Amelia Coburn Interview (2020)

A couple of years ago I was going down a YouTube rabbit hole watching 'Wedding Present' live performances and stumbled across a performance of 'My Favourite Dress' by a young girl on a ukulele. 

That was my introduction to Amelia Coburn, Teesside born singer and songwriter, who at the time had been nominated in the 2017 BBC Radio 2 Young Folk Awards.

I was transfixed watching Amelia performing some well-known songs of my youth, including my favourite song by The Jam, 'Down In A Tube Station At Midnight'.

What grabbed me, as well as sounds that she could make come out of the instrument, and the way it was percussive as well, was the range and delivery in Amelia's voice, particularly liking the way she'd drop into her 'own accent' to accentuate certain words.

Further searching led me the 2016 debut album 'Nuke' which features interpretations of well-known tracks from everyone from Bowie to Blondie and The Specials to Stone Roses.

Following on from her debut release she followed this in 2017 with the album 'Amelia Coburn' the sound expanded beyond just the ukulele with percussion and even glockenspiel added. This album features a mix of interpretations (including The Clash and Dexys) alongside originals tracks, 'Song of The Sea Rover' and 'In The Arms Of Morpheus'. The standout for me though is the luscious Bond Themeseque sounding 'Dream Another Day' which sounds like there is an orchestra on there.

2018 saw the release of an EP '17th of July' featuring a mix of original tracks and versions of covers including a beautiful version of Radiohead's 'No Surprises' (a duet with David Benjamin)

Amelia's Bandcamp page is... HERE

Whilst no releases in 2019 Amelia was still busy preforming... but what else?

Hi Amelia, how are you?

Hi Iain! I’m good thanks, considering the situation. 

I’ve just finished my last ever piece of coursework at University, so now I can finally relax properly. 

It’s nice having the time during lockdown to practice music for fun, and spend the day reading and cooking.

What have you been up to since the release of the '17th of July' EP? I heard there are plans for a new album.

A couple of months after the release of that EP, I moved to Paris to embark on the first of three countries on my year abroad, which is a compulsory part of my modern language’s degree at University (French, Spanish and Russian). 

I later studied in Puebla (Mexico) and St Petersburg, and throughout this time, I slowly but surely wrote some new songs, mostly inspired by the array of cultures and people I came across, whilst simultaneously balancing my studies. 

I’m aiming to put together both new and slightly older original songs and, Covid-19 permitting, release a new album of self-penned material at some point this year.

On YouTube there is a clip of you doing an excellent version of 'Up The Junction' recorded at 'Costa Del Folk' in Ibiza in 2018. Are there any plans to record/release this?

Thank you! 

I actually did record a demo of this cover which is now lurking about somewhere in the archives. But going ahead, I want to move away from covers so that I can focus on my original material. 

I’ll still release the odd cover if I think I can bring something new and surprising to it, and I’ll definitely keep them in my live sets, but I think anything I record and release from now will be stuff I’ve written.

How did 'Costa Del Folk' come about?

I came onto the folk scene after being nominated for the BBC Young Folk Award in 2017, where my performance caught the eye of promoters from Cambridge Folk Festival, and I was invited to play Stage 2!  

I think from performing at prestigious events like these, your name easily gets passed around, which opens doors to even more opportunities, and that’s how I got to play at Costa del Folk.

(Cartoon Copyright - Lee Thacker 2019)

Also, in 2018 you played at Dave Gedge's 'At The Edge Of The Sea' festival in Brighton. 

How did it feel performing his most famous and popular song in front of him and a partisan crowd?

It was pretty daunting, I must admit! 

Playing covers of songs is always prone to getting some stick, especially because I play them in my own style, which people either love or hate (I’ve had plenty of Paul Weller devotees give me hate because of my quirky cover of ‘Down in the Tube Station at Midnight. Ha!) 

But performing a band’s song in front of the lead singer, especially a band that you’ve idolised from a young age, was really nerve-wracking. Luckily, the crowd at that festival was lovely and receptive, and David Gedge even mentioned later that day that my cover made him emotional. What a compliment!

You've probably covered this many times, so apologies. Your Dad must have a fantastic record collection?

He really does! I think it’s fantastic, because it’s so eclectic (and of course, full of great music.) 

Even from the cradle, my Dad would play me 90s alternative bands like Radiohead, and then when I was around 11 or 12 I got into some more ‘guilty’ pleasures of his, including ABBA, The Carpenters and even musical soundtracks. 

When I reached my later teenage years, I began discovering the new wave, punk and 70s pop sections of the collection, namely The Clash, The Police and David Bowie. I’m very thankful I was raised on such a healthy musical diet - it’s really shaped my set-lists and how I write music today.

The songs you've interpreted are some of the most loved from the 70's and 80's. Your version of 'Complete Control' got me reaching for my copy of The Clash's 'Sandinista' which features 'Career Opportunities' sang by the Micky Gallagher (of The Blockheads) kids... 

Are there any 'unexpected' songs you've considered covering/recording? Dead Kennedys? Rage Against The Machine etc?

I think singing slightly obscure songs by The Clash or Sex Pistols on a ukulele is already pretty unexpected, especially in folk music environments. I once played Anarchy in the UK to an audience of pensioners, which surprisingly went down a treat. 

I’ve never really listened to much ‘hard’ rock, but as for ‘unexpected’,  I once considered covering Rappers Delight by Sugarhill Gang because I know the rap lyrics off by heart (probably better to do the shorter, single version rather than the 12” 15 minute version - ha!) 

Is it fun choosing tracks for your Spotify Playlist? (Amelia's Month Of Music)?

Do you spend hours deliberating over the running order? 

It is, yes. The playlist is a good mixture of my all-time favourite songs, thrown in with a few new findings from the past month that I’ve had on repeat. 

I also like to include some of my musician friends and local artists that I am a fan of, for others to perhaps discover. 

I love curating it over the course of a few days and really trying to put something in there for everyone, and even spending a while making the running order fit well so it flows like an album would.

I missed the recent online gigs you'd done on Facebook, are you planning on doing any more?

Yep, for sure, especially if virtual gigs become the new normal. I really enjoyed the two I’ve already performed. 

The only thing is, Facebook and Instagram are both saturated with so many online concerts at the moment, and people are a little ‘Zoom’d’ out! I think it’s best to keep people wanting more and waiting a bit longer to do the next one, or maybe make it a ticketed event so it’s a little more exclusive.

What will be the first thing you do once Lockdown is over?

I’ll go give my grandparents a big hug, organise in-person concerts and ideally a tour, and then take myself and my ukulele backpacking round Latin America

Finally...

5 ‘Challenging’ Quick Fire Questions…

Favourite Gig as a performer?

Cambridge Folk Festival

Favourite Gig as a punter?

Any of the multiple Belle & Sebastian gigs I’ve been to.

Favourite album

Power, Corruption & Lies - New Order

Favourite single/song

Life on Mars - David Bowie

All-time favourite band/artist

The Smiths

Iain Key 2020

Crimson Bloom – Andy Johnson Interview (2020)

Andy Johnson is the charismatic front man of North East based ‘Crimson Bloom’ (@CrimsonBloomUK) who are  to release their 2^nd album ‘Finer Times’ at the beginning of August

Pre Order Link HERE

Their 1^st album, 2018’s self-titled debut album is an unashamed love letter to the late 80’s / early 90’s Indie Scene (Stone Roses, The La’s etc) with (as Andy says) ‘a knowing nod to the psychedelia of the 1960s and a few clubby, dubby flavours thrown in here and there’

I first come across Andy whilst he was performing as ‘Old Red Eyes’ (his solo Paul Heaton act) when supporting ‘The Smyths’ in 2019 and then found out about the exceptional ‘Southmartins’ (a Housemartins / Beautiful South act which he fronts)

 

After exchanging a few messages, I then found out Andy was also the lead singer of ‘Crimson Bloom’...

Before we talk about ‘Crimson Bloom’, how did you get to this point 

Were you in bands previously?

I’ve been writing songs since I first picked up a guitar and learned 3 chords. It’s just a machine to write on for me. I’ve been in a couple of bands here and there but never really gave anything a proper go. Making the music is the result for me and its always hard keeping people focussed, motivated and ‘happy’ in a group. Always egos including mine! 

I do, technically, still exist in a duo - Cherry Head, Cherry Heart - which is a spin-off with Naomi from The Southmartins. More pop-orientated really. 

I’ve also been writing some “dance” stuff with a new music friend. I have a variety of masks. I’m like a musical Worzel Gummidge.

Is this your day job?

Music is my day job yes. 

I make 95% of my income if not more from gigging and selling bits of original stuff too. 

I do a little bit of teaching with adults with learning difficulties which is rewarding and I manage a girl called Amelia Coburn. 

She was nominated for the BBC 2 Young Folk Awards a couple of years ago and is set to get cracking with music as a career too. I also do some painting and art etc when the feeling takes me.

How has Lockdown been for you and your family?

For me it hasn’t been a massive lurch as most of my week is spent at home sorting stuff or gigs and writing/recording etc. The vast majority of gigs are at the weekend. 

I guess the big change for me is getting used to having people around when I’m recording and writing. I have to sing quieter now! 

The big change for my family is having to listen to me singing the same thing over and over again or trying to play the guitar decently. I pity them.

You’ve been doing a lot of acoustic ‘online gigs’ for charity, as well as ‘Old Red Eyes’ you’ve been mixing it up a bit, you have a far-reaching repertoire. 

Do you find it easy to learn and adapt songs for your acoustic performances?

I’m trying to keep my hand in really as if I don’t gig for a long while I go stir crazy but also my voice goes out of shape and I need it to be decent, particularly for the Heaton stuff.

It’s been a great opportunity to expand my repertoire across the board really too.

I got a bit stuck in a groove of a song list set in stone for Old Red Eyes. It’s been developed and it’s like a proper show when you see it live with jokes and interaction and stuff but you can only get away with that once or twice with the same audience, so this has kicked me up 

the arse. It’s been great to play some of the lesser known stuff

He’s got an amazing catalogue of songs and  I’ve learnt a lot from knowing them a bit more from a writing point of view

Do you think ‘online gigs’ are going to be something that are now here to stay?

Well… I was doing them before the lockdown! Ha.

It does seem like everyone’s doing them now and that’s great really.

There’s a ton of talent out there and it’s good to see people you may never come across otherwise.

I think most people into playing and writing will keep doing them in one form or another. For me it’s been good to play to people across the world that aren’t likely to be able to see me in the flesh.

Looking at the ‘original’ songs you’ve produced with ‘Crimson Bloom’ did you know in advance that the songs / sound would be a ‘love letter’ to the late 80’s / early 90’s? 

I’m thinking particularly about tracks like ‘Fall For You’ with its ‘Elephant Stone’ drumming or ‘In All The World’ which is reminiscent of ‘Waterfall’?

Absolutely. No denying it. I set out to write another Stone Roses album. I had been leading up to it I guess with the previous solo albums I made - Underneath the Damson Tree and Imaginary Perfect - which both tapped into some of those sounds from my youth.

The Roses were clearly not going to make another album and certainly not sounding like people hoped deep down - that early sound around the debut and up to Fools Gold.

There’s a song I wrote called Sunshine Deluxe on Underneath the Damson Tree which was an early attempt to write something in a Roses style.

I never listen to them though when writing this kind of stuff and didn’t at all when writing and recording the first album. I like the idea of it being a fairly naive take on that sound and as such it has a bit more of me and other influences in there.

There’s definitely a bit of The Smiths in there too. I’ve heard the Stone Roses debut album so many times though I can replay it in my head at will anyway! My instinct when writing is usually to steer things away from being pure pastiche/homage but because that was the intention I actively made decisions to make stuff more like the influence.

That said there’s a few bits in there on the first album that are developments of where they were headed after the debut album rather than pure imitation. I did sit and write the songs as songs in their own right though and they are mostly about real situations so that had to work first and foremost.

How has your sound developed for the new album?

The sound has changed a fair bit.

There’s definitely a few songs that could have sat on the first album but the touchstones are less obvious. For the first album you could almost say “ah well this is Elephant Stone, and this is Waterfall”.

I’m not sure there’s anything on the new album that you could say that about although it still feels fairly familiar. I would say everything has gone to the extremes. The jangly stuff is more jangly, the groovy stuff more groovy. The number of clear influences has increased too. I would say The La’s, Charlatans, The Coral and Can are all in there to a lesser or greater degree.

It’s more psychedelic in places and more heartfelt. It deals with death, love, corruption and the seven deadly sins.

 

During 2020 so far you’ve been prolific with your recorded output, as part of ‘Crimson Bloom’ name you’ve released the ‘Cut Me Down EP’; ‘This Is The Future’ single and the new album due soon. You’ve and the ‘Strawberry Sunshine’ EP in your own name.

Was ‘Strawberry Sunshine’ something planned or spontaneous as it seemed to appear from nowhere

I’ve been writing and recording constantly in lockdown as well as now trying to get the album finished.

I did put an EP out a couple of weeks into lockdown but didn’t really promote it.

Strawberry Sunshine and the tracks that are on the EP (as well as a few others that may appear at some point) were mostly written as potential songs for the band, so they fit in, sonically, with what we’re doing really.

I don’t tend to plan to sit down and write though. It’s always when I get some inspiration. For instance, a song on the Strawberry Sunshine EP - Kissing The Morning - was inspired by Shiner Sam (@shiner_sam) from Twitter. She’s a big voice for unsigned and upcoming bands.

She posted a picture of a beautiful morning and she has a real get up and go attitude (particularly since she like to have a good party/drink too) so it was a bit of that and it just fell out of my head and I had it recorded before 10am on the same day.

There are also a few tracks left off the album that will probably become standalone singles. One has a definite Second Coming kind of feel but a bit sparser and we have a cover that 

we play live that we’ve recorded too.

You’re very active on Social Media, especially Twitter. Would you say for new / upcoming bands this has replaced things like the NME to reach a wider audience?

I think it’s possible to find an audience on Twitter.

I hadn’t really done much promo at all for the band/album for the first year or so. It was just water under the bridge really but then I saw another couple of bands bubbling up and getting a response that were, essentially, playing the same kind of stuff so I went looking for Roses fans and people into music along those lines and found a whole community of like-minded people on Twitter in particular.

I love it on there. I probably spend too much time on it to be honest! There is a genuine community feel though if you follow the right people. Really supportive of each other on a personal level and you get introduced to all kinds of new and old music too.

I think because what we do isn’t particularly in vogue at the moment, we struggle to get our foot in a lot of doors but we’re happy slowly building on what we have and finding genuine fans not just people following some hype.

We’ve only really done a handful of gigs and generally have to rely on putting them on ourselves (like most local music scenes the Teesside/North East one is pretty cliquey) and now the lockdown is looking like taking that promotional aspect away Social Media is where it’s at for now.

For new/upcoming bands (we’re one of them by the way!) I would just say don’t compromise what you’re doing musically, and you’ll find people that like it. There’s a load of independent blogs and radio stations that love this kind of music. It helps if you have someone to champion you somewhere but that can take time to find the right people.

Failing that just make up a load of shit about yourself and lie your way to the top which seems to work for some. Ha.

With Music Streaming being the main way many people consume music, how hard is it to build an audience? I imagine there are pro’s and con’s?

Streaming is pretty terrible for us to be honest. It has helped a bit having people putting us on playlists and getting found by the odd person but most days we might get 20 plays on Spotify (and still the biggest amount compared to other platforms) for instance and that doesn’t even begin to pay for the cost of recording, mixing and mastering songs.

It gets frustrating and it’s difficult not to be negative about it but it is what it is and to win their game you have to play their game. We’ve decided not to put the new album on streaming sites until we’ve either built an audience/demand for it on there or made the production costs back through physical releases. All things in life are better physically anyway.

Gigging aside, what will be the first thing you do once Lockdown is over?

Just get out and see some mates. I live two doors down from the pub so I imagine a pint or so in there will happen. Looking forward to working with others more closely on music too.

Finally, ….

5 ‘Challenging’ Quick Fire Questions…

Favourite gig as a performer?

First time we played Leeds O2 Academy was pretty special but also selling out Middlesbrough Town Hall with the Southmartins.

Favourite gig as a punter?

The Polyphonic Spree at Manchester Academy. Just a mad, happy, inclusive gig that was essentially a legal high.

Favourite album

The Stone Roses. It’s just got everything you need

Favourite single/song

At a push… There Is A Light That Never Goes Out. Or A Day In the Life. Prettiest Eyes… ask me tomorrow.

All-time favourite band/artist

The Beatles. Where it all started for me.

Iain Key 2020