music interview

Discover California Country Artist Megan Arial

Nashville based singer-songwriter Megan Arial embraced music very early in her life, being able to hum the theme song to the ‘Barney’ show before she could talk. As she grew up in Los Angeles, Megan would continue on a path that would provide experiences and open up opportunities that would lead her to become a singer-songwriter.

Those opportunities began in middle school where Megan performed as part of the school choir in Disneyland and Carnegie Hall. At age 13, Megan applied and was accepted into the American Idol Camp for those too young to audition for the show. It was there that she received comprehensive training and was selected by the camp to be showcased on The Today Show before and after attending camp.

At 16, a Universal Studios City Walk executive discovered her and she would go on to audition and become a City Walk emerging artist. As a result, she would perform her own version of Lady Gaga’s “Edge of Glory” on The Today Show. During this time, Megan would release her own album, “Waiting in the Wings”, consisting of 10 original songs.

In January 2017, Megan made the move to Nashville to pursue her dream of being a singer-songwriter. She dived in and attended live shows every night, met other songwriters and performed at “Douglas Corner” and “The Commodore Grill”, and other famous venues in Nashville. Then in February, Megan entered a popular songwriting-open mic contest, “Nashville RisingStar”. She would make it to number 4 out of 250 contestants and win the audience popular vote.

Megan released her new single, #41 (we reviewed it here) and is currently working on her EP. She is performing 5 shows a week in Nashville and will also perform at Canvas for Hope in Georgia at the end of September.

I recently had the opportunity to interview Megan via email about her new single, future album prospects, classic rock/country influences, her path to songwriting, her Nashville Rising Star, Carnegie Hall, and other performance experiences, meeting Meghan Trainor, and much more.

Congratulations on your new single, #41. Can you tell us what the concept/theme is? What was your inspiration to write it?

#41 is very close to my heart because it’s actually a real-life story about one of my first nights in Nashville. I moved here about a year ago and didn’t know anyone, so I decided to go to an open mic night. It was one where you call in ahead of time and once you arrive, you find out what number you are. Well…I was #41. This meant that I didn’t get to sing until 2:00 a.m. It was one of those experiences that could have gotten anyone down. Instead, I ended up meeting some great people, and it was my opportunity to really experience what the Nashville life was about. We are all here chasing our own version of the “American dream”. That’s how it goes sometimes; sometimes you’re #1 and other times you will be #41. Life is all about the experiences in between.

What are your plans for a future EP or album?

I am lucky enough to have recorded a couple songs that I am really proud of. I want to make sure that I have enough songs and that each will be different enough to show who I am as an artist and what they will hear from me in the future. I think I am getting close!

Ten years ago you released your CD ’Waiting in the Wings’ which contained 10 original songs. What skills or experience did you gain from that project?

When I released “Waiting in the Wings” I was 16 years old. Most of the songs on that album I wrote when I was twelve or thirteen. It’s very funny what time and perspective can do for an artist. I think I used to be unsure of who I was as a person and as a musician. Now, I have a clearer sense of self. I did learn a lot about the recording aspect of making an album.

I think by getting these basics underway it helped me achieve a level of comfort when recording which then allowed me to have input in the production process as well.

Explain your production process.

While recording #41 I was lucky enough to get to be a part of what makes up the production process. At the heart, it really starts with the song. While I was recording this song with Jason Wyatt, we spent a good deal of time rearranging the song.. It is always a challenge rearranging something when, as a songwriter, you feel as if it is your “baby” and it’s hard to think about making any changes. I was lucky enough to be working with people that understood the overall idea of the song. I wanted to make sure the song was simple enough to get the message through, but still had a new uniqueness about it. After we had the song almost finished, I still felt something was missing. That’s when I was listening to some of ZZ Ward’s songs. I love the harmonica she uses and it hit me — it was the perfect tie into that old school and the new school California country sound. I’ve never been this hands-on with a song so it was extremely exciting for me.

You met Nashville Rising Star creator Keith Mohr and Nashville Artist Development President Jason Wyatt saw your potential when you placed in the final 4 of the songwriter-open mic contest. How are they working to develop your talent and expand your career?

Jason and Keith have been great mentors for me this past year. They have taught me a lot about the industry and especially about songwriting. I had never really co-written before I started working with them.

It was great to have some people in Nashville who can give you an understanding of what the Nashville industry looks like.

What did you think when you placed 4th and won the popular vote in the Nashville Rising Star contest? Did it validate that you were on the right career path?

At the point in my career, I had been in Nashville for a couple of months and I had no idea where to go from there. It was something that was so exciting and I was so thankful for the opportunity. It was great that my family and friends were able to watch and even some fans that I had met during my days at Universal Studios CityWalk followed along. It was one of those experiences that felt like a reset button had been pushed. I once again could understand why I was here in Nashville.

You attended the invitation-only American Idol Camp in Boston at the age of 13. How did the opportunity to get an invitation come about? What training did you receive and what opportunities did it lead to afterward?

I think my mom and I saw an ad while watching American Idol. They wanted to train the generation of kids who were too young to audition for the show. I filled out an application and then next thing I knew I was accepted into the camp. I was excited just to attend the camp.

Then when I found out I was selected to be on The Today Show and I really don’t even think I understood what that meant for a thirteen-year-old at that time.

The camp was an experience I’ll never forget. They had past American Idol contestants come and teach us all about singing and even songwriting, it was so great. I had never been around anyone famous before and I definitely hadn’t been around cameras so it really gave me a glimpse of that life. Also crazy enough, Meghan Trainor and I met there since we lived down the hall from each other!

Describe your experience of being showcased on ‘The Today Show’ before and after attending the American Idol Camp.

Well… it was the first time I was ever on television and I had braces the first time! Yes, I was going through a very awkward stage and had very curly hair and braces. It didn’t stop my confidence though. I was so excited to be asked to the American Idol camp that I was beaming. It’s definitely fun to look back on now and I am very lucky to have had that experience.

Explain how you were discovered by a Universal Studios City Walk executive which lead to you auditioning and becoming a City Walk emerging artist.

When I was about 15 or 16 all I wanted to do was perform for people. My dad happened to know someone who owned a shopping center near my hometown. He asked him if I could come there on Saturday nights for a couple hours and sing and crazy enough — he let me do it! One night, after a couple Saturdays of singing at the shopping center, a man came up to me and my family and introduced himself as an executive at Universal Studios CityWalk. He said they were having open auditions for their emerging artist program the next day so I decided to audition. It was one of the most nerve-racking auditions of my life, but they hired me on the spot! It was my first job and I was lucky enough to be doing what I loved to do.

Compare your experience of performing your version of Lady Gaga’s “Edge of Glory” as a City Walk emerging artist to when you appeared on The Today Show previously?

“Edge of Glory” was always one of my go-to songs no matter where I performed. It’s a song about persevering and Lady Gaga has shown that she has persevered through her life and career. I remember singing that at CityWalk one night when there was no one there.

Then the fact that I got to do that on a show that has over a million viewers was unbelievable.

I was finally without braces and learned how to curl my hair so that was a plus as well!

How did you get to perform in Disneyland and Carnegie Hall? Were they with your school choir? What were those experiences performing like?

Yes, I got to have those opportunities as part of my school choir. I started when I was in fourth grade and got to go to Carnegie Hall the next year. I really wish I remembered more about those times. You know when you are in middle school and you remember feelings instead of exact memories? That’s what happened to me, I remember feeling in awe of Carnegie Hall’s size. I also remember thinking that I felt New York was way too cold. At Disneyland, I remember that I loved it but I couldn’t wait to ride the rides after. You definitely know where your priorities are when you are a middle schooler.

When or how did you decide you wanted a career as a singer-songwriter?

I think I always knew from a young age that I wanted to be on stage. I was the annoying kid who couldn’t stop talking or singing. My mom says that I knew the tune to the “Barney” theme song before I even knew the words. It wasn’t until I was a little older when I started facing the hardships that come with growing up that I really understood how much I needed songwriting. After incorporating both on stage it became something I couldn’t really live without.

You discovered songwriting when you were younger through documenting your feelings and then used it as a healthy outlet to express who you were and what you were going through. How does songwriting help you now?

Songwriting still helps me in the same way it always has. It is a way to interpret how you are feeling.

I find that I get so wrapped up in the emotions of something when it happens that it is good for me to just pick up a guitar

and start recording voice memos. Sometimes it completely surprises me what comes out. I always love going back to those voice memos before a writing session to bring back the emotion I originally felt.

Explain how you developed your unique style from a mix of seasoned and new artists. What is your unique style? Who are those artists?

My style of music comes from my childhood influences. When I was growing up my dad used to drive me to school in the mornings and my mom would pick me up after. My dad and I would listen to classic rock of the 60s, 70s, and 80s, like the Eagles, Linda Ronstadt, and STYX, then my mom and I would listen to Faith Hill and Shania Twain. I then grew up and found my own love for the new age of country music and other soul and R&B artists like ZZ Ward and Maren Morris. I found that being influenced by this type of music gave me this sound that I like to call California country.

Linda Ronstadt is one of your favorite singers and your voice and style have been compared to hers. What is it that you like about her? How do you feel about being compared to her?

Oh, Linda, what can I say about such an amazing female influence and powerhouse? I love the fact that she came up in the California rock scene in the 60s, but her voice could pass as many different genres. There is something about her voice that emits such emotion, even through the recordings. I strive to create that same emotion in every vocal performance I do. Being compared to Linda Ronstadt is something I have always dreamed about. I used to practice for hours to be able to sing the highs and lows on “Blue Bayou”. I think she also represents what perseverance is like in this industry. By being so outspoken about a disease that took away her singing voice takes a lot of class. It would be an absolute honor to meet her someday.

What are your plans for the 50 plus songs that you have written?

Honestly, I’m not sure yet! The list keeps growing. Recently, I have been looking back on my songs that I have written years ago and have kept rewriting them to make them better. It’s a great exercise as a songwriter to keep pushing yourself. I guess you will just have to stay tuned!

How do you think women in indie music can be supported?

I think the biggest thing that women in indie music can do is support each other. It starts with us.

I love supporting my fellow female artists anyway I can. This may be by attending their shows, buying their songs, and sharing advice about the highs and lows we have all experienced in this industry.

This is something I am especially passionate about. This past month I put on a women’s charity night called “For the Girls..”. It was an all-female songwriter night benefitting the Nashville YWCA. It was awesome seeing women of all ages and all types of music helping others for a great cause. I think it all starts with us!

What advice would you give to other young women who are thinking about or pursuing a music career?

I think my biggest advice would be to really understand who you are as a person inside and out. There will be tons of people around you telling you what they think you should be or what you should wear, or even what you should sound like. It is important to know who you are and what makes you unique so you don’t lose yourself. This happened to me when I was younger in the industry and I am so lucky to have family and friends who never let me lose sight of myself.

What are your tour/show plans for this year?

My gig schedule in Nashville has been crazy lately. I am lucky enough to say I just quit my day job and now have about 5 shows a week. I can’t wait to expand that to other states around Tennessee and hopefully back home to my native California. I am also looking forward to going to Georgia at the end of September to perform at the Canvas for Hope event.

What other projects are you working on for 2018/2019?

I am really looking forward to finishing my EP and showing Nashville and the world what I can do. I can’t wait to show everyone my idea of what the California country sound is and I really think my single #41 is the perfect introduction to it.

Thank you, Megan, for the opportunity to interview you.

Website: MeganArialMusic.com

Follow Megan on Social Media:

Twitter: @meganashleyA

Facebook: @MeganArial

Instagram: @MeganArial

YouTube: MeganAshleyMusic

Discover Pop Singer-Songwriter Kacy Moon

By Linda Garnett

Kacy Moon / Photo courtesy of The Marketing Mixta

Singer-songwriter Kacy Moon started her journey to a music career at a young age, belting out Shania Twain tunes on a karaoke machine to imaginary concert audiences. However, she would take a detour from singing that would lead her down changing paths that would diverge and ultimately bring her back to her first love, music.

At the age of 5, Moon left singing behind and “fell into” karate, and through it, she would discover her love of performing on a stage. She would go on to become a member of the world’s most sought-after karate teams in the world. By the age of 9, performing worldwide for hundreds and thousands of people.

After winning 8 world champion titles in martial arts, Moon realized it was time to pursue a career in entertainment. She found some success in acting, but her real love, music, began to call her back. Moon would begin her musical journey by going to Los Angeles to find a vocal coach and start writing songs.

Kacy is currently working on a few projects like a possible tour next year. Although there is no forthcoming album, there will be another new single release in August, followed by two more singles.

I recently interviewed Kacy via email about her latest single, her martial arts career, her music video, upcoming projects, and much more.

Congratulations on your latest single release, “What Do I Do”. What is the concept/theme behind it?

Thank you! It’s about a boyfriend who changed in the relationship. It felt like they weren’t the same person I met. But since I had invested all of this time and still had love for this person, I was stuck wondering do I stay or do I go?

Your previous single “Guarded” was released in January 2018. Are these two singles a preview to an EP or album and if so, when will an album or EP be forthcoming?

I wrote Guarded over 2 years ago and recorded it with a different producer, so even though I released it earlier this year I still hadn’t quite found my sound yet! Shortly after that I met my producer Szabo and everything just fell into place – we worked on 4 songs together (one of them being ‘What Do I Do’), so there are definitely a few more singles to be released this year!

Explain your production process.

I always like to show up to a session with a song concept in mind or some lyrics. From there my producer and I will usually figure out a tempo and general vibe, then we start writing the melody and incorporating lyrics.

You started out very young with an interest in music, but you got “detoured” into karate at the age of 5 which ultimately led at the age of 9 to being on XMA, one of the most sought out karate teams in the world. What was that detour that got you interested in karate? What countries did you travel to as part of the team? What was that experience like?

I was 5 years old when I started martial arts, and it was literally just because I saw a karate studio and told my parents I wanted to try it! But I had such a drive to break out of my comfort zone and do something more than I told my parents I wanted to compete. I started going to local competitions and then moved my way up to bigger ones, which is where I met my coach Mike Chat who saw potential in me and asked me to join his international team ‘XMA’. With XMA I traveled all around the US and the UK and it was amazing.

I’ve been able to see so many places and really developed a thick skin and a drive to persevere at a young age, which is very important to have in the music industry.

Explain how competing in karate alone on stage in front of hundreds and thousands of people helped you to discover a love for performing on stage. How does that compare to performing as a singer on stage?

Just knowing that you’re one person on a stage and you’re able to command the attention of a large crowd is exhilarating. I think it compares because whether its martial arts or singing, you’re performing. I fed off the energy of the crowd and vice versa.

You went on to hold 8 world champion martial arts titles and appearances on The Ellen Degeneres Show, ESPN2, and Good Day LA but decided to pursue a career in entertainment. After so much success in martial arts, what made you realize you needed to change careers?

I had pretty much reached my peak in competing. My karate coach was a former blue Power Ranger and he mentioned to me that I should pursue a career in entertainment. When he said that I immediately jumped at the idea. To me, that was the next step.

I just always had big goals and aspirations for myself. I’ve always loved a challenge.

After your decision, you said you had some success in acting. Tell us about your experience. Did you act on stage, film, musicals, or television?

I did a few commercials and short films!

What made you decide to give up acting to get back to pursuing music?

I don’t want to say I ‘gave up’ acting because it’s still something I love and want to pursue! But music has always been my passion, ever since I was 5 years old! When I started coming out to LA I wanted to find a voice coach and start writing music. I became serious about it when I was about 15, and wanted to put all of my time and focus into it.

You have worked with Don Cromwell of Air Supply, recorded music in Raphael Saddiq’s Los Angeles studio and recently are writing and recording with producer Szabo in Sydney. How did you meet them and get these opportunities? What was it like to work with them?

Don Cromwell was the first producer I ever worked with! I met him through an entertainment attorney. It was such a great first experience. I met Szabo about a year ago. I was in a studio in Sydney and met him. We kept in touch and in March of this year we lined up some sessions and made 4 songs! It was such a blessing to meet him because these are some of my favorite songs that I’ve ever done.

Explain how you choreographed martial arts movements into your music video for “Guarded”. Will you do the same for live performances? Why or why not?

I’ve never had this happen, but as I was writing the lyrics for Guarded, I was envisioning the music video. I made the lyrics go hand in hand with martial arts so that I could tie it into the music video and it would make sense. For my first video, I really wanted to merge my two worlds together! As for the choreography I just kind of made everything up on the spot! My song was playing on a loop and I just did what felt right in the moment. It’s so cool to see your vision come to life! I definitely want to incorporate some of my martial arts into live performances! I feel like its different and unexpected.

How do you think women in indie music can be supported more?

I think it would be a lot easier if other women supported each other! A lot of the times, especially in LA, girls fall into this cattiness where they don’t want another woman to have more attention than them. There’s enough room for all of us!

Put the jealousy aside and just be happy for each other and each other’s success.

If you like a song, put it on your Instagram story! Bring attention to it in any way you can.

What advice would you give to women thinking about pursuing a career in music?

Keep going. Don’t stop. Just because you have setbacks and things that don’t go your way, doesn’t mean you should give up. Perseverance is key!

You have to work your butt off because you never know when your opportunity will present itself and you have to be ready.

What projects do you have planned for 2018/2019?

I have a lyric video I just released for ‘What Do I Do’, a new single coming out next month, and two more singles to follow. I’m so excited!

What are your tour/show plans for 2018/2019?

I’m working on a few things at the moment, so hopefully will have some dates early next year!

Thank you, Kacy, for the opportunity to interview you!

Follow Kacy on Social Media:

Instagram: kacymoonmusic

Twitter: kacymoonmusic

Buy ‘What Do I Do’ on iTunes

Steam ‘What Do I Do’ on Apple Music

You can also stream ‘What Do I Do’ on Spotify

Watch the new lyric video for What Do I Do:

Discover Folk Singer/Songwriter Cynthia Brando

By Linda Garnett

Folk singer/songwriter Cynthia Brando is a shining example that it’s never too late to start your music career. Fear was holding her back, but her desire to do music professionally just kept growing until she realized she had to conquer her fear.

Brando began with overcoming her stage fright by doing public performances for a couple of years, eventually honing her performances to a higher level. She then took control of her career which gave her more confidence. By the time she moved to Los Angeles four years ago, she no longer had any expectations of being discovered. Once there, she received guidance and listened to many songwriters which helped her to feel confident about her music.

She has received honorable mentions in the Songdoor International Songwriters Competition as well as the American Songwriter Magazine Lyric Contest. Brando enters the NPR Tiny Desk Contest every year for fun and plans to continue entering her songs into competitions. She is also the 2017 recipient of a Hermera Foundation Fellowship Award.

Brando also gives her support to other independent artists. Her project, Music Emerging (www.musicemerging.com) provides emotional support to music industry people through meetups, links, and writing. Also, she has created a successful songwriter series/concert series with all proceeds going to the artists.

Her forthcoming album, ‘The Treehouse Trio Sessions’ is set to be released in June followed by a tour in the western U.S. Brando also has various projects planned for this year including working on a new album, her first crowdfunding venture, and a book for musicians.

I interviewed Cynthia Brando recently about her forthcoming album, first tour, her project Music Emerging, creating her own concert series, and much more.

Congratulations on your forthcoming album ‘The Treehouse Trio Sessions’ to be released next month (June 2018). What is the concept/theme of the album? How did you come up with it?

In the past, I tried all these different genres as I explored my musical tastes. I was always interested in all kinds of music, but it took me a long time to develop the clarity of what I felt my true sound was; not that artists should not explore outside of that, but I was all over the place, from more of a pop sound to country. I developed a lot of clarity moving to Los Angeles in late 2013 and got a lot of support from new fans and people in the industry that really encouraged and supported me on the journey to discover my sound. The concept and theme of this album that started to become clear to me in the process was, “starting over,” but with that newfound clarity and acceptance about not trying to “be something” and just accept and highlight my natural sound through my music. It’s a stripped down version of my songs, showcasing my rhythm guitar work, upfront vocals, and lyrics. My boyfriend, Ed Tree, who engineered and co-produced, suggested I do this album and that he would help me, which was such a huge and unexpected gift.

“Sparkle” is the first single off the album. When is it due to be released? What is the theme?

Sparkle was the song I chose from the project to be released to press for streaming that showcases the feel of the album. Sparkle is one of the few older songs that I put on the album and it is a very simple song about a special person who has a real magical depth to their soul and lifts you up with their sparkling personality. It was debuted on episode DE 161 of the Dharmic Evolution podcast which is on iTunes.

This album will be your first full-length one since 2010. Why the 8-year gap between albums?

When I made my first album back in 2009/10, which doesn’t even exist anymore, I had been doing my music for a long time, mostly in isolation. I moved to Los Angeles from a small town in Northern California where I lived for seven years. During those years, I never really sought any mentors or advice from anyone and I honestly wasn’t born with a bunch of musical talent — that came much later after working tremendously hard at it. It became very apparent to me after that release that I needed guidance but I didn’t have the skills to try and find help because of various reasons. I would play my music way too fast and over complicate it, and sing in the wrong key. After my first album attempt, I worked on my music all of the time. I also got a college degree during that time but ended up taking low paying jobs that did not require a lot of responsibility so that I can focus on getting good at my music. I did some more recordings during that time; a couple of EP’s and singles, but not a full album. I also started performing out a little after a long time of not playing music in public because of stage fright, and then I moved to Los Angeles where I really stepped it up and got guidance and listened to many singer-songwriters which helped me feel confident about my music.

This album is really the first full-length project that I feel really represents me and is of quality to present.

Explain your production process.

As far as recording goes, I really like a relaxed atmosphere when I’m producing music, probably because I am really very uptight, self-critical and full of doubt — issues I am working on and doing better at. In the studio I love to use humor and laughter to break up the sometimes stuffy atmosphere of being in a confined space; often with time and money pressures. You still take it seriously, but for myself — I need to laugh and be open to magical collaborations and creativity which can’t happen if you are closed off.

The co-producer on your new album, Ed Tree, has recorded/toured with some big artists like Spencer Davis, Rita Coolidge, Dusty Springfield, and Juice Newton, to name a few. You also recorded a single with him previously. How did the opportunity to have him co-produce your album come about?

Ed is an established and busy engineer with a studio near Los Angeles and completely surprised me by wanting to help me create an album of my songs. As I mentioned previously, he suggested that we do a simple stripped down album that showcases my process without all the bells and whistles of a lot of added instrumentation, but then he thought we should add bass and suggested Dickie Chandler. Ed is also an amazing lead guitar player and decided to add some flavor to a still stripped down sound. I’m very lucky.

What festival did you recently play at? What was that experience like? Do you think you’ll be playing more festivals in the future?

I just recently played the Eclectic Festival and had a spot in a beautiful church on one of the singer-songwriter stages. I played with my accompanist John O’Kennedy who is another excellent stringed instrument player. It took place in South Pasadena outside Los Angeles. It was wonderful playing to new people and getting an exuberant response. Now that I will have an album out that truly represents my sound, and have built up quite a bit of live performance videos, I am going to start applying to more festivals. I would like to play at the Philadelphia Folk Festival, where I was born and my sister lives.

What would you like your audiences to experience or feel when you’re performing?

I want them to feel what I feel when I go out and listen to live music. When I come across an interesting performance or music I really enjoy; I sit there in an experience of total immersion and awe; as if in a trance. It’s hard to explain. I can’t even really say that I get lost in any kind of stories, and I am a lyric-focused person. For me, it is more about the music itself and the enthusiasm and depth of being that the performer exudes — their passion…sometimes someone has a tremendous amount of skill and I can appreciate that, but I really enjoy performers that are vulnerable, and

I hope my audience feels my vulnerability and honesty in my music, and also the joy I feel in getting to perform it.

Explain how you overcame being afraid to pursue a music career until later in life.

I’ve always been really obsessed with time — lost time and the future, and am still grappling with the fact that I didn’t start to pursue a music career until my late 30’s. But recently I was thinking about “what if I had moved to Los Angeles a long time ago when I was not yet strong enough or a more developed songwriter?” I was younger, but I was also naive and shy and had a lot of emotional issues. I probably would have developed a bad reputation with my music. In the seven years before moving to Los Angeles, I lived alone in a beautiful location and did a lot of personal work to heal some emotional traumas. I decided with my move to be very motivated but without expectations. I had been wanting to do music more professionally for a very long time, and it was gnawing at me until I reached that breaking point to overcome a lot of fear that I had stored up inside of me. I worked through it by simply focusing myself to do many uncomfortable things like performing. For the first couple of years I played in front of people totally terrified, but then it got easier and I was able to change my goals from just trying to get through a performance without running off the stage, to really being there and exploring the “in the moment” sounds and energy forces of myself and the environment. I began to be able to move my performances to a higher level. I say yes to a lot of things now, where before I would say no and offer a lot of excuses. I also accept the fact that a lot of the things I say yes to scare me, and so I sit with my scared emotions instead of running away. I think I also gained confidence by taking charge of my career by doing and starting projects for myself and not having the expectation that I would move to Los Angeles and be “discovered”. Through that,

I found out that I was good at things I had no idea I would be good at, like producing a concert series or making my own music videos. Those successes gave me more confidence.

You received honorable mentions for your music in the Songdoor International Songwriters Competition and the American Songwriter Magazine Lyric Contest. How did it feel to receive them? Do you have any plans to enter more contests/competitions? Why or why not?

Contests and competitions are a real mystery to me. This year I entered a few that I have been entering for years and a new one. Usually I just enter whatever song I have been working on or recorded recently that I think is good, but this year was the first time I entered a song that, hands down, a lot of people say it’s my best song and it really moves them, and for the first time in awhile — I received not even an honorable mention. I think that so much is dependent on who is judging that year, the musical climate, the mood of the people judging; who knows? Most contests say they are looking for that “formula” that makes a good song, which seems to be a standard idea, but then people will give you different feedback, so it gets pretty confusing. I enter the NPR Tiny Desk Contest for fun every year, but they seem to favor pretty eccentric music. I still plan on entering songs to contests in the future. It’s not too expensive and it could be an amazing platform for indie artists.

Your project, Music Emerging (musicemerging.com), that provides emotional support to music industry people through meetups, links, and writing. How did you come up with the idea? What are your plans to expand it?

Music Emerging started out as a magazine that I eventually had trouble keeping up with. I was going out and doing all the interviews and transcribing them and getting them out there on the website and social media while working 30 hours a week at the day job and the same amount of hours on my own music stuff. I put out the last issue recently and then decided that I wanted to do something with music that spoke to me on a deeper level. I really enjoy writing and I always included a blog post of my own for every magazine issue and I have also been a guest blogger on other sites.

My blogs always dealt with the emotional side of my experience in the music industry. After one blog piece I did about being an older artist in the industry, I got a ton of emails about how others were going through the same emotions

and that was when I decided to move Music Emerging into a more expansive direction to a site that is devoted to providing emotional resources to folks in the music industry by offering workshops, writings, resources and more. I definitely have ideas to expand, and now have some people that want to be involved and help. I want to get the blog up and running and start posting regularly, do an emotionally inspiring video series, write a book and offer one on one affordable coaching.

Tell us more about the successful concert series that is part of Music Emerging.

Starting my own concert series was a protest against the many venues in Los Angeles and beyond that expect you to play for free for “exposure” and in return don’t do anything or very little to promote you or the music series at their own establishment. I also noticed that there is not much thought put into many of these showcases; where you can be a folk act and have a heavy metal band play before you and a calypso band play after you. In between, they often play loud music that doesn’t fit with your vibe and there isn’t a host that is greeting the audience. The series started small in a living room and has since expanded to a really nice listening room and teaming up with Erick Weiss of Honeysweet Productions.

I strive to have artists play that I and my friends and fellow musicians might not have gotten the opportunity to hear.

I split the door with the artists who perform and do a lot of promotion. I put a lot of detail into the atmosphere to try and return to how shows used to be when someone would walk around and talk to you; and the musical acts were carefully curated, and there was an atmosphere of a real event taking place where you get to also meet and talk with the artists and make new friends.

What are your expectations for your first tour?

I put a lot of pressure on myself to maximize the opportunities that are possible on a tour, so I hope to work on a book about touring that would be helpful for other musicians, do a tour diary though Bon Journal and do some radio promotions in different cities. On a lighter note, I expect to just have a great time seeing new places, meeting new people and making new fans and connections.

You are a 2017 recipient of a Hemera Foundation Fellowship Award. Can you tell us what it is? How did you feel when you received it?

The Hemera Foundation is a spiritual organization that gives fellowships in the forms of funding retreats to artists and musicians. I had applied before but was awarded one in 2017. I chose to take a ten-day silent retreat at Spirit Rock, one of the great spiritual centers of the west. I was excited because I have been a practicing Buddhist for many years and wanted an opportunity to go on an extended retreat to further develop my meditation practice.

Tell us more about the musical based project in the healing arts which is based on your fellowship experience.

I started to form an idea in my head at the retreat that was inspired by one of the teachers at Spirit Rock, a qigong master, and recording artist, Teja Bell. I got to meet with him and discuss my music and the blocks I was going through. He gave me very simple instructions that inspired me to create a workshop for Music Emerging which is in development that connects you deeper with your instrument and musical experience; to explore the aliveness that makes up your chosen instrument and your environment, and to honor the relationship we have with them; whether it is an “inanimate” object or the instrument is ourselves. It would basically be a very simple meditation and exploration with a supportive group of people. We spend so much time with our instruments that I feel there might be a deeper connection there that is untapped for artists.

How do you think women artists in the indie music industry can be supported?

I recently got invited to a party where it was all women and women musicians performing music; and it was so different because mostly in the music industry, you are generally around more men. I think specific support groups for women in the music industry are important and they do exist, for instance, Indie Women Music, your enterprise — also, Female Frequency, Women of Substance Radio, WIM (Women in Music), and many more. If you run an event, you can have an equal amount of men and women working. For my music series, I strive to have performer balance. Recently the booking worked out where I had two male performers in a month, and to balance that, I booked two female performers for the next month. Sometimes I speak up in a friendly way to other bookers when I see that there are predominantly male performers. Sometimes people don’t even realize it; they are not thinking about it. The last issue I released for Music Emerging was the “Women’s Issue.” Awareness is key and

if you are in a position to be able to offer opportunities to someone, no matter how small, consider a balance that equally includes women because they are out there in all the music fields.

It is also important to make sure you create a climate at your business or event that is ALL inclusive.

What advice would you give to women who are thinking about or actively pursuing a career in music?

I was shocked recently when I attended a talk by a famous female musician who was asked the same question and responded with, “I would tell them to choose another profession”. I don’t find that kind of advice very helpful. Her excuse was that it was a “very difficult industry”, and “male-dominated.” All true, but offering negativity in the form of a reality check doesn’t hold up, because if you have talent and you put yourself out there with your passion, it is not impossible. It all depends on what your idea of success is. My advice would be to find those female fronted support groups that I mentioned above and get involved or start your own. Speak out against mistreatment, which so many brave women are doing now. Find a female music mentor who is positive and can support you. Stop apologizing or feeling bad that you don’t know everything, and don’t feel that pressure to learn something you are not interested in.

What are your tour plans in 2018 in addition to the shows planned in the western US?

I am thinking about a shorter tour in the spring of 2019 and a repeat western tour that summer. I am going to be quite busy working on my next album after I get back from my tour, but may try and do a short tour in the late fall of this year.

What other projects do you have planned for 2018?

I’ll be working on my next album and doing my first crowdfunding venture; a couple of projects that are tour related; I am also working on a short memoir to accompany my next album, and another book I am halfway through, specifically for musicians. I will also be busy with more projects for Music Emerging.

Thank you, Cynthia, for the opportunity to interview you.

Get updates on Cynthia’s tour, music, and more on her website.

Follow Cynthia on Social Media:

Facebook: cynthiabrandomusic

Twitter: @CBrandoMusic

Instagram: @cynthiabrando

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Discover Dark Pop, R&B Singer/Songwriter Josephine

By Linda Garnett

LA-based singer/songwriter Josephine became a performer because of her love of the 90s fashion and pop culture that she grew up with. As a child, she never shied away from attention and performing, she started her musical journey at 6 years old when she wrote her first song, “Driving Me Crazy” while in a car when her father wouldn’t buy her a toy.

Josephine grew up listening to not only 90s music but also Middle Eastern music, world music, hip-hop, and blues. She was influenced by the melodies of Middle Eastern music and fused them with American styles. Josephine was also influenced by and connected to legendary artists Etta James and Janis Joplin for being their purest selves, full of emotion. Eminem’s influence was his unapologetic attitude and raw honesty.

Self-love and self-empowerment are behind Josephine’s signature motto, “Stay Weird”. She’ll be spreading that message to inspire high school students and beyond using the funds from her recent successful Kickstarter campaign. Josephine plans to talk to young people around the country about staying true to themselves, to stay authentic, to “stay weird”.

In addition to her new single, “Okay,” Josephine is working on her sophomore EP, ‘Chasing High’ to be released this summer. There are more projects in the works as well. You can catch her at the Viper Room on May 29th and Street Food Cinema on July 28th, with more shows to be announced.

I recently had the opportunity to interview Josephine on her upcoming single, sophomore EP, Kickstarter campaign, 90s pop culture, and much more.

Congratulations on your forthcoming single, “Okay”. What is the concept or theme of the song? How did you come up with it?

It’s a satire on people telling me what to do. It’s really a fuck you to listening to what people say and just doing me. Like

I’m done trying to change the way people think or perceive me.

I was never good at being told what to do but somewhere along the line I pretended to be something I’m not and changed myself to appease others and this song is about not doing that. It’s stay weird explained. Tell me what you want, say what you will, I know who I am – I’m “okay” and my answer will remain the same – “Okay”.

You have a Kickstarter campaign for your sophomore EP, “Chasing High” to be released this summer. Explain how it will be reminiscent of the 90s pop culture.

Chasing High satirically idealizes the stereotypical and impulsive behavior high school encapsulates. As a 90s baby, I was inspired by classic 90s movies like Clueless, She’s All That, etc. I’ve always loved 90s fashion, pop culture – Britney, Backstreet etc – they’re the reason I wanted to be a performer. Chasing High plays up those stereotypes of high school as it’s our introduction to adulthood and the beginning of society’s dependency on others for validation and confirmation.

What interests you about the 90s pop culture that inspired you to write an EP that takes one back to those days?

I’ve always felt nostalgic. Even as a kid my parents called me an old soul. Being a 90s baby I’ve always had this attachment and infatuation with the 90s. It was an era of rebellion, grunge, sex and the true rise of pop culture. Its the millennial resurgence of the 60s and Woodstock era.

Explain your “Stay Weird” message/motto and how you came up with it.

Stay weird is about self-love and self-empowerment. When we love ourselves fully we behave naturally in the moment, we don’t get in our heads, overthink etc. none of that. I came to a point in my life where I felt like I wasn’t being true to myself and I thought of my happier days and it took me back to childhood. Children are boundless, unapologetic, raw, pure emotion. And I believe that at the core of all humanity we are all trying to get back to our youth and who we were as children. That’s what “stay weird” is.

You recently announced that you plan to use the Kickstarter funds to spread your “Stay Weird” message to inspire high school students and beyond. What are your plans to accomplish this?

Chasing high is about going back to high school – nostalgia, reminiscence. So it only makes sense to really go back to high school. High school is such a sensitive and seemingly defining moment in our lives so my goal is to go to schools around the country and talk to kids about staying weird. It’s one thing for adults to tell kids to not follow the crowd and to stay true to themselves but I think coming from me – someone closer to their age range that actually lives and breathes this – I hope I can really make an impact for these kids to stay authentic.

You have spoken about your journey to overcome self-doubt and find your authentic self on social media and your Kickstarter campaign. How has music played a part in your journey?

Music is therapeutic. It’s the capture of emotion into sound and it’s the most honest and vulnerable way I’ve ever been able to express myself and connect with people.

To create music that connects with people you must be fully connected to yourself – completely vulnerable and unrestricted.

It’s ironic how the exact point of raw connection with others is brought forth by the complete connection to self.

Your self-released debut visual album ‘Love Trap: The Story’ came out in August 2017. It’s concept “is the nonlinear 4-part story of the parallels amongst love, drugs, and success.” The album has garnered to date over 150,000 streams. How did you come up with the concept for the album? Were you surprised at its success?

The concept came to me when I recognized the patterns of unhealthy addictions. Many times we use love, drugs, and success interchangeably as a way of escaping real life and ourselves. They become coping mechanisms – acts of desperation and escapism instead of acts of want and love. I wanted to speak on this and finding the synonymity between these factors. Making a cohesive story of them and visually depicting their powers. Being my first official release, I was surprised! I knew there was something special about the music but I couldn’t place what exactly.

It felt like the first emergence of self for me, a real coming of age of channeling who I was at that time. I’m just happy my fans connected to it.

You grew up listening to a wide variety of music ranging from world music, hip-hop, and blues that included legendary artists Etta James and Janis Joplin. You also listened to rap, including Eminem. All of them influenced you. How did you discover these genres and artists? In what ways did they influence your music style?

Etta and Janis came from my search for something more. It surprises people when I mention that I don’t like much music.

I’m very selective with my tastes and when I connect to a piece of art – music, visual, dance whatnot I either connect heavily and am extremely moved by it or not at all. Etta and Janis did that for me.

They are entirely themselves, full of emotion, their purest selves and I connect to that tremendously. Same goes for Eminem and other artists who have influenced me. Eminem came from growing up surrounded by boys. I was drawn to his unapologetic attitude. His raw honesty inspired me to start writing. My writing style is raw, a stream of consciousness and that’s where I developed my talk-sing cadence from. Growing up on Middle Eastern music I’m inspired by those melodies and so I fuse those with American styles as well.

What West Coast festivals and clubs have you played at? What were your favorite places to perform?

It’s a long list but Avalon, Peppermint Club, and Hotel Cafe were a few of my favorites. Going back to my hometown in Tucson and performing at Club Congress was an amazing experience too.

When did you start singing and writing songs? Was there a defining moment when you knew you were going to pursue a career in music?

6 years old, my dad wouldn’t buy me the toy I wanted so I wrote a song called “driving me crazy” while we were in the car, haha. I was always performing and dancing as a kid, I never shied away from attention so I guess I always knew.

How do you think women in indie music can be supported?

I think indie women in music, like women in any field, should focus on empowerment and uplifting of one another.

Many times in any industry women feel the need to put other women down and compete in a dirty matter to get ahead. I’m lucky to be surrounded by women that strive to push each other and help each other. I believe if everyone was more concerned with helping one another instead of worrying about being outdone, the world would be a happier, more positive and advanced place.

What advice would you give young women who are thinking about or already pursuing a career in music?

Follow your instinct. Music has and continues to strengthen my instinct and my faith in myself.

Do you. Always. That’s it. Take everyone and no one’s advice. Listen to everyone but at the end of the day do you.

What projects other than your forthcoming EP do you have planned for 2018?

It’s a surprise 😉 can’t tell you everything…

What tour/shows/performance plans do you have planned for 2018?

LA- I’ll be playing the Viper Room on May 29th and Street Food Cinema on July 28th, more shows TBA.

Thank you, Josephine, for the opportunity to interview you.

For updates and announcements, check out Josephine’s website.

Josephine on social media:

Instagram: @itsjustjosephine

Twitter @just1josephine

Facebook: itsjustjosephine

Buy/stream Josephine’s music on these platforms

Soundcloud: itsjustjosephine

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Interview: Award Winning Singer/Songwriter Erin Bennett

By Linda Garnett

Erin Bennett is an award-winning singer/songwriter/guitarist from Ft Worth, Texas but makes her home in Scotland.

Her first band Syren was formed with notable musicians Amada Smith-Skinner on bass and Jo Heeley on drums, which grew a following within its first year of touring. Unfortunately, in 2011, drummer and Erin’s wife, Jo Heeley was diagnosed with breast cancer which took her life in January 2012.

Erin won Songwriter of the Year at the Scottish Music Awards in 2012 for the song ‘Never Give Up The Fight” which she wrote in Jo Heeley’s memory.

Syren (with a new line-up) played their final show in 2014, and in 2015 Erin released her debut album “ReFlowered” as a solo artist.

Erin Bennett built a new band, The EB Band, comprised of former members of Rockbitch and local talent to launch her new prog/rock album, ‘Post Sexy, Post Truth’ (release date November 2017).

On November 14, 2017, Erin spoke to me about her new album, her tour, The EB Band, and women in Indie Music.

Congratulations on your new album, ‘Post Sexy, Post Truth’. Explain the story or concept behind it.

Thank you very much! Bit of a long answer, so here we go:

All of the songs on the album share the same general subject matter which is that of someone who is really fed up. I got to a point within myself where I was seeing how I was, who I was, how I reacted to different situations…how I always find myself in tense situations because of the decisions I’ve made. And I just got really sick of it. Sick of myself. I realised that it costs me nothing to change and be the person I wanted to be, rather than the person I had become due to my conditioning up until that point in my life. And within that, I realised that most of my perceptions of myself were born out of insecurity and feeling worthless and that’s just not a great place to be. So in the songs on the album, I’m literally talking to myself, or at least that half of myself that spends its time and energy reminding me how shit I am…and basically, I’m telling it to fuck off.

The album name ‘Post Sexy, Post Truth’ is the umbrella concept under which all of the songs sit.

‘Post Sexy’ describes the current feminist mindset about personal sexuality.

We’ve wonderfully come to a place where people can be more sexually free than ever before, BUT, the act of expressing that sexual freedom is still looked at with suspicious eyes. Feminists seem to be chomping at the bit to flay a woman for being comfortable with her body. I get a lot of shit because of what I wear on stage and at the end of the day my attitude is this, ‘I’ve got big tits, I’ve got big thighs. They’d still be there if I wore jeans and t-shirts on stage, but I feel sexy wearing skirts and crop tops so that’s exactly what I’m going to do.’ True equality, (if that is even what people want anymore) is about everyone being able to be themselves and no one being ‘greater’ or ‘less’ than anyone else for doing so. So in some ways, in my opinion, hardcore feminism is creating the gap it supposedly works so hard to bridge.

‘Post Truth’ pertains to the age in which we find ourselves where the vast majority of humans are happiest sitting in front of their TV screens being told what to think.

And none of what’s being fed to them is the truth. You have two opposing political groups feeding their agendas into everything you see and hear and whoever screams the loudest wins the minds of the masses and look at where its landed us! No one thinks for themselves anymore, they wait to be told what to like, what to wear, what music to listen to… And when presented with a hard truth, an uncomfortable truth, it’s easier to ignore ignore ignore and then post selfies on facebook showing how ‘amazing my life is really is…’ What I’m expressing in my album is something true. Something real. This is REALLY what I’m going through and I KNOW I’m not the only one.

Wake up, basically.

You recently mentioned on Twitter that you are working on music videos and photo shoots. The music video for the new single ‘Tension’ really rocks! Who is producing your music videos? When will the new ones be released? Are the photo shoots only for the album or also for promotion?

Ah, yes! Tension was great fun to shoot. It was filmed and produced by Art Attack Films. I’ve worked with them for pretty much all of my videos even dating back to Syren days, simply because they work WITH me on the concepts for the videos. I give them my ideas and then they work their magic to make it happen. We’ll be filming the video to our next single ‘Two Folds the Pain’ within the next couple of months. I really look forward to that one because the song is so angsty and tense. It’s exciting to be able to put that across in the video.

We are doing a photo shoot for the album and I’m sure some of those will be used for promotion. We’ve been through a massive ‘re-brand’ as a band. Our sound has changed, our look has changed and our energy on stage is ramped up. We’re heavier…grittier… So it’d be great to get some studio shots that capture that.

You’ve just toured the UK to launch ‘Post Sexy, Post Truth’. What has the response been like?

The gigs have been great! It was more a ‘warm-up’ tour than a promo tour. But still, it’s been amazing. Our live set now is made primarily of songs from the new album. We released a few singles over the course of the last year to warm people up to our new sound and we’ve had really positive feedback from it.

Having said that, live, we’ve always been a bit heavier than on our records. So people are less surprised to hear the real ‘head down’ rock that we’re playing live nowadays. It’s the main reason for recording the new album the way we did. We recorded it live all in the same room together so that we could really capture that energy of a live performance. We really don’t want much of a difference between our recorded and live sounds. I guess so that people know exactly what they’re going to get when they come to a gig.

We’ve had a lot of press reaction in the UK off of the back of the gigs we’ve done so far and some pretty good gig offers have come through as well. So the band and I are all really pleased with the package of ‘Erin Bennett & The EB Band’ at the moment.

You have an exciting new band for 2017 comprised of local talent and former members of MT-TV and Rockbitch. Can you tell us how that came about?

Indeed! Well, the band (who have affectionately named themselves ‘The EB Band’) have played with me since the beginning of recording ‘ReFlowered,’ except for Kittie who came into the fold last year. Officially upon getting all of them together, the record label was trying to push me as a solo artist and keep the musicians who played with me as more of a ‘backing band.’ But that’s a really difficult thing for me to want to try to stick to, not least of all because I’m spending every waking moment with these people; in rehearsal, in promotions, in the studio, on the road and they’re really family. The idea that I get on stage and never turn around and interact with them is just like betrayal almost. I love being in a band. And while they still push me to the front, the label folks are a lot less intense about it these days. So because of that, we were able to focus a bit more on the EB Band’s history as musicians. Some of the guys come from an incredible background, having been in Rockbitch back in the 90s. I mean, there’s nothing to prepare you for world touring and the pro’s and con’s of fame like being in a band like that.

Because they’ve been friends of mine for many years, recruiting them back in 2013 when I was in need of great musicians and real stability as a budding new artist, seemed the best possible move for me to make. Our drummer, Anna on the other hand…well, we nicked her from a University in Edinburgh when she was finishing her BA in Popular Music. Many people had their eye on her because she’s one of the most technically skilled drummers out there, but WE got her. mwah ha ha…

On your current tour, did you play any MT-TV and Rockbitch songs? If so, how did you decide which ones? If not, do you think you will in the future?

Unfortunately no. Not that I am against the idea at all. I’m a HUGE MT-TV/Rockbitch fan and know every song they’ve ever done by heart. But it boils down to the fact that I try to avoid covers where possible, period. Also, Julie of Rockbitch who’s now writing and touring with her EDM outfit, ‘Krow and The Electric Temple’ is one of my biggest influences as a singer and absolutely one of the best vocalists on the planet. I’m waiting for my feet to grow before I ever try to fill those shoes.

When you play a show, what do you want to deliver to the audience? What do you want the audience to feel?

First of all, I want people to be sucked in by the music.

I want to create an environment where it becomes nearly impossible for people to look away from the stage.

I want people to be able to forget about all the shit that’s going on at home or at work, or with their everyday lives and get lost in the layers of music, passion, show, and energy. I want to bring people back to when music was a refuge- a safe place…not just background noise whilst you check your email or update your bloody Twitter. Apart from that, I want the audience to feel free to be themselves and express it.

You’re an experienced road warrior having played an incredible 200-gigs-per-year tour in the US and Continental Europe in the past. Do you have any plans to tour extensively for this album?

Absolutely! We’re going to be doing an acoustic ‘in-store’ tour in music and record shops around the UK early in 2018 interspersed with full-band gigs at various festivals around the UK. There are talks of heading back to Europe but I pretty much just go when/where they tell me. I’d love to go back to The Netherlands. So *fingers crossed*

It would be nice to go back to the USA to tour again…but that takes a crapload more organization and funding so we’ll see where we go with that, but I think it’ll be something to aim for.

You’re booked to play at Planet Rock’s Winter’s End in February 2018 supporting The Amorettes. How exciting is this for you? Do you think you could be a headliner next year?

Playing Winter’s End is going to be awesome. I’m looking forward to it a great deal. The Amorettes are a really cool band from a town not far from where I live. I really like their in-your-face rock and I’m excited to see them live. JoanOvArc are another band I look forward to seeing. As for headlining, it would be nice, and of course, I would if asked. But all I really care about is playing music to people- the details of when don’t bother me too much.

Your music trek has been from folk rock to pop/contemporary pop to the current hard rock/progressive sound with The EB Band. Can you explain this evolution of your sound over the years?

Ha! Yeah, it’s kind of funny. With Syren back in the early 2000’s we were primarily folk/rock with a bit of country-ish, blues in there. That basically just happened because I was from Texas and that was how my songs always wound up sounding. Though I was and still am influenced by no end of different musical genres…think I’m a blues girl at heart. Jo and Mandy (in Syren) added their almost ‘prog-rock’ virtuosity which toughened the sound up a bit. It was that that made us appeal to the likes of 60s rock bands like Hawkwind.

In 2011 I worked with a couple of DJ/Producers for a re-working of an old Kosheen track called ‘Hide U’. We collaborated on a few songs and these guys (Darren Bailie and Ronen Dahan) sort of helped me understand the formatting of a ‘pop song.’ So I took that knowledge and added it to what I already knew, wrote hundreds of songs over the course of a year or two and got ‘ReFlowered.’

The label made it intentionally a little bit more ‘poppy’ than how it was written because, again, at the time I was meant to be a solo artist. And it was great! I’m very proud of that album.

But at the time I was suffering from severe depression and going through a bereavement and never felt that I put 110% of my potential into the songs- in terms of writing.

So in 2016 feeling finally like I had my head above water, I stepped right back and took in the bigger picture of myself, my music, and as I mentioned before, I got a little grumpy with myself. I felt there was a lot I missed because of the experience of depression and felt that it had affected the type of person I was and that was transmuted in the songs I was writing. When I stuck the 13 demos of the album songs together in a playlist it was shocking just how homogenized the sound was. They were all in the same vein of rock and I don’t think I’ve ever written an album this uniformed. For me, it seemed okay to let the music go down the rock route because live we’re always so much heavier. It made sense. For myself and the EB Band, it meant that we could get away with more musically than we had been able to in previous tours. We wrote some pretty expressive segues that tie each song together live and it helps to really paint a picture.

We all feel, and I know I can speak for the others on this, that we’ve found our sound as a band.

Explain your production process when you record in the studio.

Well, it’s pretty routine. I’ll write a song on my own or with the band and record it after we’ve played it a million times. My producer Finn and I spend a great deal of time understanding the song as if it was like a little person, you know? Understanding what it’s saying, where it’s coming from and then thinking ahead to stuff like, ‘Well who is our demographic and who should we produce for?’ Once we’ve worked that out, he’ll come up with a draft and then we’ll massage it together from there. We work wonderfully together and he’s really helped me get used to being produced and letting my songs go. I mean, I’ve produced some songs myself before, but being the songwriter can sometimes cloud your judgment in a business sense. I used to struggle a lot with the loss of control…it felt like someone was taking a puppy I just birthed myself and was slicing it to bits right in front of me. haha…More often these days, we produce in rehearsal either as we write or as I’m presenting a new song to the band. And we don’t stop until its done.

When did you start playing guitar? Did you teach yourself?

I must have started properly when I was 13. I was given a guitar by a relative when I was 9 to shut me up because my sister was in lessons and I was jealous. haha But apart from an ‘A’ chord I couldn’t play it. My first instrument and love were the drums. I built myself a kit out of buckets (before it became trendy) and just loved every minute of it. Eventually got an actual drum kit and you couldn’t tear me away from it.

But already at 9 years old, I’d written my first songs. I’d memorize the melodies and words and just sing them acapella. The thought of adding music to them (apart from drums) seemed too far out of reach. So, I never got around to picking the guitar up for writing until 13. I got one of those books of chords and starting teaching myself rhythm and practiced changing from one chord to another until I was quick enough to throw three chords together into a tune and then write a melody over it.

I never bothered having lessons, mostly because my family couldn’t afford it and by the time I started working and earning my own money I’d come far enough in guitar that my songs were totally fine without me needing to know the difference between Phrygian and Mixolydian mode. I’ve sometimes regretted not having had lessons, thinking I’d be a better player but I’m not interested in being a guitar god\I’m interested in playing stuff I love.

Is there anyone you would like to collaborate with in the future?

There are lots of great artists both known and unknown that I’ve met and would love to work with. But if we’re talking ‘dream collaborations’ I’d absolutely LOVE to do some stuff with Ann and Nancy Wilson of Heart. Even if we were just recording ‘Kumbaya’ for the Ultimate Campfire Compilation album…haha…To be able to watch those two work and be a part of the process would be a dream come true.

An In Depth article from 2013 said women in their 20s were changing indie music by their dominance, especially in indie pop. It’s now 2017. What are your thoughts on this?

I’m not sure what its like over in the US at the moment, but it’s been a real uphill struggle for women in music in Britain. It seems the only place for women in music here is in pop. It is slowly changing though with all female or female fronted bands of other genres popping up all over the place. And yeah, I think women in rock, in particular, are unapologetically in your face. We have to be, otherwise, the British music press won’t listen. They don’t listen anyway, but they certainly won’t if you’re quiet and just waiting for Mr. Record Company to come to your gig.

You have to work twice as hard to make it in the music industry here.

Its one thing I miss about the USA is that every state has hundreds of radio stations, magazines, and clubs catering to music lovers of every genre. There’s more space in the US music industry. In Britain, the scene is so crowded. The biggest percentage of bands and artists in the industry is made up of headstrong boy bands struggling to be the next Biffy Clyro or Ed Sheeran. There’s no space for the smaller percentage of bands made up of females. Also, Music press in Britain seems to be in bed with the major record labels and if you don’t sound like someone they’re already reviewing or spinning, you just aren’t going to get a look in. AND if the public doesn’t hear from the major music press that they should listen to your music, they aren’t going to do it. People are too scared to take in something new. They’re too scared to invest in something they don’t know…It’s why its important for bands to stick together and support each other – share fans, share events and help each other up that hill.

A New York Times article said that women in indie music are making the best rock music today. What do you think?

Yes, I read that article and listened to the 25 bands it listed. In my mind, indie and rock have always been two different things. But I don’t want to get into genre wars…you’re either good, or you’re not, right? I don’t believe that female ‘indie rock’ is necessarily the best rock. It’s just the style of rock that is gaining the most press. Right now, grungy, feminist, punk, pop is infinitely saleable because we live in a society where everyone’s a fucking feminist. So if the New York Times prints about feminist indie rock in their papers, everyone’s gonna buy it. But if you look at female ‘hard rock’ acts like The Amorettes, like JoanOvArc or The Courtesans (I could list a million) you will see a totally different side to rock that The Times isn’t looking at because this music exists for itself. Not to back an agenda. Don’t get me wrong, some of those bands in that article are great! But if the New York Times says that purple trousers are what’s in, people are gonna suddenly start wearing purple trousers whether they look good or not.

DISCLAIMER: I am a HUGE advocate of women in music. I will always support women in music. I will always throw my weight behind a female band. But I won’t support someone just BECAUSE they’re female. That’s not fair. And I refuse to give in to this ‘Post Truth’ culture that suggests that these types of bands are shaping rock because the New York Times says so. They’re not. And in that statement, I don’t care if you’re female, male, gay, straight or from another fucking planet. If you write songs like ‘Purple Rain’, ‘Hotel California’, ‘Living on a Prayer’ or ‘Barracuda’ I’d say, you’re writing some of the best rock music today! If not, you aren’t the best rock artist. You’re another artist working to become the best. And I include myself in that.

(I need to get a less heavy soapbox to carry. haha)

How can women musicians in indie music be supported so they get more recognition?

Well, women in any genre outside of pop (where women are the preferred gender,) all need support. We need music press to stop looking at what its comfortable with and take some risks. We need music buyers to try something new. I remember back in the day when people would just trawl the internet looking for music they’d never heard before. No one seems to do that anymore. And we need women to really band together and support each other.

When the ‘women in music’ movement is supported from within, it’ll be too strong to be ignored.

I mean, there are 12.6 million women living in Texas. If every single one of them bought my record, I’d be set for the rest of my life. Puts it into perspective, doesn’t it?

You are from Texas but currently, live in Scotland. Is there something about the music scene that drew you there?

Oh good lord, no! haha. Whilst I do LOVE Scotland, I came here back in 2010 to mix an album I was working on with Syren. It was while I was here doing just that my civil partner and Syren drummer, Jo was diagnosed with and died of breast cancer. I had a strong group of friends here (some of whom would later join the EB Band) that really helped me through it and I think by this time I’d settled into living in the UK. As well, professionally I had a better chance musically here since Syren had been based in Europe for so long. So going back to the USA wasn’t really an option.

What was it like to win the Songwriter of the Year at the 2012 Scottish New Music Awards?

Really humbling. The song was ‘Never Give Up The Fight’ written in Jo’s memory. So it was a very personal song. And to win an award for something that was that close to my heart was very overwhelming. I get asked this question a lot and every time it’s almost like vertigo…’Oh my god, yeah! I won. Shit.’…haha…so it’s still new, even though it was 5 years ago.

What advice do you have for young girls and women who want to be musicians or are currently pursuing a music career?

Follow your heart and passion and don’t give up. Don’t give in to negativism. And don’t be afraid. Do your thing! And

don’t let anyone tell you that you can’t do something because you’re a woman

Most importantly, support your fellow women musicians! You might meet new people and opportunities because of it, you might learn something you never knew. And that’s priceless.

Thank you so much for the opportunity to interview you.

No, Thank YOU for the opportunity to answer! I truly appreciate it and hope to see you at a show in the future!

Find upcoming tour information, music, and more on Erin’s website: www.erinbennetmusic.com

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