do it because we want to be there.

“We love playing music, and music now for us all is so intuitive and natural. So it’s a great place to be, I’m stoked.”

This great place, twenty-five years into a career, has yielded more results – the band’s eighth studio record, Ironbark. And it’s the aforementioned fans of the band to whom this one is dedicated. “Waifs fans are legendary in the industry for their loyalty and enthusiasm,” Thorn is quoted as saying in the album’s accompanying press material. “It feels like we all grew up together. We are now the band you can bring your parents and your kids to hear! Your involvement in our career means everything to us. You are the very reason we are still playing music together, twenty-five years on.”

“This would be a release that was not so much about what we wanted, but what would our fans want,” she says today, on one aspect of what they wanted with Ironbark. “It’s not about us doing one thing or another, lets just approach this like, lets put out a really simple release that’s something we think fans would like to hear.”

It was this line of thinking that led the three of them to Cunningham’s unfinished home on the NSW south coast, where around the kitchen table, in a circle together, they began making this new album; true Waifs style, loose and casual, which as Thorn says, is what they felt fans would like.

“So we made the plan to meet up in Josh’s unfinished house, and that was the extent of it,” she explains. At that point, other than wanting to make an album to thank their fans, they had little idea of what they wanted to come out with. There’d been no pre-production, no back-and-forth, just a germ of an idea that was to make a record.

“People asked me, what we were going to record, but I really had no idea,” she remembers. “We talked about doing a bunch of covers, find some classic covers we love, maybe re-work some old songs. And then we got there, and it was so informal and so relaxed that these songs just started coming… and it just went from there.”

That it did – Ironbark sits at twenty-five tracks (quite apropos), a veritable king-tide of inspiration hitting the three as they sat in Cunningham’s home over a two week period, working out how it would all come together. The three of them don’t write together, songwriting itself is a very solitary thing for all of them, but once songs started coming, it seems they were all able to bind together to bring them to life. Quite quickly in many instances.

“It was very formal and unplanned, and I think that’s the beauty of it,” Thorn says. “And the fact we recorded all live and some of the takes that are on the album, are literally the third or fourth time we’d ever played the song.

“And as a result of that, I can hear in some of those songs the tension – musically, there’s a tension in the songs because we’re all listening [to it], like, ‘Where does this go again?’ And we’re all really holding back a little bit, and it creates a really nice tension to some of those tracks, that I can hear. It was the best recording experience we’ve had.”

The results speak for themselves – an album to celebrate a quarter century together, an album recorded in such an informal fashion, an album created to thank the myriad fans the band has garnered over the course of these two and a half decades. It sees The Waifs in a special place too, one which as Thorn said, is one of the best places they’ve been.

“Twenty-five years is a long time in the life of a band, but not in the life of an Ironbark tree,” Cunningham has been quoted as saying. “Resilient and enduring it stands strong through the changing seasons, surviving hardship and adversity, all the while contributing something beautiful and positive to the world. A perfect metaphor of the journey of so many people that are dear to me, and the most perfect metaphor for The Waifs. Earthy, organic, enduring and Australian to the core.”

Indeed, the perfect metaphor to describe the band, and the perfect way to sum up Ironbark, an album sure to strike at the hearts of people the world over, who have grown with this uniquely Australian group.

Ironbark is available from March 3, via Jarrah Records.

James Cotton

James Henry Cotton died on Thursday March 16, in Austin, Texas. He was 81, and while perhaps unknown to people not familiar with the blues, the man was a behemoth – a working musician by the time he was nine, he cut his teeth under Sonny Boy Williamson II, before branching out and recording with the great Howlin’ Wolf for Sun Records. Then, as a 20-year-old, he joined Muddy Waters’ band, where he stayed for a decade or so, before moving out solo – a legend of blues harmonica, Cotton recorded a slew of albums under his own name over the years, and was still touring three years ago when he made his first trip to Australia.

I was fortunate enough to interview him in 2013 for a story about him and his work for a Sun Records special issue of Rhythms magazine. The brief Q&A style yarn is reproduced below…

Cotton Mouth Man

Harmonica legend James Cotton, whose career is still as strong as ever, looks back at his years with Sun Records.

By Samuel J. Fell

Harmonica legend James Cotton, perhaps the last surviving blues player who recorded with Sun Records, was born in Mississippi in 1934. He grew up on a cotton plantation, working the fields, but soon became all consumed by the blues he heard on the radio. He took his harp and was soon making money as a busker, before leaving home and joining Sonny Boy Williamson’s band, taking over as leader when Williamson left.

This was short-lived, and soon Cotton was driving a dump truck. It wasn’t long before he got back into music though, moving to West Memphis and hooking up with the likes of Little Junior Parker, BB King and Howlin’ Wolf, with whom he recorded his first Sun session. From there, his career began in earnest, he played in Muddy Waters’ band for a decade or so, and is still making records today. Cotton himself takes over the story, filling in the gaps:

Your mother gave you a harmonica for your sixth birthday, which you began to play, but it wasn’t until you heard King Biscuit Time on the radio that you realised the instrument could be played a completely different way – the way of the blues. Do you remember how you felt when you first heard that music? How did it make you feel? What was the connection like?

It put something inside of me, something I can’t name, and it made me feel really, really good. I’d never heard anything like that. I’ve never forgotten that moment. I realise now it connected me to the outside world, got me off the plantation and connected me to people all over the world. I never even dreamed that could be possible. My whole world then was the Bonnie Blue plantation, and the field work we all had to do. My mother took me to the field and showed me how to pick cotton when I was about four years old.

Your first recorded session was with Howlin’ Wolf in 1952, not long after you’d moved to West Memphis – how did you hook up with The Wolf? What was he like to play with? What are your memories of that session?

Howlin’ Wolf heard me play with Sonny Boy Williamson’s (Rice Miller) band. Since we both played harp, Sonny Boy and I never played at the same time with his band. In the middle of his set he’d call me up to play. I’d play a few songs, leave the stage, and he’d come back and finish his set. Wolf was a very nice guy to play with. He was a warm, decent man but I didn’t want to mess up his music or he’d let me know I did!

I remember he’d say, “Man, I want my music right. If you don’t play my music right, I’m gonna have t’let ya go.” He never had to. My memory of my first session at Sun Records with The Wolf, is I had never really ever heard my music played back. I always heard it out of an amp when I was playing it [but] I never heard it recorded before. It scared me! I was 13 years old and very, very country. I heard everything I was playing. Heard all the mistakes – and all the good parts I played, I heard that, too. I played harp for The Wolf on ‘Moanin’ At Midnight’. He played harp on ‘How Many More Years’. Those songs were released back to back on one single record. Both songs became hits.

It was that session that brought you to the attention of a young Sam Phillips, who then contacted you about making some records – tell me about your first meeting with Sam.

When I walked into Sun Records, Sam Phillips shook my hand and asked me if I had any of my own songs. At this time I had ‘Cotton Crop Blues’, ‘Hold Me In Your Arms’, ‘My Baby’, and ‘Straighten Up Baby’. He said he wanted to hear them. He recorded them straight away. Here’s how it came down – my drummer, John Bowers, didn’t show up, so I ended up playing drums. I looked around the studio. There was one bass drum and a 10-inch cymbal. I needed a snare, so I grabbed a 51 Goldcrest beer box made out of cardboard, turned it upside down and went to work. That’s why there’s no harp on any of the four sides. Pat Hare was on guitar. That was the original recording. Later, Sam Phillips added piano, bass, and horns. He might have added a drummer, too.

After your first session for Sun, recording with Willie Nix, you began cutting your own records with Sam Phillips – what was he like to work with? He’s got quite a reputation for letting the artist play what they want to play, for keeping it real, for keeping the blues pure – was that the case?

Working with Sam Phillips was all right because he let me play like I wanted to. I remember him asking me to do just two things differently. One time he asked me to make a song longer, which I did. I wasn’t a drummer and here I was playing a session for the first time and I dropped time. Sam heard that and asked me to do that again. Other than that, he didn’t say much. We were both so new at what we were doing, it was still strange to us, we were both feeling our way – we’re talking about recording these songs 63 years ago. We both had different dreams about this music, the blues, and, looking back on it, both our dreams came true.

Back in the ‘50s, when segregation was is full swing, Phillips didn’t seem fazed by that – it seems that to him, colour didn’t matter, it was all about the music and the people who played it, whether they were black or white. What was it like, as an African American artist, to have a place to record where race played no part, and you were free to do what you were made to do?

It was a really good feeling. Sam Phillips’ Sun Records was my very first studio. It was good to be free, respected, and accepted, both me and my music, by a white man. But I knew the second I walked out the studio door, I knew it would be the same racist world that I lived in, that was just the way it was, what I was born into. I’m thankful the world has changed, I’ve seen so much change for the better. Better for the music and better for me, too, and that’s the truth. Now it makes me feel that all the bumps and bruises was worth it.

Of course, after you cut those tracks with Sun, you hooked up with Muddy Waters and played in his band for over a decade, which is a whole other story! Focusing on Sun though, looking back, how important was what Sam Phillips was doing? How important for the blues was his work, was Sun Records?

It was very important, not only to me, but what Sam did for music history. The four songs I recorded got me out of the cotton fields and made me known to the people as a real musician, even though I just a kid. Real musicians make records. I recorded at Sun Records before Elvis, Carl Perkins and Jerry Lee Lewis. We all know the Sam Phillips story and what he did with that little record company and his big dream. Sam started with the blues. Willie Dixon nailed it, “The blues had a baby and they named it rock ‘n’ roll.” That’s what Sam did.

You’re one of the (if not the) last remaining blues artists who recorded on Sun – you must be immensely proud of not only what the label was able to achieve, but what you were able to achieve during those years (not to mention the years until now).

Of course, I feel good to still be around. And I’ve enjoyed every minute of my career. I started out a little boy wearing overalls, walking barefoot down a dirt road, blowing my harp. I’ve traveled the world with my harp over and over and I’m so thankful for that. Life has been good to me. My fans are part of my family, I mean that. I have played many countries, but one I have not played is Australia. I know this is an Australian magazine, I’d like to play for the people of Australia.

Just lastly, you’re about to release a new album on Alligator Records, which is fantastic – as Bruce Iglauer (Alligator) says, how many Sun artists from 1954 are still recording? Tell me briefly about this new release – how does an artist like yourself, who’s been making blues records for over fifty years, go about doing so in 2013? And for the sake of comparison, what’s it like making a record today, compared to back in 1954 at Sun?

Well, the first thing is there wasn’t a 51 Goldcrest beer box turned upside down for a snare drum on my new CD, Cotton Mouth Man! Nowadays, recording is technically much easier, but that doesn’t change my feeling for the music. That’s what it is all about, feeling. If I don’t feel it, I can’t play it. I’m serious about that.

Cotton Mouth Man is very different from any other record I’ve ever made, it’s got lots of new songs we wrote about my life. I even wrote one about Bonnie Blue, the plantation I grew up on in Mississippi. All the songs are originals except for one. I think people will learn a lot about my life when they listen to the words. I wrote liner notes for it too, telling people how we came about making it and thanking everyone who helped me put it together.

My producer is Tom Hambridge, who also played drums. Some of my favorite musicians and singers are the guests: Gregg Allman, Joe Bonamassa, Ruthie Foster, Warren Haynes, Delbert McClinton and Keb’ Mo’. We’ve got Chuck Leavell on keyboards and Colin Linden on Resonator. We also had Rob McNelley on guitar, Glenn Worf on upright bass, and Tommy McDonald on bass. My band members, who’ve been with me for many years now – singer Darrell Nulisch, Tom Holland on guitar, Noel Neal on bass, and Jerry Porter on drums – are on the record too. I was fortunate to have all these good people who are great musicians, come together to make this record with me. I hope everyone who listens to it feels it. I know I sure did!

Cotton Mouth Man is available through Alligator Records.

Hat Fitz & Cara

[Published in the January/February issue of Rhythms magazine]

LET IT RAIN

With their fourth album together, HAT FITZ & CARA have produced their best work yet, a near perfect melding of gospel, soul and blues, writes SAMUEL J. FELL

Sunday morning at Mullum Fest. It’s been a stellar couple of days so far, music abounding, booming from pubs and halls up and down the usually languid streets of this small, Byron hinterland country berg. The place is full to bursting, the ninth time this little gem of a festival has run, the colour and vibrancy that always defines Mullumbimby (albeit quietly), accentuated as people flock to one of the best little events this area has to offer.

I’m sitting in the Rock ‘n’ Roll café, just down an alleyway off the main drag. It’s full, people breakfasting late, fuelling up for the final day of music and culture so prevalent here, regardless of whether it’s festival weekend or not. The place hums and bustles, wait-staff toing and froing with coffee and bacon, eggs and avocado, the usual morning fare. The sun is out and it washes through the high windows, bathes the scene in early summer light and warmth.

Opposite me sit Hat Fitz and Cara Robinson. They have breakfast on the table in front of them, half empty green smoothie looking things, and as you’d expect, they’re exactly the same offstage as they are on it. Hat leans back, ubiquitous work shirt and stubbies, thongs, an old cap atop his head, long beard framing his face. Cara is dressed nice, stylish, glasses and hair just so. They seem, at a glance, an odd couple, but they’re a perfect couple. One listen to their music and you know that for a fact.

I’d caught the tail-end of their set the previous evening, over at the High School. They’d easily filled the gargantuan space with their simple-yet-powerful music, building off a blues base and soaring ever higher, incorporating elements of gospel and soul these days; true happy music with a crunch and grind behind it, enough to add the requisite grit and grime one needs when one is playing music like this and it needs to be real. Raw.

This defines their latest release too, After The Rain, their fourth album together and perhaps their best. Both players, Fitz in particular, are known as blues players, but this record is so much more. Yes, of course the blues is where it’s based, but it’s used as a foundation as opposed to a definition. After The Rain is a solid, considered affair, a musical adventure, one set to paint these two as far more than mere blues players.

“We just fuck around, and shit happens,” offers Fitz with trademark candour when asked where the genre-bending that defines this album, comes from. “I don’t play nothing I don’t like. Cara plays a lot of old soul records, which has got in the back of my head over the years, and so it’s starting to come out a bit.”

“It’s hard to get that sound with the two of us, normally [it’s played by] an eight or 12-piece band,” he goes on, referencing the soul feel the record carries in spades. “So we’re just getting our own little version of it. Absolutely not looking to find a sound, it’s just, ‘Listen to this, how cool’s that?’”

After The Rain came together then, with little planning. It’s organic in that the pair spent a good deal of time jamming, obviously influenced by sounds they’ve been listening to, obviously incorporating sounds they’ve known all their lives, and so songs began to drip out, bit by bit.

“We’d take the boat out on the lakes, then come back and just play for, like, five hours,” Robinson says on how it all slowly unfolded. “We’d record what we played, and you know… there’s stuff that sticks. And the gospel influences, we’ll pick up these albums along the road like Dorothy Love-Coates, Mahalia Jackson, and a lot of stuff that’s raw, where they’re just in a church clapping and singing, just a guitar, which is amazing.

“I guess we are going for that energy, that real simple… I don’t think anyone is doing that, other than being in a church. And that’s not why we’re doing it, we’re doing it because it makes us feel good, you know?”

Hat, at this point, leans forward and interjects with, “It’s interesting, a white guy from Australia, a white woman from Ireland, playing black American music.” Cara laughs in agreement: “We’ve never been in a church in our lives!”

Listening to the album’s opening track, ‘Going Home’, you could be forgiven for thinking otherwise. Not that the song has religious connotation, but the way in which it’s delivered is definitely very spiritual. It builds from a languid, fuzzy guitar line, courtesy of Fitz, which marries subtly with Robinson’s simple drum beat. Over the top then is Robinson’s voice, which rides the groove bareback, lilting up and down, before, towards the end of the song, breaking out in joyous harmony with Fitz’s gruffer vocal into a true gospel refrain, the blues coming to the fore briefly before the song finishes up.

It’s very powerful, even more so given there are only two of them, and it’s a fine pointer as to what the rest of After The Rain holds.

“I wanted to get back to the basics, stripped down and raw,” says Fitz when I ask what the pair’s MO was with the record. “I like singing backup vocals to Cara, try and get that Aussie, growly backup thing, which is quite unique. I just wanted to get back to basics, that’s all I wanted.”

They’ve achieved this for sure – it’s just the two of them for a start, along with a subtle smattering of trombone and trumpet, courtesy of David Stephenson, on the title track, and so the songs are indeed stripped and bare. This doesn’t detract from the power though – while the songs are, as Fitz says, back to basics, they resonate with a quiet power, which comes from both the music itself, as well as the lyrical content contained within.

“With this album, we still wanted to keep the energy up, but we wanted to tell the story – this is what’s going on,” Robinson says. “We’re looking for things that move you. As a writer, you’re constantly collecting lots of information… and you hear other artists, like Suzannah Espie (who is also playing at the festival), when she sings that song about her sister, ‘I Wish I Had A Sister’, what’s the line? ‘I wish you knew that you were my favourite work of art’. It’s like, fucking hell, it just jumps out at you, and you go, ‘Keeping that, that’s good’, and you’re inspired by that.”

Both also put the quiet power down to fine producing, citing Govinda Doyle in this instance, who worked on the album with them. The bulk though, comes from the two of them and their playing. The blues comes through on tracks like ‘Doing It Again’, ‘Tank Man’ and ‘Won’t Bow Down’, while it’s all soul and gospel on ‘Going Home’, ‘Try’ and closer, ‘Keep’n On’. And, of course, it all melds together effortlessly. This isn’t a blues album, a gospel album, or a soul album – no, it’s a Hat Fitz & Cara album.

“It takes you a while to find yourself, we’re from two completely different backgrounds, it’s taken a while to mould it together, you know?” says Fitz.

“It’s a wonder it works,” laughs Robinson. “Sometimes we’re like, ‘How does this work?’ After seven years though, maybe we’re getting a system.”

Whatever the system is, whatever the method, however it all comes together, it’s working. After The Rain is a fine example of the depth and quality of roots music coming out of this country, executed by two of our finest players – long may that continue.

After The Rain is available now through MGM Distribution.