Interview - Tamara Schlesinger

 Only 14% of songwriters signed to publishing companies in the UK are women. Just 12% of those registered with the Music Producers Guild (MUG) are women. 

That is staggeringly low! So I was keen to find out more about Hen Hoose a new Glasgow based female songwriting collective formed by songwriter Tamara Schlesinger who records under the guise of Malka.

Malka (Tamara Schlesinger)

Schlesinger has a clear vision for what she wants Hen Hoose to be and she has recruited; Emma Pollock, Beldina Odenyo (Heir Of The Cursed), Karine Polwart, Stina Tweeddale (Honeyblood), Pippa Murphy, Amandah Wilkinson (Bossy Love), India Rose, Rachael Swinton (Cloth), Elisabeth Oswell, Suse Bear (Pictish Trail & solo), Carla J Easton, Sarah Hayes & Inge Thomson into the Hoose.

It's a fantastic pool of diverse talent, beautifully mixing youth with experience and a melting pot of styles. 

Rachael Swinton (Cloth)

Amandah Wilkinson (Bossy Love)

I always find it interesting when artists get together to collaborate, so I'm really looking forward to hearing what these artists create when they begin to work together, particularly when some of the artists are quite distinctive in their style and delivery - how will that change when they get together, how will they inspire each other?

Tamara very kindly answered a few questions for the blog;

What is your 'usual' (if there is such a thing) writing style?

I have changed my style so much over the years. Initially I would wrote with my ukulele or guitar, often writing the lyrics first and the music after. I was in an alt-folk band called 6 Day Riot and that seemed to fit the overall vibe of the band at the time. But after leaving the band I began to write melody lines over beats. Now I am combining a bit of both, but I usually come up with the melody line before the lyrics and that tends to set the mood for the song. I am pretty solitary now in my process, writing, playing and producing most of the music myself these days.

What changes when you add 1 or 2 new people to it?

I think that everything changes when you add others to the writing process, just the general style of the song will automatically change. But also the direction in which you may have taken something can be thrown into something new and exciting when other people are involved. You no longer have complete control over the music and that is not always a bad thing, as long as your ideas align then it can be a very inspiring and exciting experience, for me it often shifts my writing process and makes me open up to new ideas that I may not have thought of previously.

How did you approach the other artists? What was their reaction?

I reached out to a few artists initially and floated the idea and I was really excited when they wanted to be involved. Once I knew that I had a core group that wanted to get involved I was keen to widen it as much as I possibly could - trying to get a number of writers from different genres and with diverse styles so that we could create something really fresh and exciting for each group. I couldn't quite believe the calibre of writer that took an interest in getting involved, they all saw it as something positive and fresh to be involved in which has been amazing.

If you could choose any 3 artists (outwith this project) to collaborate with, who would you choose and why?

I am a big Jane Weaver fan, so I would love to work with her and also Pictish Trail, his album was on of my favourites released this year and finally, I will go big and say Missy Elliot, that would be pretty awesome.

What would you like to achieve from the first round of collaborations?

I have a few hopes, I want everyone involved to feel like they have gained something from the experience, to push themselves into new spaces and roles that they would not usually take on. But mostly I would love it if we create a body of work that we are all excited and proud of that I can pitch out for sync to generate an extra income for all of the writers involved. Finally, if we are really pleased with it all then I would love to put it out there into the world and release it and let everyone hear the music.

What are your hopes for 2021 and beyond with Hen Hoose?

I really hope that I can make this something beyond the first round. I would love to have a round 2, 3, 4 and so on ... expanding the writers, perhaps bringing in writers from the rest of the UK to work with the Scottish writers and generally inspire everyone involved, along with the new young writers by just highlighting just how amazing the female songwriting talent is in Scotland

Roaming Roots Revue present Born To Run - Springsteen at 70

Bruce Springsteen, AKA The Boss, turned 70 in September 2019. This landmark birthday inspired Roddy Hart to arrange this years Roaming Roots Revue in Springsteen's honour.

The annual bash, a real highlight in the Celtic Connections calendar, celebrated its 8th birthday by selling out their usual haunt at the Royal Concert Hall

For the first time in the events history, a second night was added, in the stunning Old Fruitmarket in the Merchant City area of Glasgow.

Reports from night one were euphorically emphatic and I was thoroughly looking forward to celebrating my birthday with family and friends to the sounds of Springsteen.

What a show!

The setting, song choices, artists, band and performances were just perfect. And we squeezed in right down the front at the side to have a brilliant up close view of performances.

Roddy Hart and The Lonesome Fire were on fire. I think the all standing venue made a difference and perhaps they were looser after playing the night before.

The guests who joined them on stage were exceptional; The Rails, Ryan Bingham, Phil Campbell, Lisa Hannigan, Karine Polwart, Jonathan Wilson and Craig Finn. They all brought something a little different, all teased something out of Springsteen's catalogue that made you appreciate his work as a songwriter and performer a little more and every artist showed their appreciation for the songs and artist that will make me go back and revisit songs and albums over the weeks to come.

Roddy Hart used the first half of the show to introduce his guest singers, with each performing a song or two. Phil Campbell chose to play a song called Western Star from Springsteen's latest album - it was stunning and will ensure I check the album out later in the week.

Roddy Hart and Phil Campbell

After the interval the show didn't let up. The tech team ensured swift changeovers and the show flowed like ... well like a Bruce show should!

The evening was one long beautiful feel good highlight. Although I guess I should note that the 4 songs I played first thing this morning were I'm On Fire, Brilliant Disguise, Hungry Heart and The Rising.

Lisa Hannigan's take on I'm On Fire was jaw droppingly beautiful. You could have heard a pin drop in the Old Fruitmarket. What a voice! 

Roddy Hart and Lisa Hannigan

Phil Campbell has an incredible voice and an infectious energy to his performances. He blew me away at the Abbey Road Roaming Roots Revue in 2019 and he did so again last night. I look forward to checking out his new band The Byson Family. His raw, rasping, soulful vocals were perfect for Darkness On The Edge Of Town, Campbell threw himself into the performance.

Karine Polwart led a charing version of The Rising that really got the place going. I found it really interesting to hear her singing in this way, I guess with more ferocity in the music behind her, it really suited her.

I loved the interaction between James Walbourne and Kami Thompson, AKA The Rails. Walbourne tore into his guitar and their harmonising was glorious. 

Craig Finn from The Hold Steady is a huge Springsteen fan and his love shone through, he looked super happy to be on stage and taken aback by the audience response. 

Look at the setlist below - stunning. Roddy and his band worked the set (see below for full setlist) order brilliantly, building to huge anthems Born To Run, Dancing In The Dark and Badlands. By this point everyone was on stage, playing guitar, singing lead or backing vocals, or just enjoying themselves.

It was fitting that Roddy Hart, the curator of these fantastic annual events, took to the stage with two of his band on piano to deliver a spine tingling encore of Thunder Road. Hart's voice was magnificent, strong and soulful, possibly the best I have heard him.

Last night left me buzzing all day. A truly fitting tribute to Springsteen.

I do hope that the demand for tickets in 2021 will ensure Roddy's Roaming Roots Revue keeps a second night at the Old Fruitmarket. I have to confess that earlier on today I was thinking of ideas what they could do. I thought of Carole King, she'll be 80 in 2022 so that is one to pipeline as a potential for then.

My friend Ian went both nights and nabbed a setlist from night 1. Ian noted that the set list had 3 changes on the second night (which, incidentally he said was best): Ryan Bingham and Lisa Hannigan did different tracks, and Land of Hope and Dreams was dropped. But what a show

SAY Award 2018 launch

The Scottish Album of the Year (SAY) Award launched this week as labels, bands, bloggers, journalists, fans, record shops and venues were encouraged to nominate Scottish albums released between 1st April 2017 and 31st March 2018. Full criteria for nominees can be found HERE

The list of nominees is building steadily and submissions are open until 31st May. The (always) lengthy list is then whittled down to a longlist of 20 and then that subsequently becomes  shortlist of 10, one of which comes from a public vote.

I love the SAY Award which really shines a light on the diversity and quality of music our small country regularly produces. I love browsing the nominees and trying to predict who might make the longlist, who will go on to the shortlist and who is in with a shout of winning.

Nominations have only just opened and there are some big hitters - Franz Ferdinand are the largest band on there buoyed by a new line-up including blog fave Miaoux Miaoux; Mogwai's remarkably consistent output of albums ensures they are in the running (have they been in the nominees every year?); then we have Roddy Woomble, previous winners Young Fathers,  Karine Polwart is another artist that is prolific and on the rise, as is Blue Rose Code and we have veterans Hue and Cry.

Conflats by Out Lines, the collaboration between Kathryn Joseph and James Graham from Twilight Sad won many friends upon release, although I have to be honest and say that I just couldn't get into it. I do expect it to fair well though.

It's good to see Ryan Joseph Burns (formerly of blog faves Seventeenth Century) on with his album Absence that I really need to check out. The SAY Award is a good reminder - I still need to check out Any Joy by Pronto Mama and Body Prt Fly Invisible Hero - great title and I'm listening to the opening track as I type.

I recently blogged about the Broken Records album and really hope that progresses to the longlist.
And then I've been digging in and have been enjoying The Great Albatross album Asleep in the Kaatskills which has a great feel to it and brilliant playing. It's kind of country, rock n roll and euphoric indie in the vein of Arcade Fire at times.

Themes for Buildings and Spaces by Andrew Wasylyk is really beautiful and I'd mark that as an early contender for the shortlist and a potential winner. It's very different and it stands out. The vivid song titles like Under High Blue Skies and Come the Autumn are matched by cinematic, dreamy, melancholic instrumentals. I really enjoyed listening to it and will definitely revisit.

Solan Goose by Erland Cooper is an album I checked out after hearing a track on Radio Scotland. A real headphone album, it is another beautifully dreamy album that you can get lost in. Definitely in with a shout of progressing to the next stage and beyond.

Kiss and Tell by Babe is another album I've enjoyed on first listen. A Jimmy Somerville-esque falsetto soars over electronic bleeps, beats and grooves. While No Lusicous Life by Golden Teacher is far out super cool grooves and electronica. It sounds extremely different from anything else I've checked out so far and stands out.

Starin' At The Freaks by December 91 is a title that grabbed me. They sound like they are in their own little world which is something I always like in a band.

 Friends with good taste have encouraged me to keep listening to Post Era by Lylo as the rewards grow with every one.

Speaking of titles, my sister emailed me to say she had nominated an album she discovered via Bandcamp called You Could Not Have Given The Slightest Of F**ks by Jonny Shitbag and the Smokes! It had been released on a tiny Paris based cassette label. It is brilliantly raw punk pop.

I blogged about Siobhan Wilson's album There Are No Saints and it is a real gem, her voice is stunning. I really expect it to progress.

Many indie artists have had a very productive year or so; Spinning Coin with Permo and Martha Ffion with Sunday Best to name but two.

And Last Night From Glasgow has a strong chance of matching (and hopefully beating) last years progression to the longlist with a range of brilliant albums that highlight the superbly eclectic range of music being released - the homemade psychedelic pop from Stephen Solo; the stunning voice, playing, songwriting and feel from Sister John; a mix of electronica, grooves and swagger from Medicine Men, electronic goodness from Sun Rose and young Annie Booth delivering an album that highlights her talent at present and potential for the future on a joint release with Scottish Fiction.

The list of nominations is still growing and I have loads of albums to check out. I hope you enjoy discovering the brilliant music that Scotland produced from April 2017 to the end of March 2018.

Keep up to date with the nominees and listen to them via www.sayaward.com