GOLDEN ROOTS

Discovering and sharing great music

[goldenrootsmusic]

Abra aka Darkwave Duchess

Photo by Jordan Green

Dear music fans, I have been neglecting this blog recently and for that I am sorry. Life has been hectic but I promise I haven’t stopped scouring the internet every day for new music to share with you. And on that note, I bring you Abra, the pop princess of Rap label Awful Records.

Try as I may to find them, Abra’s age and full name remain illusive to me - I like this about her. There is a certain mystery about Abra, with her black contact lenses and self-proclaimed ‘weirdo’ character, Abra is as enigmatic as her music. Which, by the way, I’m obsessed with.

With simple production and lyrics like “everything dies and everything changes”, Abra’s music falls somewhere between R&B and Pop, but with a sharp, rough edge. Early last year saw the release of her EP ‘BLQ Velvet’, followed by her debut album ‘Rose’ in the summer. Much of Abra’s music was made with her laptop resting on the laundry basket in her wardrobe. Imagining the quirky, introverted yet quietly gorgeous singer making music in this setting gives me a real sense of the dark swirling world inside her head that is projected into her music.

The song I discovered Abra on, ‘Fruit’, popped up as a YouTube recommendation. The music video sees her from various angles performing in a balcony apartment some stories up. At one point she is presented almost creature-like, on all fours whispering in the ear of a male figure whilst fully clothed in the shower. Another video, for title track ‘Roses’, sees her in a bedroom messing about in her underwear, licking a knife and singing into her mirror, her glowing dark skin contrasted with the pastel colour-palette. Talk about a dreamy aesthetic. This is the odd, dark image we get of Abra. She describes herself as ‘dorky’ and a ‘dweeb’ it’s clear she has no interest in fitting in to any mould or norm.

Her voice has a subtle vacant quality to it, at times it is almost hypnotic which meshes with the eerie electronic sounds of songs like the unreleased Diamonds & Gold. Other songs like Pride and Atoms - which sounds almost like Uptown-Funk -  have an 80s funk influence. Abra’s lyrics are spell-like, and at their best are almost frightening; “he said you crazy lady, I said you ain’t seen nothing yet baby” she sings on ‘Atoms’.

Ultimately, music seems to be all that’s important to Abra. She sings my favourite lyric in ‘Feel’, “All I wanted and all I ever need is a beat and a hum that can make me feel human”. On the album, ’Feel’ and ‘No Chill’ are repeated in the final two tracks called ‘Human’ and ‘Game’, as acoustic piano versions, exposing her talent as a singer-songwriter and musician, as well as a relatively amateur producer.

Abra is fascinating. Her music is quite unlike anyone I’ve heard before and she is definitely my new style icon. If you live in Europe (or London) tickets for her EU tour are on sale here now, I can only predict that it would be a mesmerising performance. I love this girl, I hope you will too.

Follow Abra:

Twitter: https://twitter.com/darkwaveduchess

Instagram: https://www.instagram.com/darkwaveduchess/

Facebook: https://www.facebook.com/darkwaveduchess/timeline

Soundcloud: https://soundcloud.com/darkwaveduchess

[goldenrootsmusic]

It's Christmas Eve, and I almost left it too late to share with you what I've been listening to this christmas. So my prezzie to you this year is a playlist of stuff. Don't worry, there isn't a single christmas song in there. Neither is it full of new releases or names to watch (although there are some fresh faces you ought to get on board with), it's just what I've been listening to and loving this winter.

Grimes' 'Art Angels' has had bloggers everywhere going crazy, and after finally getting around to listening to it, I can confirm the hype is real. I love it.

Continuing the resurge of talent and innovation in pop music this year, Selena Gomez and Carly Rae Jepsen both released albums on another level from their previous disposable chart stuff - I am absolutely loving both albums.

Electro and synth-pop is gaining new talent by the day, including unsigned Swedish duo I Am Karate and Australian duo GRRL PAL, the most recent additions to my iTunes.

Also in the playlist are a few nominees for BBC Radio 1's Sound of 2016, Mura Masa, NAO and Jack Garratt. These three are doing everything right it's impossible not to gobble up their music as soon as it hits the internet.

There's a mix of new and old rock releases from the likes of Prides, Lower Than Atlantis, and newcomers from across the pond, Bully. Clara Amfo, I think quite accurately, compared Bully to The Runaways (not all girls though, sadly). Most importantly I never got a chance to talk about THE RETURN OF BUSTED! They've just released an Abbey Road Session recording of one of my favourite Busted songs 'Meet You There', so the original is in there too.

Finally, I am practically squealing with excitement for The 1975's new album which doesn't come out till February (grimace). The two tracks we've got so far seem to see the band joining the 80s revival - both songs are bloody brilliant. 'Love Me' in particular, is hilarious and genius.

That's all from me, Merry Christmas everyone!

TRACKLIST:

1. Paradise - GRRL PAL

2. Bad Blood - NAO

3. Adore You - NAO feat. Abhi and Dijon

4. So good - NAO feat. A.K Paul

5. California - Grimes

6. Artangels - Grimes

7. Easily - Grimes

8. Pin - Grimes

9. Life in the Vivid Dream - Grimes

10. Hands To Myself - Selena Gomez

11. Rise - Selena Gomez

12. Weathered - Jack Garratt

13. Breathe Life - Jack Garratt

14. Chemical - Jack Garratt

15. Baby Please - HONNE

16. Trying - Bully

17. Milkman - Bully

18. Six - Bully

19. UGH! - The 1975

20. Love Me - The 1975

21. Your Type - Carly Rae Jepsen

22. Favourite Colour - Carly Rae Jepsen

23. Boy Problems - Carly Rae Jepsen

24. Meet You There - Busted

25. Bloom - I Am Karate

26. Bitter - I Am Karate

27. Moment - I Am Karate

28. Messiah - Prides

29. Criminal - Lower Than Atlantis

30. Lotus Eater - Mura Masa

31. Lovesick - Mura Masa

32. Melatonin - Phoria

[goldenrootsmusic]

Mahalia Tour & EP Announcement

It is with the greatest pleasure and excitement that I bring you the news of singer-song writer, Mahalia's first UK headline tour starting this month (insert celebratory dance). I did a little yelp when I stumbled across the poster on FaceBook and saw she was coming to Bristol. The tour is a series of small, intimate gigs across the UK; and they're all absolutely free! Yes, your pocket can relax, now you have no excuse not to go.

Along with the tour, Mahalia has also announced the release of her next EP 'Never Change', out on 11th December. It feels like I've been waiting for new music from this girl for forever, its actually only been a few months but isn't waiting always worse for things we want the most? Well, the wait is finally over as she has shared with us a track from the EP called 'Borrowers' along with a video.

The heart-wrenching piano paired with Mahalia's unique, soulful vocals had me in tears on first listen. I've said this before, but Mahalia is the definition of an 'old soul'. Her lyrics speak of such wisdom and experience, it’s hard to believe she’s just 18. 'Borrowers' talks of the dangers of falling in love too soon and too fast, leaving you feeling 'borrowed', or like a 'borrower', borrowing people's hearts but never able to hold on to love. Mahalia sings, "i'm a borrower of hearts, and borrowers never last."  

Mahalia's voice is effortless. It has this gorgeous, gritty quality to it which gives it an inescapable soul, the kind that cannot be taught.  This voice is what makes this song powerful, and is what makes Mahalia so special.

The video is simple, letting the song do most of the work, with just a series of shots of Mahalia looking thoughtfully out of a window, or draped over a piano. It's organic and natural, just like Mahalia. Watch it here: https://www.youtube.com/watch?v=pMoxg7FWW0E

You would be absolutely mad to miss this opportunity to see Mahalia, book your tickets now: https://www.facebook.com/mahaliamusic/?sk=app_123966167614127

[goldenrootsmusic]

Troye Sivan Blue Neighbourhood Trilogy

I love music videos.

I love that they give artists an opportunity to put their ideas into a visual form. Music videos can tell a story, paint a song with colour, or they can help enrich the messages behind lyrics. With this in mind, let's talk about Troye Sivan.

In anticipation of his debut album Blue Neighbourhood, the australian pop star has released a trilogy of music videos telling the story of a complicated relationship between two childhood sweethearts. 

The first two instalments of this mini-series were songs from his recent 'WILD' EP and a few days ago we got the third. A new song from the unreleased album called 'TALK ME DOWN'.

The three cinematic videos address the all-too-real issue of dealing with and accepting ones sexuality as a member of the LGBT community; something that doesn't always have a happy ending. Not only are these songs amazing, but they create a very important awareness surrounding an issue that is finally getting increased recognition in today's society.  

Part 1, 'WILD' depicts the close relationship of two boys as children. We see heartwarming scenes of the boys innocently playing together, set against the backdrop of some beautiful Australian scenery. These scenes are mixed with snapshots of them together grown up, where their relationship has developed from friendship to romance. Troye sings, "I never knew loving could hurt this good and it drives me wild". However, seeds are sown for trouble to come as one of the boy's father's displays homophobic behaviour, coupled with an obvious reliance on alcohol.

Part 2, 'FOOLS' opens with the line "I am tired of this place I hope people change". This song has a much more sombre tone than WILD, which is paralleled by the video. In this episode we see the boys forced apart by the father who's homophobia manifests in violent threats towards his own son. The result is the son's total rejection of Troye and arguably his own sexuality/self. The reality of their relationship is hard-hitting.

Part 3, 'TALK ME DOWN' is where this reality really takes a sad turn. Set at the funeral of the boy's father, we get a glimmer of hope for Troye as the boy's are reunited in a hopeless embrace, however this is quickly interrupted by the boy's girlfriend. The video ends with a sobering image of the boy stood at the edge of a cliff, bringing a whole new meaning to the lyric "talk me down". The message here is serious and unavoidable. In terms of the song, I think it might be a new favourite of mine, I love the innocence of the lyric "I wanna sleep next to you but that's all I wanna do right now".

My favourite music videos have always been those that both tell a story and have a strong cohesive aesthetic, giving them a cinematic quality. The Blue Neighbourhood trilogy does both these things to the finest degree - as a concept, both visually and musically, I love it. Troye's songs are intelligent, honest and beautiful. He has an aptitude for effective phrasing and arrangement, and his lyrics have an almost naked quality to them which allows them to blend seamlessly with his clean production. I think the Blue Neighbourhood videos put this into a visual form perfectly, and they carry a very important message with them.

I have the utmost admiration for Troye Sivan, and I cannot wait to review the album.  

[goldenrootsmusic]

Years & Years a year later...

23rd October. The one year anniversary of the very first time I saw Years & Years live. They were just a support band and I was just one in a small handful of people who knew the lyrics to their songs. Still to this day it is one of the best sets I have ever seen.

On Wednesday I returned to the O2 to see them live a year later; I have already written a review of the gig for PearShaped which you can read here, but I wanted to write a really quick, personal post for Golden Roots too. It was here that I first talked about them and a year later, I'm still talking about them.

If you've ever read anything I've written about them, or had the misfortune of having to listen to me going on and on about how amazing I think Communion is, you'll know how special this band are to me. But there's one person who I never got to tell this to, until now. On Wednesday I finally met Olly Alexander. I could drop the words 'fate', 'destiny' or 'it was meant to be' in here now, but you'd probably think I was crazy. Let's just say it was incredibly good luck. I was absolutely terrified to talk to him when I saw him sat in Colston hall cafe, but then it seemed mad to me that someone who has been such an important part of my musical journey over the past year, had no idea of the impact he's had on my life - I couldn't let this opportunity go.

Fortunately, he was lovely. He gave me a hug and listened to what I had to say. There are a million things I probably should have told him about and didn't, including the existence of this blog. But mainly I was able to tell him that Communion is brilliant, and that's all I really needed him to know.

Of course, the gig that night was amazing and there was an obvious improvement and attention to detail since the last time I saw them. Olly seemed to have a new freedom and energy on stage, something that was noticeably different from the timid, introverted person I saw on that stage a year ago (the wavy dance moves were always there, though).

I feel so lucky to have had this experience; I would describe it as a dream come true. Thank you to Years & Years for all the songs that reminded me of the power and importance of music in my life. Now I'll shut up and let you enjoy these photos from the gig…

[goldenrootsmusic]

HAPPY BIRTHDAY GOLDEN ROOTS!!! I can hardly believe it's been one whole year since my first post went live. I like to think that in that year my writing has gone from unstructured streams of garbage pouring straight from my head to my screen, to slightly more readable, coherent and informed discussions of music I love…that's what I like to think. Anyway, whether you've stuck around to read every post, or just the one, thank you. Every time someone tells me they've discovered a new artist, or changed their opinion of a band because of my blog, it reminds me why I have Golden Roots. I started writing this blog for two reasons: 1. because I wanted to share music with as many people as possible and 2. because I was sick of reading negative, contrived reviews that your average reader/listener (me) could barely understand, let alone enjoy - who wants to read what someone thinks is bad music? I wanted to write about music I love, in the hope that someone might stumble across Golden Roots and think 'hey, me too!'. At times this blog has felt more like a collaboration than a solo mission, as so much of the music I have shared has been recommended to me by friends and family and I rarely ever post without forcing my friend to proofread my words. Thank you to everyone who has been involved in Golden Roots in the last year, even in the smallest of ways, and to anyone who has ever read a post - you rock.

My first post here looked back on the music I grew up with, so a year later I have decided instead to look to the future. I've made a playlist of new music or artists I am excited about, recent releases or discoveries that I haven't had the chance to talk about yet and music I am getting almost impatient waiting for. I apologise to those of you who can't listen because of the Spotify barrier, but i'll include a complete track list so you can investigate for yourselves.

The first part of the playlist are all relatively new artists whom I am very excited to hear new music from:

- Atl-pop artist Kacy Hill has just released her first EP 'Bloo', following the release of her single 'Experience' almost a year ago. The EP merges trickling piano melodies with synth-production and Kacy's delicate falsetto vocals. 'Bloo' is a refreshingly concise collection of pop songs like you haven't heard them before - I am so excited about the future of this girl.

- Back in May I wrote fanatically about 18-year-old Mahalia after I saw her supporting Leon Bridges on tour. I am still waiting in anticipation of new solo music, however for now my thirst has been quenched by her fun-loving collaboration with Rudimental. I recently reviewed 'We The Generation' for my university's music magazine 'Pearshaped'; have a read of that here, and enjoy the song.

- Sena Sener is a name made known to me by one of my best friends after James Blake reposted her cover of Laura Branigan's 'Self Control' on SoundCloud. I am obsessed with this girl's voice, and at only 17 she has just released her first single 'Feel'. This 80s-inspired disco track is very different from the acoustic covers on her YouTube channel, however I think is a very interesting addition to the dance music scene. With upbeat violin and Sena's unique voice that doesn't fully kick in till round the 2:30 mark, there's something strangely fascinating about 'Feel'. I'm intrigued to see what's next for the Istanbull teen.

- Lastly, if you're into YouTubers, you probably already know who Troye Sivan is. But if, like me, you've never heard his name in your life, don't worry, the YouTube videos really aren't important. What is important is the music. At the end of September Troye released his second EP 'WILD' and thanks to my flatmate, I am now obsessed. With production and lyrics reminiscent of Years & Years, sad piano melodies and synth-heavy beats, Troye is creating the kind of high-quality pop music we are beginning to see more and more of. I am very excited, you should be too.

After that promising foursome, I've stolen the opportunity to confess some not-so-guilty guilty pleasures. I will leave you to make of these what you will, but I for one am very excited about a certain Pop Princess' comeback, and for the arrival of November 13th… If you want to hear in detail what I think about JB's return, you can read my recent column for Pearshaped here.

Finally, you might get to the end of this playlist and ask yourself why on earth Ag has chosen to include such well known names in a playlist of supposedly 'new music'. I only have one defence for this. The end of this playlist is a cry into the abyss, it goes out to Paolo Nutini, Frank Ocean and Lorde and it goes like this: "WHERE THE FUCK IS THE ALBUM?"

Happy 1st Birthday Golden Roots, I can't wait to see what the next year will bring us.

TRACKLIST: 

1. Foreign Fields - Kacy Hill

2. Arm’s Length - Kacy Hill

3. Shades of Blue - Kacy Hill

4. Foreign Fields (Yung Gud Remix) - Kacy Hill

5. Arm’s Length (Bodhi Remix - Kacy Hill 

6. We The Generation - Rudimental feat. Mahalia

7. Let The World See The Light - Mahalia

8. Ride - Mahalia 

9. Mardy Bum - Mahalia 

10. If You’re In Love - Mahalia 

11. Feel - Sena Sener

12. WILD - Troye Sivan

13. BITE - Troye Sivan

14. FOOLS - Troye Sivan

15. EASE - Troye Sivan

16. THE QUIET - Troye Sivan 

17. DKLA - Troye Sivan feat. Tkay

18. When Love Hurts - JoJo

19. Save My Soul - JoJo

20. Infinity - One Direction 

21. What Do You Mean? - Justin Bieber 

22. Hey Everybody! - 5SOS

23. Pink Matter - Frank Ocean feat. Andre 3000

24. One Day - Paolo Nutini 

25. Buzzcut Season - Lorde

26. Magnets - Disclosure feat. Lorde

[goldenrootsmusic]

With only a week left till I'm off to uni, I thought that now would be the perfect opportunity to look back on my summer in music. Over the last couple of months my iTunes has seen perhaps it's widest variety of artists and genres to date. I have made some new discoveries, resurrected old loves, developed several new powerful obsessions, attended some amazing gigs and booked up my calendar with more for the new year. It's been a good summer.

To share with you what i've been listening to, I bit the bullet and downloaded Spotify. I want to make clear that I do not support the use of Spotify or Spotify Premium for sole listening; many artist's and writers still receive an unfair cut from their labels for streaming. Unfortunately, Spotify is the only platform with a vast enough library that allows me to share playlists to tumblr. I hope you are encouraged to purchase any of the songs you hear on this playlist, rather than stream them. Until we have an established president for what labels pay their artists for streaming, I do not support it.

Anyway, I didn't want to bore you by writing about every single song on this playlist, so instead i've picked out a few to elaborate on; artists I maybe haven't talked about on Golden Roots before, or songs that held a certain significance for me this summer. Enjoy the playlist!

Tracks 6 and 7, 'Lane Boy' & 'Ride' are by Ohio duo, Twenty One Pilots. I discovered the music of Joseph Tyler and Joshua Dun this summer with the arrival of their new album 'Blurryface' and was completely blown away by the intelligence and poetry of their songs. Twenty One Pilots are a melting pot of trap, rap, piano, drums and sometimes ukulele. I love them.

// ‘She’s Kinda Hot’ artwork by 5 Seconds of Sumer

Track number 8, 'She's Kinda Hot', is the first single from 5 Seconds of Summer off their upcoming second album 'Sounds Good Feels Good'. This may be my favourite song of the summer. Hearing this for the first time, it was one of those moments where your heart stops and you can't speak and you know you've heard something truly special. Then you listen to it 8 more times. It's even more like the pop-punk bands of the 90s than their first album, but still unmistakably 5SOS, this song is fucking awesome.

Tracks 11-14 are four songs by post-hardcore rock band Sleeping With Sirens. 'Scene Three - Stomach Tied In Knots' from their acoustic EP 'If You Were A Movie, This Would Be Your Soundtrack' (2012) and three tracks from their latest album 'Madness' (2015): 'Fly', 'Don't Say Anything' & 'The Strays'. After several months of only owning two of their songs - 'Roger Rabbit' and the classic 'If You Can't Hang' and being quite confused about how these two songs could be so completely different, but by the same band, I eventually investigated further. First, finding their 2012 acoustic EP, I instantly fell in love with Kellin Quinn's gorgeous falsetto voice and the narrative of the EP that tells of the growth and death of a relationship. I was then quick to fall in love with their 'Madness' album, as well as several tracks from past albums. SWS have become a firm favourite of mine and I've dragged two of my friends down with me, I cannot wait to see them on tour next February.  

// ‘Something’s Gotta Give’ music video by All Time Low

Tracks 16-18, although all completely different songs, have one thing in common - an awesome music video. I am kinda obsessed with music videos; they give artists the opportunity to put a song into a visual form and they aid us in our understanding of the idea behind a song, whether this be purely aesthetic or to tell a story. These three tracks, 'King For A Day' by Pierce The Veil feat. Kellin Quinn, 'Something's Gotta Give' by All Time Low and 'Girls Like Girls' by Hayley Kiyoko, all do the latter. 'King For a Day' was a song written purely for the fan's, the story of Vic and Kellin rebelling together against corporate authority is every fan's dream come true. 'Something's Gotta Give' is hilarious and clever, "i'm dying to live!" belts Alex Gaskarth, entirely zombie-fied - I've watched this gory video a hundred times. And 'Girls like Girls' tells a very innocent love story, but one not often shared in popular media - you have to watch this one right to the end to catch the heart-melting face of a girl who finally got the girl of her dreams.  

// AURORA

Track 21, 'Runaway' is from 19 year old Norwegian singer-songwriter AURORA. This song is from her Running With The Wolves EP, released in May of this year. I am very excited about this new discovery, Aurora's haunting voice is quite old fashioned, floating perfectly among the rippling electronic production that Scandinavians seem to be so good at. I guarantee you will love AURORA as much as I do.

Track 20 is an absolutely contagious song from the faultlessly gorgeous Malaysian pop-star, Yuna. The song, called 'Falling' is from her 2013 'Nocturnal' album, it is definitely one of my favourite pop songs ever. I've loved Yuna for a long time but rediscovered her recently and have hardly stopped playing her two albums. I have been on many happy drives over the summer with friends listening to this song, and Yuna always gets a "who is this!?" reaction. Hopefully now, they won't have to ask.

Finally, track 24 is the long-awaited new single from Justin Bieber - 'What Do You Mean?'. The pan-pipes and mysteriously catchy 'tic-toc' effects on this song have got me very, very excited about JB's come back. If the new album is going to sound anything like this song, I think it's gonna be amazing. Welcome back Biebs!

[goldenrootsmusic]

BADLANDS (Deluxe) - Review

You might have heard of new feisty pop female on the block, Ashley Frangipane, by her stage name 'Halsey'. If you have, then you'll have been counting down the days till the release of her debut album, 'Badlands', since her gritty 'Room 93' EP dropped last October. Blue haired, head-strong and with a lot to say, Halsey looks set to be the unintentional new leader for girls world-wide.

Before buying 'Badlands', I was quite hesitant, I wanted to get a better sense of who Halsey is, and where she's coming from with her music, because I felt like whilst the music was good, I just wasn't getting her message. After doing some late night research, I started to love her.

"And all the kids cried out,

"Please stop, you're scaring me"

I can't help this awful energy

Goddamn right, you should be scared of me"

- 'Control'

This for me sums her up. On first listen, I was fucking terrified of Halsey. She's only 20 but her lyrics depict a fast-paced, drug-fuelled life of sex and self-conflict. How could I relate to that? But then I started to get it. In this interview with Fuse Halsey talks about how she doesn't 'consider herself a sports singer' but instead, a writer, and that songwriting was the best way she could get people to listen to what she was saying. "As someone who enjoys writing, the biggest struggle, I think, for any writer, is people not actually reading what you write." Now, if I can't relate to what she's saying, I can definitely relate to her desire to be heard. The frustration of feeling like you've written something vitally important to you, that you actually want to share with someone, and you just can't get the right people to hear you, to read your words. Well Halsey, I'm all ears.

This desperation to have her words heard, was fortunately followed by a love of performing; not to mention her songs are really bloody good. Inspired by Alanis Morissette and Liz Phair, Halsey wanted to make the next "angry, female pop record" and she has. The production on this record is reminiscent of Taylor Swift's '1989' but with a much darker vibe, add a drop of Lana Del Rey and finally inject with the Halsey shock-factor, and you've got 'Badlands'.

"Everybody wants to know

If we fucked on the bathroom sink

How your hands felt in my hair

If we were high on amphetamines"

- 'Strange Love'

Halsey writes about what she knows: sex, drugs, sadness and the struggle of finding herself somewhere between being ultra-feminine and unapologetically androgynous. Despite claiming not to be much of a singer, I love Halsey's voice; she clearly knows she can portray the emotion of her songs better than anyone else can, and she does it over sparkly, bass-heavy electro-beats. These two components shine together best on tracks such as the irresistible 'Hold Me Down', the trickling 'Haunting' and in the lifting chorus' of 'New Americana' and the ultra pop-y fan-favourite 'Roman Holiday'. The more I listen to these songs, the harder I fall in love with Halsey.

I think, the fact that Frangipane is reluctant to call herself a role model - being acutely aware of her raw imperfections - is the very reason why so many girls are going to see her as one. She's not perfect, she's rough around the edges, she isn't your regular bubblegum pop princess, and she completely owns that. Her songs talk about a girl who wants to take care of herself, so that no one else has to. Halsey, and 'Badlands', is proving a point; not just about herself, but about pop music - just because it's not always the clean, sweet, energetic stuff you hear on the radio, does not mean it's not pop. Pop music can be mean too, and with someone as commanding as Halsey behind it, you will listen to it.

Buy Badlands (Deluxe) on iTunes

Follow Halsey:

Twitter: https://twitter.com/halsey

Instagram: https://instagram.com/iamhalsey/

Spotify: Halsey  

[goldenrootsmusic]

YEARS & YEARS ‘COMMUNION’

I have thought very hard about how to write this review without simply stringing together a load of really positive adjectives and superlatives mixed in with some exclamation marks and typos. Because although that was indeed my internal reaction, I'm not sure that's really going to captivate any potential readers and especially any prospective new fans of Years & Years. So instead, my friend suggested that I take a step back and pretend this is the first time I've heard Years & Years and just review the album as a listener, as that really is all I am. I thought this was a great idea, however it does essentially mean pretending I haven't already seen them live four times in under a year and that I haven't had 11 months to form the opinion that Olly Alexander is the best song writer of the 2010's. But, I'll try my best.

Upon first listening, I predict that 'Communion' has set a new standard for debut albums, universally. You just wouldn't believe that this is the first full-length record Years & Years have ever put out. It sounds polished, thoughtfully curated and nothing short of exquisite.

Every track, and I mean every track, instantly grabs your attention from the moment you hit play - I challenge you to listen to 'Take Shelter' and not feel your limbs involuntarily twitching. A huge part of this is down to the crisp electronic production. Although clearly inspired by other dance and electro sounds, somehow Years & Years manage not to sound outdated, and not futuristic, but exactly like the present. They just do sound like 'the sound of today', like representatives of a contemporary pulse; no-one else (that I know of) does this quite like them. Maybe that's why this album works, you just want to love it before you're even sure why. "King" and "Desire" are the clear dancefloor fillers, with uptempo beats and powerful, lifting choruses, these songs are devilishly tempting to producers wanting to remix them with massive drops and dubstep basslines. But even as originals, by the first chorus you're ready to be jumping around in a club screaming the lyrics with sweat dripping off your forehead. That's clever production, that's how you make an anthem.

Then there are songs like 'Eyes Shut' and 'Shine' where you just kind of think 'how? how do they write this stuff??' It is in these songs, and other's such as 'Without' and the infectious 'Ties', that Olly's talent for writing pop melodies shines through. I'm willing to promote 'Eye's Shut' as the song that's going to make piano cool again, I don't even know if piano has become uncool, but it definitely won't be in any such danger now. What these tracks have in common is their ability to make you feel uplifted, as if you're a part of something much bigger than just the song on it's own, you feel comforted by it, even if the only lyric you remember is "can you see me, I'm shining" (Shine), you can't help feeling like somehow Olly wrote this song for you. "If I had been enough for you would I be better would I be good" (Real). Throughout the album, Olly's lyrics expose a deeply personal part of someone's life, the way he loves, the way he hurts, the secrets that he keeps; notably, Olly's use of male pronouns (something he is almost alone in doing) show he is unafraid to express his sexuality. This to me is true bravery. And as a band, Years & Years seem to take a very personal, gently crafted skeleton of a song that Olly writes; then Emre, Mikey and other's apply their bit of the 'Years & Years formula' to it and together they create something that seemingly can't fail to be a bloody great song.  

Perhaps the thing that shimmers and glows at the heart of 'Communion' is Olly's voice. I certainly think his presence on the album adds to it's inescapably modern feel. It is clear that he was born with a gift, as the tone of his vocals is something that cannot be taught. At times reminiscent of Michael Jackson or Abel Tesfaye (aka The Weeknd), it is borderline R&B, but would also arguably work perfectly on a purely pop Sugababes track. However, it is unique, it belongs to Years & Years as if it is the very glue that binds this album together. Olly's voice has a natural ability to express emotion to the finest degree, giving each song on the album it's own distinct character. From the dark and brooding opening track, 'Foundation' to the beautiful and soul-wrenchingly sad closing track 'Memo', Olly is entangled in these songs and his voice cuts through space and time to bring the music directly to the listener. This album would not be the masterpiece that it is without him.

Finally, maybe what I love most about this album, is the risks that it takes. I think it is a very brave thing to have such contrasting songs as 'Desire' and 'Memo' on one album. But Years & Years do not seem to be bothered about whether they are labelled a dance group, a pop group or anything else; they are Years & Years, take them as they are or leave them.  

Ironically, these intensely personal songs have the ability to bind people together. Olly recently posted on Instagram the oxford dictionary definition of 'communion':

"the sharing or exchanging of intimate thoughts and feelings, especially when the exchange is on a mental or spiritual level"

I think, with this in mind and the physical and emotional reaction I had to 'Communion', there could not be a more perfect name for Years & Years' debut album.

Buy it, buy it now. Buy the deluxe version, Buy it three times. Just buy it.

[goldenrootsmusic]

PVRIS

//Photo by Kelly Hamilton

PVRIS are an American Rock Band made up of members Lyndsey Gunnulfsen (pictured above), Brian MacDonald and Alex Babinski. They have been making waves since 2013, notably being the first and only female-led band to be signed to metalcore label Rise/Velocity Records. Their debut album 'White Noise' was released in November last year. PVRIS aren't exactly brand new to the sound-waves, so why hadn't I heard of them before? Probably because I'm STUPID. But thank God I tuned in to the BBC Radio1 Rocks live lounge where I head PVRIS covering Tove Lo's 'Talking Body'; Lyn's quirky voice caught my attention and I had to hear more.

PVRIS sound like what might happen if Paramore met Evanescence in a dark nightclub - and i'm willing to bet they have the potential to be as good as both names. The album carries throughout it a theme of being haunted, perhaps by an ex-lover or an unwanted acquaintance that just won't leave.

"I feel you in these walls

You're a cold air creeping in

Chill me to my bones and skin

I heard you down the hall

But it's vacant when I'm looking in

Oh, who let you in?" (My House)

Lyndsey's voice has an almost eerie quality, switching from a seemingly innocent, gentle tone to a punchy aggression necessary to carry off lyrics like "I wanna feel something, thats not the touch of your breath on my neck". Her presence on the album is matched perfectly with the band's unique sound, which merges dance-floor production with rock instrumentation. PVRIS are quickly becoming one of my favourite bands and if like me, you hadn't heard of them, I strongly suggest you do your ears a favour and give them a listen like, yesterday.

My top tracks are 'Mirrors', 'St Patrick' and their latest single, 'Holy'.

Buy their album now on iTunes. 

Follow PVRIS:

Twitter: https://twitter.com/ThisIsPVRIS

Facebook: https://www.facebook.com/PVRISBandMa?fref=ts

Spotify: http://smarturl.it/SpotPVRIS

[goldenrootsmusic]

Glastonbury Festival 2015

Firstly, sorry this is late, i've been away from the internet for three weeks, I hope you'll take it 'better late than never' etc.

So, yet another great week at the world famous music festival on Worthy Farm is over. Time and time again I hear the phrase "its not just about the music", and though it is true that there is a huge amount to see and do at the festival, for me at least, the main reason for going will always be the music. Truthfully, I wasn't as excited about the lineup as I was last year, but this was in a way a blessing in disguise, because it meant I went with a more open mind and discovered bands i'd never heard of and was surprised by some of the acts I wouldn't have chosen to go and see had it not been for my friends saying "you'd love them!". With this in mind, this year I have chosen to look back on the weekend in a different fashion from previous years; I present you, the Golden Roots Glastonbury Festival Awards…

Highlight: FLORENCE AND THE MACHINE

I don't think anyone who saw Florence and The Machine headline the Pyramid Stage could say that they weren't one of, if not the, best thing they saw over the weekend. I am a huge fan of their latest album 'How Big, How Blue, How Beautiful' which shows, I think, a more tender side of Florence's writing; a side that is perhaps only visible off stage. The shining star of the band, Florence is one of those artists who seems to take on a completely different persona on stage, she harnesses a power and energy from somewhere so that you can almost see her come to life. Everything about Florence is other-wordly, from her almost biblical lyrics to her eccentric stage presence, prancing around the Pyramid stage she became more fairy than human. Vitally, she channels this energy through her voice, showcasing an impressive range and power that makes her songs the formidable forces that they are. Florence and The Machine's set at Glastonbury was more than a concert, it was a spectacle of fantastic music, showmanship and magic. I would even join those saying she should have been booked as the original headliner, not just a plan B. Top songs of the set: 'Delilah', 'How Big, How Blue, How Beautiful' and 'What The Water Gave Me'.

Best Discovery : THE CRIBS

I'd never heard of The Cribs, but my friend persuaded me that with nothing better to do I ought to accompany her to see them on the Friday morning of Glastonbury. Here's how the conversation went(ish):

"They're sort of punk-pop alternative rock…they're brothers…they're northern"

"Sounds like my new favourite band".

Maybe that was a bit of an over-expectation, but they were really cool and felt like a 'proper' band that maybe your friend's cool Dad listened to in the 70s. I would be lying to say they were particularly unique, but at least they did it well. I mean, they've been around for years (as a band that is, they've been brothers for their whole lives obviously) so they're pretty polished as musicians, but they still had a likeable rawness to their performance and their songs are great. If, like me you'd never heard of them, I suggest you check them out - they're a band worth adding to your library. Top songs of the set: 'Different Angle', 'Pink Snow' and 'Burning For No-One'  

Pleasant Surprise: CHARLI XCX

Dressed in skimpy 'St Trinians'-esque uniforms, Charli and her all-female band took to the John Peel stage and stomped out tracks from her debut album 'Sucker', for one song Charli even 'played' a giant inflatable guitar, I don't know why, but I gleefully clapped along somewhat in awe of her 80's pop. Before seeing Charli at Glastonbury, I was guilty of thinking she was just another formulated pop star boosted to fame by a couple of very lucky opportunities and famous friends. Never, has my mind been changed so completely with just one performance. Charli XCX is exactly the kind of young, spunky, British (I thought she was American!!) feminist I am excited to call an idol. She's pretty and girly and loves to party, but she is fierce and clever and her provocative dance moves (sometimes literally) scream "I don't give a fuck" - not a concert to attend with your parents, although arguably one that every parent should let their teenage daughter go to. I'm quickly becoming obsessed with this album and I am so glad I saw her set at Glasto'. Top songs of the set: 'London Queen', 'Famous' and 'Body Of My Own'

Biggest Disappointment: KANYE WEST

It's not often that I talk negatively about an artist on here, but if i'm giving an accurate representation of my Glastonbury experience, I can't ignore the sore thumb that was Kanye West. Don't get me wrong, I am a Kanye fan, I was looking forward to this set, I defended the Eavis' against criticism from those NME-reading yobs who consider themselves scholars of Glastonbury and believe the pyramid stage should be for 'bands only'. I was excited for Kanye to prove them wrong. But, he didn't. True, it was different, it was wrapped up in drama as is everything with Kanye West, but if we're talking about the music, it wasn't a good set. Firstly, through the thick fog of his own ego, Kanye seemed to have forgotten how to actually finish a song, playing only about half a track before stopping the performance and plunging the stage into darkness, leaving us stood in a dark field for a few minutes. They're great songs Kanye, why couldn't you play them all the way through? Then there was the ten minutes we were left waiting while he went up in a crane, you know, just because he can. And then when he jollied off to pal around with Justin Vernon of Bon Iver and to tell us about the love-letter-email he sent to Kimmy K. I wasn't expecting to like Kanye as a person, but I was expecting to be blown away by a polished performance from one of the greatest rappers and artists of our time, this is what I had been promised from stories of his tour. I wasn't. The potential was there, but maybe he just didn't care enough about disappointing anyone. And Kanye, if you're going to sing Queen, please learn the words first.

Crowd Experience: JAMIE T

I confess, this award might just have been an excuse to include Jamie T, but then again I was not expecting this to be the set with what seemed like the most passionate and loyal fans. I loved Jamie T's first album, his boisterous and gritty music gives you something to really sink your teeth into. I guess this is why, close to the front, I was surrounded by rowdy twenty-somethings who knew every. single. word. of his fast-paced songs, new and old. Maybe I shouldn't have been so surprised, Jamie's music has always been for a generation, a part of society who's voice isn't very often listened to. And the level of appreciation was there with the strongest connection between the performers and the audience I felt all weekend. Jamie's set provided an escape, for anyone present, to let loose and have a riotous good time - biggest mosh pits I have ever seen, is all i'm saying. This was a lot of fun, and Jamie hasn't lost a bit of genius or talent since his first album. Top songs of the set: 'If You Got The Money', 'Sheila' and 'Emily's Heart'

This is just a glimpse of my weekend, I saw so many amazing sets from legends and newbies, but I can't talk about them all. You'll have to watch them for yourself on iPlayer and pretend you were there, or relive it if you were. See you on the farm next year!

[goldenrootsmusic]

5 Seconds of Summer ROWYSO at Wembley Arena

On Saturday night, Wembley arena was filled with ripped skinny jeans, blue hair and phone flashes held skyward, but there was also something else present - magic. It was one of those rare gigs where everyone was singing, not screaming or pushing or shoving their phone in your face. Why? 5 Seconds Of Summer, that's why.

With an average age of 19, '5SOS' are made up of frontman Luke Hemmings on lead guitar, Michael Clifford on guitar, Calum Hood on bass and Ashton Irwin on drums. Four energetic, sparky, australian teens who came together over a love of music and Will Smith to travel the world with their guitars.

5SOS had their big break opening worldwide for One Direction on both their 'Take Me Home' and 'Where We Are' tours; here they made their smartest move, gaining exposure, a fanbase and in a staggeringly short amount of time, their first UK number one, a Gold-selling album in 10 countries and their pop-punk sound being played on mainstream radio. This band had made a name for themselves; they weren't 'the new One Direction', they were '5SOS'.

"You looks so perfect standing there in my american apparel underwear" recognise it? Hopefully you do, if not, welcome to the world of 5SOS. This hilariously random lyric comes from the chorus of their first US and UK single 'She Looks So Perfect'; the song that got me hooked. It was the perfect feel-good anthem to introduce this pop-punk guitar band to the world; and to introduce a new generation to punk, pop-punk and punk-rock bands.

5SOS have successfully secured themselves a well-earned spot in a long list of names; Blink-182, Greenday, Sum-41, All Time Low, All American Rejects, Fall Out Boy; bands for the misunderstood, the rebels, the rejects, but they didn't just have to be outcasts, punks or try hards to earn themselves this honour, they had to be good. And they are.

Any video on YouTube, from their days of small acoustic performances in parks, to shaky home videos from their live shows that are polluted with screams of "PIZZA!!!!" will tell you how talented these four guys are. But to really understand how special they are, you have to see them live. Maybe its the way Luke sings every line like its a confession, or the way Michael shreds in his guitar solo for 'Beside You', whatever it is, it's seemingly impossible to listen to their album, let alone go to their gigs, without wanting to pick up a guitar or a pair of drum sticks yourself just to see what all the fun is about. These guys get it, they know how to write a song, not just one song, loads of them, loads of real songs, with honest lyrics, catchy melodies and wicked guitar solos. And then to put them into a show. 5 Seconds of Summer are the thing you didn't know you were looking for; whatever 'it' is, they've got it.

I can honestly say this was one of my favourite gigs of all time. One unforgettable moment was when Calum came to the edge of the catwalk, illuminated by low golden lighting to pick out the bassline of 'Everything I Didn't' Say', his only accompaniment was the audience softly singing the "ohohoh's".

This gig was special, even the way it ended was memorable - much to the horror of the crowd, including me, Michael had an accident with the pyrotechnics and left in an ambulance; if that's not rock & roll I don't know what is. (He's fine, by the way.) 5 Seconds of Summer have given me a lot through their music and going to their gigs is the only way I feel like i'm giving something back. You need to see them live...and so do I…again.

[goldenrootsmusic]

Leon Bridges at Village Underground

You may remember my earlier post expressing what a dream come true it had been to discover a soul artist as authentic as Leon Bridges, so alike the great soul legends of the 50s and 60s such as Otis Redding and Sam Cooke and yet still original. Well the only thing that could build upon that dream was seeing him live, which I had the absolute pleasure of doing this week in London.

The Village Underground is a creative centre of sorts just off Shoreditch Highstreet; it's concert venue being a reclaimed victorian warehouse, complete with round factory window and exposed red brick. Upon entering, the room was filled with stage smoke, adding to the underground feeling of this former railway coal store. Somehow, this musty atmosphere felt like the perfect venue for resurrecting the sounds of a bygone era. Or better yet, for entirely transporting an audience back in time to a bygone era.

All of Leon's band were dressed for the part in tailored suits with braces and Trilby hats. Leon, as usual, sported a sharp blue suit and bow tie. I felt as if I should have been wearing a mini dress and had my hair done into a beehive; it's almost a shame you can't smoke in places like that anymore.

But strip away the image, and you were left with the only thing that matters: fantastic, raw, soul music. Leon's band includes the guitarist from White Denim, Austin Jenkins who met Bridges by a chance encounter and befriended him through a common taste for 60s clothing. Perhaps though, the star of the show (second only to Bridges, of course) is the saxophone player - who's identity I have as yet been unable to uncover - without which, the vintage R&B sound of Bridge's songs would not be complete. Bridges himself sang like he was born to do it, channeling his heroes with just as much soul and irresistibility as Redding or Sledge.

Everything about Leon Bridges' music and performance created a consistent feel of the past. For the 45 minutes he was onstage, everyone in that room was locked in a moment, transported through time and cultures. Many of his songs capture scenes of home, growing up and having ancestry in the deep south of America. One song, 'Lisa Sawyer' is about his mother's upbringing, another, 'Brown Skin Girl' was the story of his Grandparent's meeting. The family theme in his songs is yet another element that makes it impossible not to feel the history, the nostalgia and the soul coming from this performer. That's not to say that Bridges is stuck in the past, but that there seemed to be a mutual feeling with band and audience that some moments in history, especially music, could and should, still have life today.

This was an incredibly special gig, from a genre I believed it would never be my privilege to see in my lifetime. I was wrong. Thank you, Leon Bridges for being a fan of southern music, and bringing it into the 21st century.

Pre order Bridges' debut album 'Coming Home' here now.

[goldenrootsmusic]

Mahalia

It's not often you get to see a supporting artist at a gig that almost makes you forget they aren't the main act. Last night I discovered one of those acts supporting Leon Bridges at the Village Underground in Shoreditch, London. It came in the form of 17 year old singer-songwriter Mahalia Burkmar from Leicester, accompanied by guitarist Jack and drummer Zizi.

Mahalia stood on stage in slouchy dungarees, masses of curly hair framing a welcoming smile; here is a girl as effortlessly gorgeous as her music. The trio performed all original songs written by Mahalia, including the first song she ever wrote at the tender age of 12 called 'Let the World See the Light'. It's hard to believe a 12 year old could write with such maturity, both lyrically and musically - but I guess that is a testament to Mahalia's natural talent. 'Let the World See the Light' is the first track on her Ep 'Head Space', released in 2012; a pretty collection of acoustic songs where Mahalia's raspy voice trickles over guitar strings - nice, but not a patch on the soul and talent I saw showcased last night. Just goes to show how far you can come in three years.

Mahalia does it all, acoustic guitar, electric guitar, keyboard and the voice. With echoes of Corinne Bailey Rae but with added grit, her voice is clearly a gift, as is the rest of her musical ability. What made this support a pleasure to watch was that all three musicians seemed to share not only talent, but an intrinsic understanding and love of music, from Jack's rock 'n' roll guitar faces to Mahalia's almost constant grin. It's amazing to be in an audience where you feel you've been invited to share a moment with the artist.

Everything about this girl exudes natural talent; it's no wonder she's already supported Emeli Sandé and Ibeyi on tour and sung with Rudimental as well as performing with Ed Sheeran in Birmingham and has landed herself the honour of a spot on Later… with Jools Holland tomorrow night. There is obviously something special about Mahalia.

Follow Mahalia on:

Twitter: https://twitter.com/MahaliaMusic

Instagram: https://instagram.com/mahalia_music/

Facebook: https://www.facebook.com/mahaliamusic?ref=ts&fref=ts

[goldenrootsmusic]

Kwabs at Thekla, April 2015

Having not been to a proper gig for months, my saving grace was seeing 'Kwabs', 24 year old Kwabena Adjepong, perform on the floating (literally) Bristol music venue - Thekla, this week.

I first heard Kwabs when Jo Wiley played his infectious 'Wrong Or Right' on her evening show sometime last year. It was that opening electronic riff that hit me first, then the beat - which Kwabs oh-so-satisfyingly clapped into action on Wednesday night - then the voice. Very deep, smooth and chocolatey, oozing with soul - I was hooked.

Kwabs emerged onto the tiny stage at Thekla all in black, looking a lot smaller than I expected, the whites of his wild eyes flashing across the crowd - I expected Kwabs to be an intense performer, I didn't expect him to be so cool. Whilst he sings with the professional precision of a practised singer, from his diction to his hand gestures; he performs with the zest and sharp dance moves of someone who just loves music, and knows how to have fun with it. Perhaps that sums up a lot of Kwabs' music. Every song (the majority taken from his forthcoming debut album) had elements of both a dark, serious ambience and a more danceable R&B vibe. Kwabs is a man of few words on stage, at times it appeared as though his band were having more fun than he was (whether or not this was indeed the case I would find impossible to say), but it is safe to say he is a very special artist. His voice sounds as if it came from somewhere deep within the earth, shown best through the shimmering, hauntingly beautiful 'Perfect Ruin'.

Honestly, this gig was better than expected. Kwabs' multi-dimensional sound is unique; but watching him perform live, it made sense. It became something very special. This was a great gig, and it being my first time on Thekla, I hope I can go again soon.

You can preorder Kwabs' album 'Love + War' now, and if his live show was anything to by, it promises some real treasures.

[goldenrootsmusic]

Recently I’ve been listening to music in a different way from before, perhaps going a little old school in that rather than snatching up loads of tracks and whacking on my recently added playlist like I usually do, I’ve been buying whole albums.

I feel that procuring music in this way allows me to form a real appreciation for an album as a whole body of work and it helps me to better understand the artist’s intentions for the album, and the message that comes across with it. I love being able to put individual songs into some context.

With this in mind, I’ve had two debut albums on repeat for about the last month, the first of which being LOLAWOLF’s (one third of whom is Zoe Kravitz) ‘Calm Down’. LOLAWOLF have this amazing mash up of sounds that creates a really interesting texture; organic percussion sounds juxtaposed with very electronic tones; listening to it I feel as if i’m aboard a spaceship driven by the musicians of ‘Junk Music’.

The second, is Blood Orange’s ‘Cupid Deluxe’. Blood Orange have so many influences, for one they have a very 80s sound (think Sting meets Michael Jackson), but some tracks are injected with funk guitar, whereas other’s like one of my favourites ‘High Street’ feature amazing rap verses - and it doesn’t end there. I have found a little bit of every emotion within these albums and I think if these bands have anything in common it is their ability to successfully blend so many different sounds without losing the soul or the melody of the music.

Here is the track list for my playlist of the month, featuring Blood Orange and LOLAWOLF among other things:

1. ‘Jimmy Franco’ - LOLAWOLF 2. ‘What Love Is’ - LOLAWOLF 3. ‘Summertime’ - LOLAWOLF. Not on the album, but still one of my favourites. 4. ‘Drive (Los Angeles) - LOLAWOLF 5. ‘Chamakay’ - Blood Orange 6. ‘It Is What It Is’ - Blood Orange 7. ‘Believe’ - Dream Wife. This is one of the few existing tracks from English-Icelandic girl band Dream Wife who’s guitarist, Bella, was a few years above me at school. I love everything Dream Wife are about, from their psychedelic pop sound to their pastel punk image - get tuned people! 8. ‘2shy’ - Shura. I love this gorgeous new release from Shura; lyrics we can all relate to. 9. ‘Worship’ - Years & Years. SO excited to finally own the studio version of this spine-tingling song AND that there is finally a date set for the release of their debut album ‘Communion’ which is available for pre-order now! 10. ‘Homecoming’ - Kanye West ft. Chris Martin. I have included this in celebration of the announcement of Kanye being the headline act for the saturday night of Glastonbury this year *excitement levels skyrocketed*.

Enjoy!

[goldenrootsmusic]

International Women's Day

In celebration of International Women's Day I have put together a playlist of the ultimate women in music. Women and girls who I look up to as role models who inspire me; songs that celebrate independent women; songs that tell stories of female empowerment; or just my favourite female singers. Warning: there will be a lot of Beyonce. UP THE GIRLS!

1. Independent Women Part 1 - Destiny's Child.

2. Goddess - BANKS.

3. Girl - Destiny's Child.

4. '***Flawless - Beyonce feat. Chimamanda Ngozi Adiche.

5. 'Run The World (Girls)' - Beyonce.

6. 'Rocket' - Beyonce.

7. 'Walking on Water' - Eliza Doolittle.

8. 'The First Time' - Ella Henderson.

9. 'Get It Together' - India Arie.

10. 'Baby It's You' - Jojo.

11. 'Bossy' - Kelis.

12. 'To Zion' - Lauryn Hill.

13. 'Ribs' - Lorde.

14. ' Boyz - M.I.A

15. 'Any Guy' - Melanie

16. 'Next To You' - Misty Miller

17. 'Misery Business' - Paramore

18. 'Blank Space' - Taylor Swift

19. Sk8er Boi - Avril Lavigne

I've also put this playlist together on YouTube although sadly I can't embed Youtube playlists so here is the link:

https://www.youtube.com/playlist?list=PLRNFLWuFi70ic1mYdi-CSE9g2ftuJof3c

I hope you enjoy this playlist and this day of celebrating female unity - who are your female heroes?

Ag xo