single review ~ a northern light ~ "kill it"

by 15:27

Since their formation at the turn of the decade three piece alternative rock band "A Northern Light" adopted a strict "DIY" mentality, concentrating on developing an authentic and original sound that didn't necessarily flow with the status quo of the "Little Solidarity" movement they developed under. Several EP's, high profile gigs (which include support slots for the likes of Foo Fighters, The Black Keys and The Cribs) and radio airplay later has led to the launch of their latest single "Kill It".  Taylor Johnson had a listen...

'A Northern Light' are a band that have gathered a dedicated and significant fan-base, particularly over the last few years. Their dedication to touring and consistent flow of EP and single releases has helped to establish them as one of the many promising alternative rock bands emerging in the wake of local success stories, such as A Plastic Rose, who have helped to pioneer the indie movement. More significantly, however, it's A Northern Lights insistence on always producing songs with little influence from anyone other than themselves which has made their progression more interesting. Songs such as "The Right Thing To Do", with catchy choruses, incorporating a brass element to intertwine with screeching guitars proving instantly recognisable. Which is why I was extremely pleased to find new single "Kill It" take this original,exciting formula and elevate it to new heights.

Easily the bands most accomplished song to date, "Kill It" opens with an ambient synth rhythm, almost Depeche Mode-esque,  as the opening line of the chorus is gently echoed over proceedings. As the songs verse begins to fade in, a real sense of anticipation is established, aided by the military style drumming of Omar Hassine. The upbeat and punchy nature of the verses immediately drive things forward, with Darren Doherty's confident and passionate vocal delivery giving the song real purpose.

The songs high tempo is typified by a drum roll, which when coupled with an almost violin sounding synth, adds a grand orchestral feel which builds to a chorus worthy of being belted out by a sea of raised arms. The softly spoken "Okay, so let's pretend we're alone", showing an emotional fragility that adds a raw edge. A soaring brass section compliments the indie guitars to produce a vivacious and emotive climax.

This song could so easily be an anthem for the downhearted. The instant urge felt to sing the chorus out loud and lose all inhibitions leaves an almost therapeutic effect. You can't help but feel a little more inspired after hearing it.

Beautifully written, lyrically potent and above all, authentically A Northern Light.

If they continue to write songs of this calibre, their highly anticipated debut album may elevate them from a potential success story, to one of Belfasts biggest exports.

Review by ~ Taylor Johnson

Watch the official video here
Check out more from A Northern Light here & the official Soundcloud here

~ glasgowbury 2013 ~ highlights

by 16:15

It's extremely difficult to distinguish particular highlights of a festival like Glasgowbury. With such a high caliber of acts and only an hour each to appreciate the majority of them, it makes it nearly impossible. 

Special mention however, must go out to the following songs, in no particular order; 

  • Pretty Child Backfire ~ Wish I Knew You Better

  • The Wonder Villains ~ TV

  • The Clameens ~ She Got My Heart
  • Hurdles ~ Pictures
  • runaway GO ~ I Would Go

  • Rams Pocket Radio ~ Love Is A Bitter Thing

~ glasgowbury 2013 report ~

by 15:25
'Small but Massive & never forgotten' 
As the final chord progression echoed into the distance and the blinding lights of the "Small but Massive" stage faded out, a rare silence descended onto the hills of the Sperrin Mountains. There were tears in the eyes of even the most experienced festival goer and hugs all around as the end of the Glasgowbury era began to hit home. For anyone fortunate enough to have been to Northern Ireland's biggest local festival before, the warmth and excitement that greeted them will have come as no surprise, but to any new comers (such as myself) the passion and genuine enthusiasm on offer will no doubt have felt too good to be true at times. I had the privilege of making it up on the second of the festivals first ever two day event. Here, I'll attempt to give a summary of as many of the bands individual sets as possible, while attempting to capture the magic of what is a very special occasion for local music.

Realising that it's never too early for a distortion filled head banging session, I decided to kick off Glasgowbury 2013 down at the 'Spurs of Rock' stage where the opening band came in the style of three piece, grunge group Vanilla Gloom. What was immediately evident was that the all female group were extremely clinical, drummer Grace Leacock embodying their grungy sound with a powerful backbone, driving each of the songs forward. Bassist Megan O'Kane's vocals are both sweet and endearing, providing a welcoming juxtaposition to the nature of the songs, unfortunately on occasion the sound levels of Vanilla Gloom's set seems to drowns them out - an aspect that you imagine could easily be rectified with just a little more vigor and attitude in their delivery. Vanilla Gloom begin to hit their stride with 'Vultures', a Nirvana-esc track which closed their 'Vexed' EP. The clean guitar, tone coupled with the low pitched vocals, builds brilliantly to the bitterness that's released in a fantastic chorus that got the whole tent jumping along. In all, a solid set from a band with a lot of potential. Despite the majority of the punters proudly displaying their support for the following band, (Metal heads 'Pigs As People') it looked like Vanilla Gloom will have won over quite a few fans in the process.

I then headed over to the G-Sessions stage to catch the end of the set from "Those Ghosts". Having never had the chance to listen to the Strabane lads, I had no idea what to expect. What I found was a band with an already developed stadium rock sound, that had the crowd fist pumping and raising their pints, despite their early morning  position on the bill. Their anthemic qualities helped capture a nineties vibe, while maintaining enough flair and energy to ensure they're songs had a contemporary twist. 'Evelyn' in particular really seemed to get the tent jumping, a song with a strong enough hook in the chorus to easily be considered for radio air play.

Next on the bill were local lads The Clameens who were opening the Main Stage. For a band formed only this year, playing the main stage at the country's biggest music festival could easily have overwhelmed them, instead they delivered a confident and relaxed performance - their enjoyment coming through on every catchy melody and jangly guitar riff. The Clameens  breezy tunes provided a perfect soundtrack to the early morning sun, as the area surrounding the main stage descended into one massive dancefloor. Taking the distinct vocal delivery of Kings of Leon's Caleb Followhill and the upbeat rhythmic style of Vampire Weekend, The Clameens deliver a sound which isn't quite indie, yet can't quite be defined as rock. Whatever it is, one thing is guaranteed - the brightness and fun provided will leave you feeling a little bit better by the end of it. "She's Got My Heart" was the highlight in a set from, for me, the surprise of the festival.

I then had the opportunity to see a band who've been steadily building hype through their energetic and animated performances, self confessed electronic-rockers Wyldling. Fronted by the dynamic Jilly St John, Wyldling produced a set that was as captivating as it was explosive. What was evident from the start was the frontwomans enigmatic stage presence allowed her to control the crowd brilliantly, charging around the stage with the vigor of a young Joan Jett. At one point Jilly summed it perfectly as she remarked that, "This next songs about me being a bit nuts" - She is a bit nuts, but thats exactly why the audience adored her. It also has to be said that Jilly's vocals were incredibly tight aswell, her range particularly being allowed to flourish in songs such as "Sirens", which also showed the groups powerful sound, with screeching guitars playing over synthy melodies to capture a loud and heavier sound. It was a professional set, delivered with the charisma necessary to carry it off.

Then it was time for the boundless energy and enthusiasm of a band called The Wonder Villains. Having already played many high profile gigs to date, including Radio Ones Big Weekend amongst others, they had a case to argue that they should have had the opportunity to play the Main stage - however as they bounded into the G-Sessions tent for the start of their high octane show, they instead seemed to be simply relishing the opportunity to be playing together for a highly attentive audience. What most impressed me about the Wonder Villains set, was how up tempo and (dare I say it) rocky it was. A pounding drum beat became the basis of the majority of their songs as lead guitarist Ryan McGroarty was given the freedom to really express himself, with incredibly intricate riffs giving their songs (such as the excellent "33") a new lease of life. It's also fair to say that The Wonder Villains were the first band to get the entire G-Sessions tent fully erupting, from their arrival until the final track, the incredibly fun pop-wonder that is "Zola". The group brought with them a carnival atmosphere, dancing and high fiving on stage like four best friends having the time of their lives. (Which I suppose they are!) The Wonder Villains set was also the first to initiate a mass sing along - you could be forgiven for thinking they were the headline act. Entertaining and enjoyable, the Wonder Villains were made for festivals and all the freedom and partying that goes with it. It's impossible not to feel positive watching them - don't be surprised to see these guys explode into the main stream next year.

A lot has been said about Runaway GO! in recent times. Success came very early for the group, who since their formation back in 2006 have reached the final of two major unsigned band competitions, gained significant air play on Radio 1 amongst others and recorded their remarkably well received debut eponymous EP. All of these experiences, combined with extensive touring, has produced an incredible live act which did not disappoint as they took to the Main stage on Glasgowburys final day. Feeding off the positive energy of the audience, Runaway GO! threw themselves into a rousing set. They made a brave decision to play fan favorite "Jump Start" early on in the set, however the gamble fully payed off as the bands back catalogue is now strong enough to play their tracks in any order and still finish strongly. What gives the Belfast based indie five piece their edge is the synergy between the voices of their two vocalists, Dave Jackson and Fiona O'Kane ~ Their evident difference in styles compliment eachother perfectly and at times it's no exaggeration to say it sounded like a choir was on stage, particularly during the groups big hitter, "Delicate Man", which had the entire crowd screaming the chorus back at them. They also provided one of the most memorable moments of the festival, blending in Daft Punks chart-hit "Get Lucky" seamlessly into the middle of their set, perfectly in keeping with the good natured spirit of Glasgowbury. New single "I Would Go" sounded beautifully atmospheric, James Lappin's lead guitar gently weaving through the song adding a haunting quality to ensure it would be remembered and appreciated long after the band left the stage. Runaway GO! left the stage to huge applause and for the first time all day, calls were made for an encore. Unfortunately due to time restraints, that couldn't happen, but it did confirm one thing - Runaway GO! are certainly  living up to the hype.

Finally I ended my Glasgowbury adventure back at the G-Sessions stage, where headline act Rams Pocket Radio was preparing to bring his unique brand of piano driven pop to a stage he will be more than familiar with. With the added wonder of a horn player and cellist in accompaniment of his usual band, Rams provided an eclectic set to a packed tent. At times, comparisons could be made to the likes of Badly Drawn Boy, as the rustic orchestral side of things took control, before oscillating to a Muse style electronic feeling. All the while Peter McCauley's emotive vocal delivery weaved around proceedings, at times delicately restrained and at times powerful - but never anything less than enthralling throughout. One of the more upbeat and faster songs of his sets, the brilliantly titled "Dieter Rams Has Got The Pocket Radios"  produced a sea of waving arms, as the complex beauty of Rams set-up was utilised to fine effect. "Dogs Run In Packs" had similar results, before a brilliant and unexpected collaboration came as More Than Conquerors Kris Platt joined him on stage to duet on the fantastic "1+2". The two unique vocals blended well and was a welcome addition to the set. The best moment of the evenings proceedings and possibly of the entire festival, came during the ethereal "Love Is A Bitter Thing". Every lyric was sang back by the audience, at times drowning out the band as the emotional significance of the occasion seemed to take its toll. The tears flowed openly from many in the crowd as once again the delicate nature of McCauley's piano playing took hold of a crowd he had long since won over. As the song progressed, the voices from the crowd only grew louder. No doubt the revelers at the main stage enjoying The Answer's headline set will have heard the words "I'd love it if you said that, I want my friend back, I have a feeling love is a bitter thing". It was a surreal and beautiful moment, which seemed to capture the feelings and thoughts on everyone's mind. A fitting end to the G-Sessions and a brilliant end to my first and last ever Glasgowbury. This performance will live long in the memory, just like the festival that made it all possible.

Rest In Peace Glasgowbury - how will we ever replace it? Only time will tell, but for now I just feel lucky to have been part of it.

Report by Taylor Johnson.

ep review ~ 'mohawk' ~ indigo fury

by 20:23

After the release of their debut album, the critically acclaimed "Drive", Indigo Fury frontman Rory Lavelle could be forgiven for putting his feet up and taking some time to reflect on the bands long and complex journey. Instead, he's thrown himself straight into a follow up EP, "Mohawk", giving a glimpse into the blue print for what will surly be the groups follow up album - but would we see more of the bravado and distorted guitar riffs that Indigo Fury have fine crafted since their formation back in 1996? Taylor Johnson had a listen...

Indigo Fury have spent 17 years earning their reputation for thunderous 'rock and roll' and they waste no time demonstrating that here as "Boddicker" kicks the EP off to an energetic start. What quickly becomes apparent, however, is that the the melodic qualities of the song are not lost in a haze of distortion as Rory Lavelle's voice is given a clarity all too often less emphasised by bands of a similar style. A steady and rolling bass line adds a rhythmic quality to the song, which grows in stature as the song progresses. Up until just after the second chorus, you could be forgiven for confusing this for a "Beneath the Boardwalk" era Arctic Monkeys track, with an assured and likable vocal quality similar to that of Alex Turner. Any chance of this remaining a lasting influence is soon ended, as a heavier guitar riff-laden break down ends proceedings.

'Scarf Face' retains the up-tempo dynamism of the EP's opener, with strong drumming from James Nicholl setting the pace immediately. Despite the tenacity of the heavy verses, the songs spark doesn't ignite until the chorus. The band also show that even in a rock song with a title like"Scarf Face" there's always room for a bit of culture as Lavelle hammers out the lyrics "hubble bubble toil and trouble", a line from Shakespeare's classic "MacBeth".

Things then hit a brighter note with third track 'Case Adjourned', opening with some nineties style screaming feedback and bursting into an upbeat rhythm that marks a nice juxtaposition with 'Scarf Face'. An evidently tight track, the song is built along a start-stop drumming pattern, again allowing the vocals to be fully appreciated. With it's upbeat tempo and positive vibes, this song has big live potential.

Title track 'Mohawk' ends the EP, as the Belfast rockers surprisingly opting for a choir to open the track, although it's not long before the rock guitars return and normal business is, once again, resumed. This time though there intentions are made clear, "This is a message, to all those who lack the true meanings for all the things they do" - although exactly what that message is, is never really specified and at times that's how 'Mohawk' comes across. It certainly has good intentions, the songs are well crafted and the production is solid. Although the real meaning behind the songs is never really revealed, which may make it difficult for fans to fully connect with. Perhaps that's just how Indigo Fury want it to be, adding a certain enigmatic quality. Personally I'm hoping all will be revealed with the release of album number two.

~ Taylor Johnson

If you like; Foo Fighters, Arctic Monkeys, Queens Of The Stone Age - You'll like Indigo Fury

Listen to Indigo Fury here

encore introducing...

by 06:39

'Pawws' debut single is out now...
Today marks the beginning of a brand new section on ~ 'Encore Introducing'.
Here we take a look at young (predominately local) talent breaking through the music industry and tell you why we feel they have something a little bit special. Today Encore's been taking a look at "Pawws", one of the ever growing atmospheric-synth pop acts that have emerged since the "vinyl revival" kicked off in late 2011 as the current generation take inspiration  from years gone by to rebel against the rave culture's assault on the charts. Based in London, the young singer/songwriter has just released her latest single "Slow Love" as well as "Time To Say Goodbye". Taylor Johnson gave his verdict...

Rhythmic synths and delicate soundscapes are on offer as you dive into the nostalgic bubble of Lucy Taylor, known by her stage name as 'Pawws'. New single 'Slow Love' begins with a pulsating electronic drum beat, which works in synergy with a delicate backing vocal and winding bass line, which when brought together gives this track it's melodic edge. Vocally, Pawws delivers a wonderfully strong performance, powerful, yet delicate, matching the laid back style of the track without ever growing complacent. There's certainly elements of Scottish electro-pop act 'Chvrches' unique delivery and tone, but the most striking comparison is with Régine Chassagne, the female vocalist in Canadian alternative-rock band "Arcade Fire". You can easily imagine Pawws covering the likes of 'Sprawl ii (Mountains Beyond Mountains)", a song inspired from the 80's vibes that Pawws seems to encapsulate.

If 'Slow Love' is the upbeat single, 'Time To Say Goodbye' is a slower alternative. More relaxed and easy listening, Pawws seems to have given herself a greater opportunity to stretch herself vocally, as the song builds into the kind of vivacious chorus that many artists spend years trying to successfully acquire. The overlapping vocals after the first chorus also adds to the songs delicate nature, while highlighting her higher range and ability.

Pawws also proves that her upbeat,bright sound carries a darker emotional element at times, with potent lyrics such as; "It seems so long ago we used to feel alive, now we're both empty" flowing through the gentle synth riffs. It shows that her work retains the sort of emotional depth the pop-charts left behind long ago.
In all, an exciting and colorful debut. You can expect to hear a lot more from Pawws in the future.

~ Taylor Johnson

If you like; Chvrches, Blondie, Régine Chassagne ~ You'll like Pawws

Check out the new single from Pawws here ~ You can like her on Facebook here & follow her on Twitter @PawwsLucy

single review ~ white male actors ~ '31 years'

by 06:19
'31 Years' is out now...

This week Encore NI took a look at a band beginning to capture the attention of audiences across both sides of the Irish sea, Strabanes own "White Male Actors" who have just released their latest single "31 Years". Taylor Johnson had a listen...

As '31 Years' drifts into life, a haunting guitar riff sets a melancholy mood, immediately balanced by a soulful piano melody. The immediacy of the dark ambient, nature of the track sets the lasting tone. The drum beat throughout which leads up to the chorus adopts the same slow-down technique utilized all too often by bands wanting to highlight their musicality, without adding much to the direction of the music. Having said that, as the chorus comes around the song begins to really move forward. At it's best, it has the right balance between blusterous guitars and an atmospheric feel that wouldn't look out of place on a Muse setlist. You can almost hear the non-existent choir joining in to provide big hitting backing vocals. Great aspects for a single.

From then on in the song begins to find it's rhythm. The drum beat begins to compliment the now pulsating guitar work and frontman David McGaughey's vocals grow more assured, you get the sense he really believes in what he's singing. Which brings me to the lyricism. '31 Years' is an open, dedication of adoration and love to American rock act REM after their split in 2011. With lines like "No one wants to see you go, I would just like you to know, No one wants to see you go", the influence is clear.

Although not everyone was devastated by REM's break up, the meaning that can be derived from it remains the same. The songs strengths lie in it's honesty, as it can be interpreted to fit any situation. The loss of a loved one, a failed relationship or indeed the break up of an American band who had been together for (wait for it) 31 years.

As the song runs to it's conclusion, there's a period of acapella vocals, as the chorus is repeated. It provides a break in the music that seems slightly unnecessary, slowing down what could potentially have been a fast paced explosive climax, although it does lead to a fine piece of solo piano which adds a delicate touch to proceedings.

All in all '31 Years' is a strong song, that has been produced very well. It may lack the required punch required to push into the mainstream, but having already been contacted by none other than a certain retired American band with positive feedback, I have a feeling that White Male Actors may not be all that bothered.

~Review by Taylor Johnson.

If You Like; Interpol, R.E.M, Muse ~ You'll like White Male Actors

Find them on Facebook here
Listen to '31 Years' here

~ taylor on the bbc's across the line ~

by 04:24

Hi folks,

            Last night I had the pleasure of making my second appearance on Northern Ireland's favorite musical based radio program "Across The Line" reviewing Belfast rockers More Than Conquerors & their melodic Indie-Pop support band Hurdles. I've already reviewed the gig for the website (which you can read below), but for anyone who missed the live show you can hear my comments on the BBC I-Player! (fancy indeed)

You can check out the whole show here, with my review kicking in at 1:48:30 (prime time baby!).

& You can also hear my exclusive interview with both bands over on the Encore NI official Youtube channel  ~ Click here for More Than Conquerors & here for Hurdles.

Both bands were a great laugh and incredibly fun to interview - I predict big things for both!

Don't forget you can catch them both live this weekend at the final ever Glasgowbury, on the main stage supporting The Answer. It's gonna get emotional and very, very loud.

If you want to hear more from both groups you can check them out on Facebook here; = Hurdles = More Than Conquerors

Cheers ~ See you up the mountain!


exclusive interviews ~ more than conquerors & hurdles

by 12:22
After their sets at the Cellar Bar in Draperstown, in preparation for Glasgowbury, the lads from Hurdles & More Than Conquerors sat down to chat to Taylor Johnson about the local music scene, upcoming albums and EP's and life after the legendary local festival as Glasgowbury prepares for it's last ever sets. The release date for More Than Conquerors debut album is also revealed - an Encore NI exclusive!

They were all incredibly friendly and a great laugh, hopefully that comes across on both interviews!

To hear my interview with More Than Conquerors click here & here for Hurdles.

More news & Reviews to come...


chat with gary lightbody & paul noonan ~

by 11:36
I had the chance to chat to Gary Lightbody & Paul Noonan from the brilliant Bell X1 after their live acoustic session last week at the Oh Yeah Centre, Belfast ~ I sat right beside him as he played piano for "Starlings Over Brighton Pier" from the new album "Chop Chop" (which is marvelous by the way).

The Snow Patrol & Tired Pony frontman chatted to me about his new album, "Ghost of the Mountain", as well as Encore's work and our plans for the future. He was incredibly encouraging and couldn't have been nicer. A great advocate for the website and an effortlessly cool guy aswell - Great stuff!

Gary wa really encouraging about Encore's work!

This picture was taken on a camera from the 1920's.

gig review ~ more than conquerors & hurdles ~

by 11:26

More Than Conqueror's had the audience won over from the opening riff...

This week I headed down to the Cellar Bar in Draperstown, which as you can imagine is buzzing at the minute with Glasgowbury just around the corner. This was essentially a warm up for that prestigious festival, (which has pioneered some incredible local acts such as A Plastic Rose and Two Door Cinema Club) with two bands who will be playing the main stage, More than Conquerors & Hurdles. Can I start by saying just how good a venue the Cellar Bar is? For anyone who's never had the chance to watch a gig there, it's literally an underground venue with a real grungy feeling to it, almost Cavern Club-esc.  Small enough to put on intimate gigs, but big enough to retain that electric atmosphere thats became a regular aspect of local gigs in recent years.

First up were Hurdles, Belfasts newest Indie-Pop quartet - a group that have, quite remarkably, only been together for nine months. Already they're set is beautifully polished and incredibly tight. Niall Hanna's voice soared above jangling, upbeat riffs with a strong drum beat throughout - A bit like an early, atmospheric Strokes or even local heros 2 Door Cinema Club.  What sets these guys apart from the other plethora of Indie bands out at the moment is the emotional depth of some of their tunes - Songs like 'Paper Soldiers' and 'Where To Start' containing a fragility and emotional depth that very few bands ever capture fully. They also sound fantastic live, particularly 'Where To Start' as an opener.

 Then More Than Conquerors stepped up, with possibly the most effortlessly cool starts to any gig I've seen. One moment they were mid sound-check, the next lead singer Kris Platt plugged his guitar in and opened the fire exit, as he began to riff to his hearts content to the punters outside in the smoking area. Needless to say, as he walked back into view he was followed by a tidal wave of excited rockers - like a grungy pied piper if such a thing is possible. 
As things got underway More Than Conquerors were as strong as you'd imagine, incredibly loud, in your face rock - and they had the audience going crazy from the off.

They played alot of tunes from their upcoming debut album, which we're all excited about - they seemed quite raw, a bit heavier and darker than the self titled debut and even the Boots & Bones EP's - which has all new material on it aswell. 

The stand out tune of the night, and I don't wanna be stereotypical, had to be Go On, Go On, Get Out ~ it's got a lot of radio play, you can see why as it immediately sparked the audience into a frenzy. 'When The Well Runs Dry' also went down well.

The gig ended in this explosion of madness aswell, which saw Kris put the mic in the audience as Glen Kennedy from Glasgow based band 'Owls In The Antarctic' stepped up and started screaming with them on stage ~ A crazy end to a magnificent night. 

With both of these bands set to play the main stage this week, Glasgowbury looks set for two fantastic acts.

Review by Taylor Johnson.

Check out More Than Conquerors here;

& Hurdles here;

Hurdles performing their unique blend of indie-pop

~~ encore ni exclusive interview with a plastic rose frontman Gerry Norman ~~

by 13:12

Hi folks,

            This week Encore NI had the unbelievable privilege to have a chat with our favorite alternative rock hero, Gerry Norman of A Plastic Rose! After a few audacious emails and a hilarious phonecall, I managed to arrange a meeting with the front man in his new home on foreign soil (see what we did there?) in Nottingham -  during which we discussed the local music scene, how the group have been adjusting to their new surroundings and the latest twists and turns in the constantly evolving saga of the Belfast rockers.

The interview went fantastically well and I think it's fair to say that Gerry's reputation as one of the nicest guys in rock is well and truly justified - we took a magical mystery tour all around the midlands in the A Plastic Rose tour van, stopping for an impromptu game of keepy uppy's in a car park, followed by an intense penalty kick competition down the side of the Field Mill stadium, home of League 1 side Mansfield FC. (Arsenal vs Aston Villa incase you're interested - Which I somehow managed to win!)

Click here to listen to the interview in full

It was an unforgettable experience and one of the best interviews (certainly the most memorable!!) I have ever given - Hopefully that comes across in what is a fascinating and enjoyable look into the mind of a local music legend.

More reviews and news are to come - Hope you enjoy listening to the interview!


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