Far from kicking back, Pressure Kids have continued to work hard since winning Tamworth Battle of the Bands in 2011; rehearsing, writing and performing numerous gigs across the Midlands.

Following on from the success of their self-titled E.P., featuring four of their studio-recorded tracks, they have committed to energetic and exciting live performances at venues including The Flapper and the O2 Academy 3 in Birmingham. Their most recent gig was held at the Victoria Inn in Derby. Pressure Kids were billed as ‘support’ for a touring band called “The Hype Theory”. Sadly, the headliners flailed into the shadows of the effervescent and vivacious Pressure Kids, who, once again, demonstrated true showmanship, impressive musicality and showcased two great new songs.

The room boasted the biggest crowd of the evening as Pressure Kids took to the stage and the band fed of the atmosphere created by the anticipating crowd. Charlotte Lombardi is every inch the dynamic lead singer, a powerhouse who charms her way around the stage. She knows her craft and therefore never fails to captivate the audience with her charismatic and energetic performances. Heard commenting “Who needs the gym? I’m knackered!”, she never fails to commit 100% to every performance.

Her bandmates offer the perfect support for her unique style, physically bouncing off one another on stage, their chemistry is blatant. Each talented in their own field, the guitarists give the tracks depth whilst the strong bass-riffs pulse through every song. The drumming is always energetic and powerful, allowing the crowd to tap their feet and clap their hands; audience participation is a must!

The stage at ‘The Vic’ was somewhat restricting in terms of size, yet never ones to succumb to any kind of restraint; Pressure Kids overcame their boundaries by simply ignoring them. The bassist climbed onto the edge of the stage, playing and balancing in tandem whilst Charlotte untangled her microphone lead, as if unleashing an excitable puppy, and jumped into the crowd, dancing with ‘fans’ who were singing along to their popular songs.

As well as the ever-increasingly recognised tracks such as ‘Monster’ and ‘Rocking Chair’, the band played a new track called ‘Lioness’ and another new song called ‘CBA’. The former is a guaranteed hit. In fact, I’d put money on it. The chorus is unforgettable, catchy and musically fantastic whilst the lyrics have everyone in the room hooked on Charlotte’s every word. Their older, better-known songs didn’t disappoint, successfully delivering the guitar-driven pop they claim to offer. Pressure Kids essentially produce feel-good music with a gritty edge, pop to sink your teeth into.

Following rapturous applause, the band headed off-stage to ‘mingle’ with the crowd who received them with open arms and congratulations. Not only have they concocted an impressive repertoire of incredible tracks, they have the likeability factor. They are proud of their music, rightfully so, and never fail to impress with their performances.

Following one signed band and preceding another signed band, neither of which packed the kind of punch Pressure Kids do, I fail to see how the amazingly talented likes of Charlotte, Simon, James, Dan and ‘Danimal’ remain unsigned. I beg of you, spread the word and share some Pressure Kids love!

Pressure Kids can be found here: https://www.facebook.com/PressureKids and their E.P. is available on i-tunes.

Photograph, used with permission, by ‘Reality Control’ photography: https://www.facebook.com/realitycontrol

[J]

Fitz. is the pseudonym used by West-Midlands based musician Sam Fitzpatrick and his accompanying band, who, together, take modern-folk songs filled with pounding percussion and lace them with powerful vocals to deliver an impressively diverse and exciting debut E.P.

Upon graduating from University with a degree in Music Technology, Fitz. resigned himself to a 16th century stone barn in the Black Mountains of South Wales to wholeheartedly concentrate on his music, passionately working on tracks for his debut album ‘Patchwork’. Following the two-month recording of ‘Patchwork’ with the help of talented friends and musicians, Fitz. started working to assemble a live band to accompany him on stage.

As an ensemble, the members of Fitz. worked tirelessly to create a well-rounded debut EP, full of ‘a-la-mode’ folk instrumentals, layered vocals and intricate acoustic guitars. ‘Bare Bones’ is a 4 track masterpiece, filled with heartfelt and passionate songs; a tasty canapé, if you like, allowing a dalliance, a dabble in the delights that Fitz. has to offer and patently leaving you salivating for the full-length album, expected in May 2012.

After listening to the tracks (details of where to find them below), I am compelled to avoid any obvious comparisons (the likes of Mumford and Sons, Ben Howard, Frank Turner would be stereotypically linked to Fitz’s style) I would, however,prefer to place them on a pedestal of their own. Whilst the tracks have been mastered and well-recorded, there is a definite “home-made” feel, a raw quality, which gives the songs a more touching edge. There are no electronic effects, tweaking or over-production; every song is simple yet incredibly effective. Each track has a strong back-bone, a robust guitar riff or set of chords that provides a stable base for the linked instrumentals. The lyrics melt over the guitars, telling tangible and relatable stories whilst the interesting array of instruments and quirky interpretations of “modern-folk” allow the tracks to be unique and stand-out in an ever-growing market.

Whilst the E.P. flows well, each track fusing effortlessly into the next, the tracks all offer their own take on Fitz’s style. There are intense crescendos and quiet interludes. Two favourite tracks on the E.P. include ‘Firelight’ and ‘Maps’ which both contain the aforementioned ingredients that make this E.P. such a success.

As well as an impressive debut E.P., Fitz. has built an equally inspiring repertoire of live gigs, including performances at a ‘Unicef’ concert and entertaining sell out crowds of over a thousand. The band’s versatility and diverse range of talents allows them to offer exciting and powerful performances, whilst also being gifted with the ability to strip their eclectic supply of tracks down to their bare bones to allow for a more intimate and mellow set. This year, Fitz. is due to visit every corner of the UK promoting the release of his debut single ‘Maps’ and his first album ‘Patchwork’ (out May 2012) through independent record label ‘Us Is The New Them’. ‘Patchwork’ will be a developed progression from the debut E.P., maintaining the initial values and musicality present on ‘Bare Bones’ whilst offering a more substantial sound.

Fitz. are: Sam Fitzpatrick on Acoustic Guitars and Vocals, Joel Careless on Bass, Percussion and Electric Guitar, Benjamin Maines-Blatherwick on Percussion and Drums, and Richard Potts on Banjo, Percussion and an eclectic array of acoustic instrumentation.

The band can be found at: http://www.facebook.com/FitzOfficialUK and their music is available from: iTunes/Amazon.com/Play.com/Spotify

http://www.fitzofficial.co.uk

http://www.soundcloud.com/fitzofficial

http://www.youtube.com/fitzofficialuk

[J]

Having solidified their line-up in 2011, they are now a strong, experienced 5 piece with a charismatic and professional female lead singer, giving the band an interesting dimension.

The band are currently working on an EP which they plan to release in late 2011 and are currently performing in their local music scene and beyond.

They have recently played a series of gigs, including their local ‘Battle of the Bands’ competition, in which they have reached the final. I went along to the heat gig and the semi-final and thought their performances on both occasions were incredible.

For the Semi Final, the band opened with a stripped down cover of Amy Winehouse’s “Love is a Losing Game”, with a spotlight on the lead singer and a single guitar accompaniment; a delightful and touching homage to the late soul singer with Pressure Kids’ frontwoman paying her respects perfectly with soulful and powerful reflections on Miss Winehouse’s sassy and haunting vocals. As this cover faded out, the band kicked into their own repertoire of tracks. With effervescent energy and a great rapport on stage, the band certainly engaged the audience where heads were bobbing, toes were tapping and plenty of people were dancing. Their sound is full and profound with hard-hitting percussion and edgy guitar riffs. The vocalist has a strong tone and has great control of her voice which compliments the intelligent and witty lyrics perfectly. The set ran smoothly and the band received a great reception from the crowd once their slot was over. The 5 accomplished and talented musicians gelled on stage and were a genuine pleasure to watch and listen to. There was no pretention or angst, but plenty of raw ability and star quality.

The reaction from the audience was extremely complimentary and excitable, with a general hubbub of interest in the band. Once the audience vote opened, a swarm of fans headed to place their votes for Pressure Kids who were, in my opinion, champions of the evening and thoroughly deserving of their place in the final!

A selection of the band’s songs include “Monster”, with a catchy-chorus and fun lyrics and their new track “Blinded”, which will undoubtedly be stuck in your head after listening to it (video of live performance below!). “Robots Break Hearts” is another great upbeat track whilst “We never really got on anyway” offers a slower, edgier take on ‘Pop’.

I recommend, no, I URGE you to head over to the band’s Facebook Page and show them some support. You can download their first EP for free and acquaint yourself with a fantastically talented and interesting unsigned band! You can find Pressure Kids at: www.facebook.com/pressurekids or www.youtube.com/user/pressurekidsmusic

[J]

She Keeps Bees have just released their latest album, ‘Dig On’, and are supporting the release with festival dates and gigs. ‘Dig On’ is a triumph of sparse but heavy instrumentals and powerful, haunting vocals. The twelve tracks on the album are not short of emotion, grit and power whilst remaining relatable and interesting.

The album immediately reminded me of material from Cat Power, due to the vocals, and The White Stripes and early Kills, thanks to the pounding drum beats and weighty guitar riffs. Imagine Janis Joplin singing on a White Stripes track and you’re somewhere close to how this boy/girl duo sound. There’s the heavy percussion and gritty guitars coupled with husky and sleek vocals.

The opening track, ‘Saturn Return’ is a strong, tempting track, a good introduction to the album which outlines, clearly, the direction and musical theme that the album will follow. The following track ‘Found You Out’ doesn’t offer anything new or exciting, though it is in-keeping with the crashing hi-hats and crawling guitars that entice you further into the album.

The rest of the tracks on the album follow suit, effortlessly merging into one another without any major surprises or changes, with the same intriguing vocals and instrumentals running seamlessly throughout.

The instrumentals leave ample space for the vocals to shine through and easily become the selling-point and strongest feature of the album. The vocalist (Jessica Larribee) has great control of her breathy vocals and contributes some much needed variation to what could otherwise become a monotonous album. She has the ability to seemingly whisper in sultry and haunting tones and juxtapose this with bellows and howls that send the lyrics crescendo’ing to the fore. I suppose you could consider her a vocal chameleon who effortlessly fits into every character required of her.

If you’re looking for something exciting and new, this album may leave you feeling disappointed and uninterested, however, if you’re after an interesting but retro nod towards folk-blues-rock bands of yesteryear who accompany long dark nights and lazy days, this is an album for you.

You can find She Keeps Bees @ : http://www.myspace.com/shekeepsbees and https://www.facebook.com/pages/She-Keeps-Bees/269844502645

[J]

Following a youth spent singing constantly and a scattering of gigs as a child, she wrote her first song about her Orthodontist and recorded her first record in Philadelphia, Pennsylvania. Realising this musician malachy was something she wished to pursue, she moved to New York when she was 17 where she worked as a waitress and subsequently got fired for shouting at her boss, whom she calls “a special kind of douche”. It may have been due to this fiery attitude or her persistence and determination that Lelia is now a successful gigging musician in America.

After moving to LA, California, Lelia recorded “Waiting on the 9” and wrote a song called “Satellite” which propelled her into the limelight. “Satellite”, a song about a love-struck Robot, helped Lelia gain popularity amongst the acoustic/indie lovers across the globe.

It was Lelia’s November 2010 single “Masquerade” which bought her to my attention. I first heard of her after she performed with Greg Holden, another musician I’ve reviewed on Moon & Back. I was instantly taken with her husky but pure voice and her witty lyricism.

Masquerade is Lelia Broussard’s fourth major independent release. The album is full of what can be described as whimsical, happy, and soulful alternative indie pop/rock. As well as the up-tempo tracks, there’s some moving narrative ballads about her quest for love whilst being a temperate and passionate musician in a tough industry. She wrote or co-wrote all 10 songs on Masquerade which, in my opinion, makes it all the more personal and relatable. Despite some of the tracks seeming downhearted and melancholy, there is also the whisper of self-confidence and a philosophical approach to life, a sort of “que sera” attitude which is both humble and comforting. Such sentiments are expressed perfectly in songs such as “Something True”, “You’re Not Fooling Anyone” and “Armor On My Heart”.

The album has had heavy involvement from producer Dan Romer (who has worked with Bess Rogers & Allison Weiss). The album plays on Lelia’s natural ability with an acoustic guitar and her sultry vocals. The musical arrangements and instrumentals are simple yet effective and Dan Romer offers great sprinkles of additional musicality with synths, piano and keyboard accompaniements. It seems Romer & Broussard make the perfect team with Lelia offering the simplistic, heartfelt notions behind the songs and Romer beefing the tracks up with hearty instrumentals and perfectly placed offerings on various instruments.

As well as Dan Romer, Lelia has seeked guidance from Rob Fusari (Beyoncé & Lady GaGa) who co-wrote “Hipster Bitch”. Rob Fusari was quoted as saying: “Lelia is an undeniable talent, in every way. She has it all, amazing voice, great songwriter, and overall, an incredible artist.”

“Shoot for the Moon” is notably a stand-out track on the album, effectively showcasing Broussard’s best asset, her voice. The vocals allude to fragililty as well as oozing a powerful huskiness and great motown/soul inspired feeling. Her voice is undeniably versatile, demonstrated by her ability to sing pop, R&B, soul and rock effortlessly. Her R&B delights include a cover of Beyoncé’s “All the Single Ladies” at some of her live shows.

Lelia has recently crept into the spotlight of Rolling Stone Magazine and Atlantic Records to participate in their “Do You Wanna Be a Rock and Roll Star?” contest. It’s ultimately a fan-driven competition with the prize giving the winner the opportunity to grace the front cover of Rolling Stone Magazine and seeing them awarded a recording contract with Atlantic Records. Lelia is a top contender for the prize, being no stranger to grafting to create a strong fan-base via social networking and YouTube. Her loyal fans helped her raise $15,000 for the production of Masquerade. [J]

The deluxe edition of Masquerade (with bonus tracks) was released on 5^th April 2011.

Lelia’s bio concludes with: “On Tour everywhere 2010/2011”. So be sure to check her out at: http://leliabroussard.com

The music video for “Can You Feel It” was released on YouTube in March and has received ample amounts of praise and over 190,000 views. Perhaps the backing of a major international company such as Coca-Cola will give the band the musical acclaim they’re striving for.

The track will debut as the soundtrack of the forthcoming global advertising campaign for the Coca-Cola television commercial called “Walls”, the theme of which being young people enjoying kicking-back with a can of Coke and their favourite music.

After a few listens of “Can You Feel It”, it is catchy, upbeat and fun but there doesn’t seem to be much body to the song. The instrumentals are good with strong percussion and nice guitar riffs throughout the track, but nice is a word commonly used to describe something that’s lacking a certain ‘je ne sais quoi’ which can be found in an awesome song of higher calibre. In terms of lyrics, this song falls a little flat, it’s certainly not lyrically interesting or exciting but after successful appearances at festivals over the years, such as Glastonbury, Reading and Leeds & T in the Park, I have a feeling the “Oh Oh Oh Oh Oh” in the chorus is aimed at excitable festival crowds this summer and international fans. So if crowd interaction is what the band want, “Can You Feel It” won’t fail to get people moving and singing along.

You can tell that the band have teamed up with Coca-Cola for this track too, it’s light-hearted and will easily reach it’s aim of appealing to a global audience, what with the simple verses and chant of a chorus. The international advertising campaign features teenagers from around the world singing alongside One Night Only and gives them the opportunity to upload a video and add it into an interactive music video. Accessible online via Coca-Cola music sites, teenagers will be able to see themselves in the video with the band; a strong unique selling point for cyber-happy teenagers. I get the impression that audience participation is key in this single, in more ways than one, and as far as pop-rock anthems go, I fear it falls a little short of the mark, but in terms of a light-hearted, simple and catchy tune, it hits the nail on the head!

One Night Only band member George Craig said, “The whole vibe of this project was to show that music has the same effect on people all over the world. It can be a real release from day to day life and there’s nothing better than getting in from school, opening a Coke, and playing your favourite music”.

Overall, the single does exactly what it says on the tin (or can…?). It’s a soft, catchy pop song with an upbeat vibe and good musicality. One Night Only are grabbing the global industry by the horns and hoping this campaign with Coca-Cola will boost their success even more. [J]

‘Can You Feel It’ is released on the 8^th August 2011.

Check out the video here: http://www.youtube.com/watch?v=IXc6nZjWckM

Greg has led a somewhat nomadic existence, moving from his birthplace of Aberdeen, Scotland, to various cities in England throughout his childhood and teens and now further afield to New York, drawing on all these locations for lyrical inspiration and musical ideas.

Greg’s relatable lyrics, simple guitar riffs and occasional percussion and piano, can make the toughest of hearts melt. His songs are a platform to discuss heartache, chasing your dreams, confusion, love and music. For those who prefer to listen to the music, and not to analyse every single syllable that’s sung, the musical arrangements on his new album “I Don’t Believe You” will undoubtedly be second-to-none, rivalling some of his indie-folk competitors on the scene at the moment, such as Mumford & Sons and Frank Turner. The album, which was produced in America, was funded by over $30,000 kindly donated by Greg’s fans across the world after Greg, quite literally, sold the clothes off his back to fly to New York in 2009 and worked avidly to make a name for himself. He bombarded YouTube with his “Not My Living Room” series of carefully crafted songs and used other social networking sites to build a strong following. His persistence paid off and he was rewarded with the ultimate gift of a fan-funded album. Perhaps it’s the knowledge that so many people contributed to the creation of the album that makes it so special, or the fact that this young guy from the UK has put his heart and soul into pursuing his dream; whatever it is, the album (and Greg’s music in general) is the perfect companion, whether you’re heartbroken, happy, reflective, romantic, soppy or sad. If you’re not mad on lyrics, the music is a great accompaniment to a lazy Sunday afternoon, easy-listening whilst working or studying or a great distraction from the hustle and bustle of the commute to work.

One of Greg’s best songs, “Bar on A”, perfectly describes his travels and summarises his story, with eclectic and touching lyrics, a powerful chorus and great musicality throughout. This, aswell as citing Bob Dylan as one of his greatest inspirations, shows that Greg plays on simplicity and understated style with heart-warming lyrics, coupled with complementary acoustic guitar riffs (all written and performed by himself) and other instrumenal accompaniement.

Essentially, Greg is another gigging-musician with a guitar, trying desperately to break into the hardest industry on the planet, but his passion and determination have led him towards the path of success. Following a string of headline gigs and supporting tours across the UK, America and Europe, he plans to tour Europe this spring and will be in the UK, supporting Jay Nash, from the 21^st to the 27^th April.

The album, “I Don’t Believe You” is out in all major digital stores on May 31st 2011. [J]

Check Greg’s music, videos, tour info and album news out at: www.gregholdenonline.com

Jamiroquai’s music has rarely fallen outside the “acid-funk” genre that best describes their sound and has generally been a hit across the board with young and old listeners alike. The changing faces of the collaborators have always been fronted by the effervescent Jay Kay and his outlandish hats. It has been argued that Jay Kay is best known for those hats, his love of fast cars and his penchant for famous (or not so) women, however, in terms of his music, there’s no denying there’s some clear songwriting ability, knowledge of how to seduce people with some of the best bass riffs around and some sustainable funk that’s maintained the band’s presence in the music industry for almost 2 decades.

Rock Dust Light Star has echoes of early 80’s disco combined with the synthesisers and technological tricks of today’s electric generation. Jay Kay’s vocal is, as always, up to scratch and the lyrics are (mostly) imaginative and interesting.

The majority of this album, the 7^th for Jamiroquai, has a Saturday night pre-drinks vibe with a whiff of a lazy Sunday afternoon; a good album for the weekend. It’s the kind of album that may grace the Radio 2 playlist or an ’easy-listening for the over 30’s’ album but you’ll probably hear a track or two track on Radio 1 or have seen Jay Kay’s (awkward – after insulting the show’s judges) performance of “White Knuckle Ride” on the X Factor. All things considered, Jamiroquai seem to know how to create music for the masses and are understated but seemingly popular, with this album debuting at number 7 in the UK album chart.

After listening to the album a few times, the band have certainly found comfort in the familiar disco-ball funk that we would expect from them, with songs such as ‘White Knuckle Ride’ and ‘All Good In The Hood’ combining funky bass-riffs, falsetto vocals and sultry saxophones but unfortunately, songs such as ‘Blue Skies’ and ‘Never Gonna Be Another’, which stray from the usual dance-material and creep into the clichéd-pop category , fall short of the mark.

The opening and end of the album are good, with catchy songs and memorable instrumentals but there is a slight dip in the middle. Jay Kay singing cheesey ballads isn’t something I would expect and for me, doesn’t work, but the typical Jamiroquai funk will make me listen to the album, just not on repeat.

Perhaps it’s time, after 18 years, for the funk-veterans to move over and let new dubstep and electro bands take over the dancefloor? [J]

Thanks to Mercury Music for sending the album for review.

http://jamiroquai.co.uk/

I first saw Tinashé last year when he supported Noisettes at the O2 Academy in Liverpool.  Some supporting acts blend into the background and are muted by mindless chatter from the crowd as they eagerly await the main performer but with Tinashé, I found myself listening intently and making a conscious effort to remember his name and follow his progress long after the gig was over. Not only was he an animated, confident and engaging performer; he showcased a selection of soulful, catchy and upbeat tracks that left me intrigued as to what material, if any, he’d released, what he was working on and his music in general.

Disappointed, after the gig, that I couldn’t find much of his music online, I sat tight and waited for his debut album and what an album he produced…’Saved’ is a triumph of a debut.

Although difficult to compare Tinashé to one specific musician or artist, a cocktail of comparisons may give you an idea of his sound: If you added a cheeky dash of early Hoosiers to a pint of Jack Penate, poured it over ice, slipped in a bit of Bloc Party and added a thick slice of Jamie T to your glass for decoration, you’d get a taste of Tinashé.

Bearing those comparisons in mind, Tinashé’s drawn his sound from a blend of many musical influences, which are hinted at on the album, from artists such as Prince and Michael Jackson, who Tinashé enjoyed as a child, to the story-telling of 90’s RnB artists like the Notorious BIG who intrigued Tinashé whilst growing up in London.  This fusion of classic musicality and great songwriting is what gives ‘Saved’ an edge. It successfully binds traditional concepts like strong guitar riffs, pounding pianos and some strategic strings with an upbeat and captivating vocal performance throughout.

‘Saved’ would easily please pop-lovers and certainly intrigue the indie-folk. There’s elements of hearty RnB lyrics and noughties experimental indie-pop. You could read into every single line of all the songs on the album, or delve into the “About” section on Tinashé’s website (linked below) which will tell you the ins and outs of his varied upbringing and specific occurrences that influenced him but I think it’s best to listen to the album and read into it what you will; apply it to yourself or listen freely to the music without thinking too much. Either way, I guarantee you’ll find yourself nodding along or subconsciously remembering the catchy refrains.

Despite being a well-rounded album, I think the stand-out tracks are: Saved, The Feeling, Good Times, Mr. Presumption & Every Single Day.

It was when thinking about my favourite albums of this year that I listened to ‘Saved’ again and decided to look online to see how it had been received. There was little in the way of reviews or opinions so I figured I would bring some to the table and hopefully invite others to give him a listen. The album was released in early 2010 so this article isn’t really a “Just released!” – “New Album Review!” – “Fantastic New Music!” type of post, more  “Why haven’t we heard a lot more about this guy?!”.

Tinashé is now continuing his journey, gigging in the UK following his debut release. If you get chance to see him, go!

http://www.tinashe.co.uk/

http://www.youtube.com/watch?v=rtfYWJFjS_U

Tinashé’s album is also on i-Tunes and Spotify.

[JC]

Following a peaceful, sibling folk-harmony trio on stage called “Staves”, Lissie approached the small yet atmospheric crowd with an undeniable presence.  She looked like a hippie, a cool hippie, with a freckly face and summery blonde hair. She had an electric guitar draped effortlessly over her shoulder and seemed comfortable engaging with the crowd.

Her vocal talent is undeniable with such an amazing vocal range and amazing pitch, she soulfully purrs and tunefully roars over great riffs and beats. She manages to be sultry and husky on slower tracks and belt the louder tunes with ease. Alongside her on stage were 2 cool-looking bandmates, one with dreadlocks (Eric Sullivan) on lead guitar and Lewis Keller, sat down with a bass guitar and a small percussion set at his feet.  This set-up seemed a new concept but it worked perfectly. There was no need for a full drumkit; the sound of the guitars, kick drum and hi-hat bellowed seamlessly around the intimate setting of the Academy 2. There managed to be slower, quieter songs followed by real crescendos and toe-tapping tracks.

Lissie was friendly and interactive with the crowd, engaging us in polite, rhetorical conversation before playing her compact yet fulfilling set. She told us how she had recently come to love the work of Kid Cudi and planned to do a cover of his track “Pursuit of Happiness”, which, despite my instant trepidation, was amazing. Being a completely different genre to the one she is used to, the track shouldn’t necessarily have worked, but it did. It sounded as if she had written it herself and she took such enjoyment from performing it.

There were TV screens dotted about the Academy 2, with cameras fixed on centre stage, so when a tall, bushy haired male slid in front of me, blocking my view of the stage, I found myself watching the screens in awe. Lissie looked so comfortable and relaxed and a real natural performer. She’s already supported City & Colour (Dallas Green’s (of Alexisonfire) acoustic side-project) and this gig was in support of Joshua Radin so she’s clearly made a name for herself amongst fellow artists in the USA, I just hope she can do the same this side of the pond.

Lissie’s comparisons probably fall along the lines of Laura Marling, with force. A similar vocal to that of Chrissie Hynde, Debbie Harry, Courtney Love and there is a likeness to the artist I interviewed a few weeks ago, Tiffany Page.

Her set was a hit with the crowd and I certainly felt like I could stand and listen to her all night. She was engaging, powerful and her songs are dead-sets for the summer. Whether you want an easy-listening track for a long drive in the car, a backing track to a summer BBQ with friends or just a happy-go-lucky sound for the weekend, Lissie is the artist you need this year.

She has songs on Spotify and her MySpace is a veritable font of material: http://www.myspace.com/lissiemusic and she has a well established Facebook Fan Page: http://www.facebook.com/lissiemusic . One of her singles, “In Sleep”, is an amazing track and a live video can be found on her MySpace. Lissie is in the UK until May 31^st so I highly recommend you check out her live dates on her MySpace and catch her live if you can! [J]