GRETTA RAY

“I think part of me always knew that I was going to be a performer – I was lucky enough to begin performing at a very young age, and became addicted to it pretty much instantly!”

At just 19 years of age, Gretta Ray has had a big couple of years. Having been announced 2016’s Triple J Unearthed High winner, Gretta has since gone on to play sets at Falls Festival and Splendour in the Grass. 2017 has seen her return from a stint in the United States.

2016 was also the year Gretta won the Vanda & Young Songwriting Competition, on the day of her Year 12 English exam, no less. It was an accomplishment, she says, she still can’t believe happened.

“It was amazing to be recognised and credited for my songwriting, because it is something that I have been working at for years. At that point in time, Drive was the song that I was most proud of. I am so grateful to have had the support from APRA that I have,” Gretta tells RSOM.

What was an eventful day for Gretta was also a reflection on her ability to balance her studies and her role in the music industry.

“I do recall feeling a sense of pride that I was able to maintain a balance (between school and music). I intended to give both areas of my life the same amount of energy, and that night I felt like that was something that I was achieving.” 

So surely such a stellar start to a career would require a kickstart from an early age? That certainly was the case for Gretta, with many of her family also being musicians. She says music was an underlying theme of her childhood.

“I grew up playing instruments and singing in choirs, as well as going to see a lot of shows with my mum, who made sure I was immersed in music from a young age.”

At the age of seven, songwriting had become a hobby, writing what she could on her keyboard, and she admits it was a hobby she quickly became passionate about.

“I didn’t write another song until about two years later, but from that point forward I really kicked into gear and was writing little ditties whenever I got the chance to.

“I perceived songwriting as a hobby that made me fantasise about being a performer. I think the moment that I knew that I wanted that fantasy to become a reality. I think the moment that I knew that I wanted that fantasy to become a reality was during the process of recording my debut EP ‘Elsewhere’. I was in my element in the space of a studio.”

Along with songwriting, Gretta began performing at a young age and as a result has years of experience performing music in Melbourne. Having performed with groups such as Young Voices of Melbourne and If You See Her, Say Hello, Gretta believes that her experience with these groups, particularly in Melbourne, have shaped her into the artist she is today.


“Within the choirs that I have been a part of in the past, I have learnt much about myself as a musician, and also made some beautiful, talented, life long friends.

The Melbourne music scene is an incredible community, too. I’m very proud to be a part of it.”

Some years later, Gretta is known in the Australian music scene for her perfect rhyming, and use of alliteration, when writing. Despite her love of the English language; however, she admits that she doesn’t have a particular song writing process, and says this is what makes song writing worthwhile.

“A song often starts with a seed of inspiration, a concept, that I have been pondering on for a while. I will accumulate a bunch of ideas in relation to the initial idea, and then set side time to sit down with my work and construct the song.” 

And as for what she finds herself writing about, Gretta is particularly interested writing autobiographically, reflecting, rather than focusing on a narrative.

“I have predominantly written about relationships and the notion of observing the human condition. I want to write about a range of things over the duration of my career. 

[With Drive] I wanted to write a song that explored that concept of the intimate, magical atmosphere that is created in the space of a car when one is driving around with someone they love. In this song, the idea is portrayed as more of a fantasy than a reality.” 

With an abundance of songs up her sleeve, an EP and plenty more music to follow, Gretta is aiming to perfect her new music. Knowing the ins-and-outs of the Melbourne music scene, it will definitely be easier this time around, and slowly becoming a household name, she has plenty advice to pass on to up-and-coming songwriters.

Work really hard, make your own decisions about the direction of your career, seek inspiration, listen to those whom are more experienced in the industry and take their advice on board, continue to grow as a writer and person, challenge yourself but don’t become overly obsessive about your writing. Let your emotions and creativity drive your project.” 

There is no doubt that Gretta has had a massive couple of years, and that 2018 will be even bigger. Having finished off 2017 touring the country with fellow Melburnian Vance Joy, Gretta is back in the studio and is hoping to release more music in the near future.

You can check out Gretta on:

Facebook | Twitter YouTube | Website

Written by Jordyn Hoekstra 

 

MADDIE LUCY

“I got into music at a really young age, like I started taking professional lessons from the age of about eight. It’s been ingrained in me for a really long time I guess.”

With an extensive background in musical theatre and performance, a career in the music industry was always going to be the pathway for Melburnian up-and-comer Maddie Lucy.

The RSOM team were fortunate enough to chat to Maddie about growing up on the Mornington Peninsula, springboard diving and the release of her new single Letting Me Go. 

J: Hey Maddie, welcome to RSOM.
Would you be able to start by telling us a bit about your background?

M: “I grew up on the Mornington Peninsula, in Mt Eliza. When I was really young, I was involved in a lot of different things, not just music. My sister and I did springboard diving for a while, to the point where we thought that was going to be a serious path we were going to take. I guess you could probably say I never looked at taking the most conventional path no matter what. I got into music at a really young age, like I started taking professional lessons from the age of about eight. It’s been ingrained in me for a really long time I guess. I have an older sister and a younger brother, and we’re all very musical and entertainment-based. My dad also sings and my mum sung when she was younger as well. We’ve all tried our hand at it, and we all kind of started out doing music theatre first. My sister and I did that for a really long time, we really loved it. My brother tried it and was like ‘yeah no way’.”

 

J: Do you think your musical theatre background has helped shape elements of your artistry?

M: “Definitely. I’ve been performing since I was eight, so now performing in front of live audiences isn’t really something that scares me at all. It’s more just coming into a completely different side of the music industry which is the most daunting thing for me, because believe it or not, even though they’re both music, they’re totally different worlds. It’s been a massive learning curve for me, I’ve had to be really proactive in my research and finding out how everything works. Because I’ve always had the passion for writing my own songs, and I’ve always loved folk music, but it’s always been something I had done hidden away in my bedroom, just writing my own stuff. I decided to do something with it about a year or two ago, so it’s still new to me, but coming from the music theatre side has contributed to the style I do, it’s folk/singer-songwriter, sure, but sometimes it’s a little bit quirky and I like having those really pretty sounds sometimes, or big dramatic sounds sometimes. It’s something I’ve had to try and work on too as well. In music theatre, it’s so important to speak clearly and make sure everyone understands what you’re singing, and then in folk music, it’s almost a no-no to pronounce your words right, people don’t want to hear every single little detail of your voice. Sometimes it’s nice to have that raw, untrained sound in your voice, so I’ve had to tap back into that sound I had all those years ago.”

J: Was there ever a particular moment where you realised you wanted to pursue music professionally?

M: “I think I’ve always known in the back of my head that I’ll probably never be anything else but a musician or at least in the industry. I’ve tried other things- I studied media at RMIT straight out of school. I loved it and I’ve been able to use those skills, but the office 9-5 thing wasn’t for me. I’m a very creative person and I don’t want to be locked in an office staring at a computer screen. I’ve tried lots of other things, I did consider doing a law degree for a while, but I always just came back to wanting to do music.

J: When did you begin writing your own music?

 M: “I began writing music at about the age of 15. Back then I was just dabbling in it and kind of kept it hidden from everyone. It wasn’t until the end of 2015 and the very start of 2016 when I delved right into songwriting, and really give it a good go, so almost two years ago.”

 

 

J: Do you remember the first song you ever wrote?

 M: “Yeah I do! I can still play it, and I still think it’s one of the better ones. I don’t know what that says about me! It definitely needs work, but I think it has legs to become something. Maybe.”

J: Do you have a particular songwriting process?

 M: “It’s probably different with every song. Sometimes, I have lyrics I might’ve just written but most of the time it comes from me playing the guitar or piano and mucking around with melodies or tunes that sound pretty and force myself to sing along with them. Then I’ll work out if it’s not going to work, or if it’s a cool concept that I’ll start to explore.”

J: Was the process the same when you wrote Letting Me Go?

 M: “Letting Me Go was interesting. I had some lyrics for it, about three years before I actually wrote it- just some lyrics that I’d put down in the notes on my phone that I thought might be cool. Then I didn’t look at it for a really long time. I came back to it when my brother got a ukulele. I’d never really played one before, so I picked it up and started mucking around with it- it’s easy to do that. I started playing around with some chords and they sounded cool together, and something came out which was similar to what I had written down. I then realised that it could all work quite well together. It ended up being an easy one to write once I’d broken the back of it. It sort of came out after a while.”

J: What’s Maddie Lucy’s plan for 2018?  

M: “I’ve actually recorded a whole EP, just released the first single at the moment and hope to do a single launch. From there I’ll probably release another single, and then the EP. Hopefully in the meantime, people here it, and they like it.”

You can check out Maddie Lucy on:

Facebook | Twitter | YouTube | Soundcloud 

Written by Jordyn Hoekstra

RSOM at Face The Music Summit Day 1: 23/11/2017

Day one of Face The Music presented eager and aspiring talents in all facets of the music industry to join as a community and to hear from many different representatives in the music scene.

In Face The Music’s TENTH year, the beautiful St Paul’s Cathedral was the hub of the two day conference as well as for Melbourne Music Week.

As a member of the Melbourne music community both as a musician and a female in the music business world, there were three important key themes that stood out throughout the day.

1. USE SOCIAL MEDIA TO YOUR ADVANTAGE – FIND THE BALANCE BETWEEN A SALES POST AND AN ORGANIC POST. This was a major discussion in the first workshop titled “Meet Your Future Boss: Our Picks for Tomorrow’s Fearless Leaders.” Speakers featured Gloria Brancatisano, Music Editor of Beat Magazine, Alex Gleeson, Entertainment Manager of The Gasometer Hotel, Collingwood, Hip/Hop Rap artist, Mallrat, Georgia Cooke, Promotions Lead at Remote Control Records, and Charlotte Ried, Executive Assistant at Michael Parisi Management. “The key is not to always post about stuff that people can do for you,” explained Mallrat as she believes social media should be used to not only promote yourself but to share your personality and to engage in conversation.

One of the biggest mistakes in the music industry is that artists use social media just to advertise where they are playing so that they can get people to come to their shows, but as social media now plays a huge part in our everyday lives, artists should become more honest on socials and show their personality to their fans.

“Putting yourself out there and taking yourself out of your comfort zone is important,” said Alex Gleeson. He explained to the crowd that when applying to play at venues, it is like applying for a job. The applications that stand out are ones who show enthousiasm, initiative and dedication and doesn’t look like a copy and paste job.

The same applies when going for a job or internship. Don’t wait for Facebook to show you a job opening, call or email the company and express your interest as that shows that you are taking initiative for your learning regardless of your experience in the industry. For those who are under 18 and are wanting experience before stepping out into the real world, apply to volunteer at festivals and events so that you can meet people and build relationships from then.

2. USE SOCIAL MEDIA DATA TO HELP IMPROVE YOUR ONLINE PRESENCE Times have changed and social media is no longer something we should fear, but embrace. In the workshop titled, Building Blocks: How to Grow, Understand and Meet the Needs of your Audience, the panel highlighted that Melbourne has a massive audience out there who want to see live music on a regular basis.

The panel consisted of Yvette Myhill, Swan Hill Performing Arts, Harley Evans, Moshtix, Sally MatherCorner Hotel and Stacey Piggott, Secret Service.

Last year, Live Performance Australia survey results showed that 5.6 million people went to see a gig in 2016.

The panel encouraged artists to be proactive when putting on an event such as asking the venues for ticketing data after a show or doing their own publicity if they cannot afford a publicist.

If you know who your audience is, you can target your marketing to that specific group, whether it be female, 18 – 35 from the Northern Suburbs of Melbourne and use Facebook’s advertising functions to help you improve your reach. Or, why not use it for a completely different group to help spread the word and GROW your audience?

There are short tutorials on Facebook that you can watch under Facebook Blueprint that can help you utilise this great social media platform to spread the word as an artist.

3. THERE IS STILL NOT ENOUGH REPRESENTATION IN THE MUSIC INDUSTRY OF FEMALES, AGE AND COLOUR.

There are a lot of females who are working in this music industry that are so good at their jobs and don’t get recognised. Georgia Cooke was one who stood out as the 22 year old Promotions Lead at Remote Control Records confesses that she left out her age on her resume as she had a fear that employers would immediately dismiss her application. “Diversity and representation is important,” said Cooke as the panel highlighted that we are still in a highly dominated male industry.

“Being young and a female is an issue that people should realise and push away,” said Mallrat as she discussed the idea of having more female sound engineers in the music industry. “Every female artist always records with a male sound engineer. It would be nice to have somebody that is like you.”

What should be commended is the equality of male and female speakers in each workshop today and how each workshop that I attended commended that. As a female, it is definitely refreshing and comforting hearing from successful females in the industry and gives hope to those who are struggling to find a job.

4. MENTAL HEALTH AND SUPPORT NETWORKS ARE KEY WHEN WORKING IN THE MUSIC INDUSTRY. Working in the music industry is not a 9 to 5 job for most people, therefore it is important to take care of your mental health. If you are an artist, you could be on the road with little sleep driving for 2 hours at a time to a gig, or you could be an artist manager checking up on a client on the phone at 3am who is currently overseas on a US tour.

This theme again appeared in another workshop titled, The Manager’s Special with guest speakers Leigh Treweek, Owner of The Music Magazine, Charlotte Abromsfrom Hear Hear Group (Gretta Ray, Haarlo, Angie McMahon), Ellen Kirk from Lookout Kid (Courtney Barnett, Fraser A. Gorman, Jen Cloher) and Jim McKinnon from Team Trick (Dead Letter Circus, Mallrat)

This gave both musicians and music business individuals an insight into the life of these  managers as they work closely with household artists.

A manager is someone who is ultimately responsible for the direction of an artists’ career.  It is very important for an artist to have a relationship with their manager in order for the manager to bring out the best of the artist where possible.

“If you’re not taking care of your artist, then it becomes creatively stifling for them,” said. Charlotte Abroms.

Also, it is important for an artist to not just have a vision musically, but also as a person and know how they want to be represented so that their manager can lead them in the right direction.

All in all, the workshops gave music lovers an insight into the reality of our industry and really honed in a sense of belonging and community. It was a place where musicians could gain more knowledge and learn the necessary skills for them to implement into their career, no matter what side of the music industry they decided to take.

RSOM would like to thank Face The Music for having us this year and we hope to be involved next year!

Stay tuned for our review of Day 2 of Face The Music.

Written by Jena Marino

RECAP: THE 2017 AGE MUSIC VICTORIA AWARDS- 170 Russell, 22/11/17

The night started promptly, with a Welcome to Country. Following this, it was straight into the awards. The 2017 awards were claimed by both new and previous winners. King Gizzard and the Lizard Wizard, The Teskey Brothers, and A.B. Original stole the show, each act winning multiple awards.

With prizes on the night ranging from a $20 000 Moshtix marketing package, to a Bakehouse rehearsal package, to a $2000 Virgin Australia travel voucher, and a $3000 cash prize generously donated by APRA AMCOS, the well deserving winners certainly did not go home empty handed.

The awards were split up into two categories, Genre and Public-Voted. The wider Victorian community were given the opportunity to have their say on their favourite Victorian artists, bands, live acts and venues. The Genre Awards were decided by a specialised panel of selected people from within the industry.

The full list of winners is below:

GENRE AWARDS

BEST BLUES ALBUM

Fiona Boyes: “Professin’ The Blues”

BEST COUNTRY ALBUM

Raised By Eagles: “I Must Be Somewhere”

BEST SOUL, FUNK, RNB, AND GOSPEL ALBUM

The Teskey Brothers: “Half Mile Harvest”

BEST JAZZ ALBUM

Brenton Foster: “The Nature of Light”

BEST HIP HOP ALBUM

A.B. Original: “Reclaim Australia”

BEST ELECTRONIC ACT

Client Liaison

BEST HEAVY ALBUM

Divide and Dissolve: “Basic”

BEST ABORIGINAL ACT

A.B. Original

BEST GLOBAL OR REGGAE ALBUM

Lamine Sonko and the African Intelligence: “Afro Empire”

BEST FOLK OR ROOTS ALBUM

The Mae Trio: “Take Care, Take Cover”

BEST EXPERIMENTAL / AVANT-GARDE ACT

Winter Sound School / Bridget Chappell

PUBLIC-VOTED AWARDS

BEST FESTIVAL

Meredith Music Festival

BEST REGIONAL VENUE (UNDER 50 GIGS PER YEAR)

Theatre Royal, Castlemaine

BEST REGIONAL VENUE (OVER 50 GIGS PER YEAR)

The Workers Club, Geelong

BEST VENUE (UNDER 500 CAPACITY)

The Tote

BEST VENUE (OVER 500 CAPACITY)

The Corner Hotel

BEST REGIONAL ACT

Cosmic Psychos

BEST LIVE BAND

King Gizzard & The Lizard Wizard

BEST EMERGING ACT

The Teskey Brothers

BEST MALE ARTIST

Paul Kelly

BEST FEMALE ARTIST

Jen Cloher

BEST SONG

King Gizzard & The Lizard Wizard: “Rattlesnake”

BEST BAND

King Gizzard & The Lizard Wizard

BEST ALBUM

A.B. Original: “Reclaim Australia”

Concluding the awards ceremony was the induction of the late Tony Cohen into the Music Victoria Hall of Fame. Tony was a music producer and sound engineer, who over the course of his career worked with groups such as The Birthday Party, and Nick Cave and the Bad Seeds. His induction was accompanied with a video, compiled of many people in the industry, including Molly Meldrum.

Emcees Chris Gill and Lyndelle Wilkinson did a wonderful job of keeping the audience engaged, and even accepted awards on a few artist’s behalfs. Wrapping up the ceremony, once again promptly, the Afterparty then kicked off.

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With MzRizk on the decks and performances from Archie Roache, Mojo Juju, Gretta Ray, Josh Teskey and more, and full sets from Cable Ties, Gold Class, and Harvey Sutherland and Bermuda, the crowd were up on their feet and dancing away the night. It was the perfect way to wrap up another year of music in Melbourne, demonstrating just how incredible and diverse the Melbourne Music Scene truly is.

Written by Jordyn Hoekstra 

Natalie Nish

“I’ve always been a little bit weird, a little bit different. It can really set you apart. It’s so important to embrace being different rather than let it hinder you.”

Growing up in a Christian family and raised on Star Trek with her two brothers, and her two ducks, Natalie Nish comes from a musical family. A singer for a mother, and a local radio presenter for a father, singing, music and performing was always a part of her childhood and has since transcended into her adulthood. And despite looking at the pop genre as one that is heavily influential on her own career, she admits she was sheltered from most pop music as a child. From the likes of the Backstreet Boys, to the Spice Girls, to Stacie Orrico and Ed Sheeran- she appreciates pop’s structured way of writing when it comes to writing her own music.

“I love Ed Sheeran. I love his writing style and how he puts so much into a small amount of space without making it seem rushed. I love Stacie Orrico too, her voice and her style of singing is amazing. Her writing I haven’t looked into too much, but I noticed some of the songs she has recorded, she wrote back when she was 14 or 15.

 “I’ve always been told that it’s really important to describe your music, in case you want to change labels or something. But I’m really not sure- I guess honest and quirky. And probably heavily pop-influenced, especially in structure.”

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Similarly to Stacie, Natalie’s song writing career took off from a young age. From singing in the Church, to writing songs to sing to her younger brother, Natalie’s music and song writing abilities are still evolving, and always growing.

“I shared a room with my little brother as a kid and I remember always singing songs about fairies or something, just to help him sleep. A couple of years ago my dad found a cassette tape of songs I had written and sung when I was about ten. It’s always been there and I’ve always wanted to be a creator. Having a passion for music and wanting to create things kind of just came together into what it is now.

“For a very long time, I really wasn’t great. Even before I started studying it, I’d have ten songs I’d written at a time but I never wanted to show them to anyone, because I didn’t understand that it was okay to have bad songs. I then learnt that the most important thing is to just write, and write, and write. If you have crappy ones that come out, that’s fine- it’s just a part of the learning process and you can drop them. Once I found that mindset, it really opened up a lot more for writing. I’m still getting there though, I still try to challenge myself. I find I don’t write overly complicated chord structures or anything, so I’m trying to branch out more there.”

With years of experience and a progressive attitude, Natalie finds that her writing methods are not always typical. She admits that she won’t write a song until she has all the pieces ready to go, and will put them all together before fixing it up, rather than building up the song bit-by-bit. A lot of her lyrics come to her unexpectedly, or very much in the moment.

“I might be out somewhere and think of a word or lyric and write it down on a notepad, or I’ll be sitting at home and go back to those points later. I try to write things metaphorically a lot because otherwise I feel like I’m not doing justice to what I’m trying to say. Sometimes I’ll have my phone on record and just play around and sing whatever I feel like singing at the time, and then touch base with it later. If there’s anything I liked I’ll do it again, and then it’ll progress from there. It’s always the start of the song that’s the hardest part, afterwards you can just work on tidying everything up and making the structure more suitable. If I decide to write a song, it’s because I’ve already got all the pieces there to put it all together.”

As with her writing process, Natalie’s inspiration often comes in the moment. If she finds a particular event or emotion affecting her, she will write about it. And yet whilst most of her work is about herself and her relationships, she often finds herself wanting to write about the bigger picture- even if it is more of a challenge to do so.

“Every now and then, there’ll be topics or issues that are heavy on my heart and I’ll want to write about them, but sometimes they’ll be such a big deal that I don’t know how to write about them. I tried to write a song about homelessness a little while ago, and I’m currently debating whether or not I revisit it and write it a little bit better. Maybe to get some more knowledge about it before I go back into it.”

An evolving songwriter, Natalie is always looking for new opportunities to progress herself and show the world what she’s made of. Having only ever recorded in Melbourne, she’s been given the opportunity to record her next single in Sydney- which she says has been the highlight of her career so far.

“I contacted this songwriter in Sydney called Jeremy Fowler, whose sound I really liked. His manager said he’d be happy to work with me on my next song, so I’ll get to work with him in Sydney and get the song done. That was really exciting.”

Natalie launched her debut single ‘I’ll Leave You With This’ on June 9th. The single was premiered by The Real Songwriters of Melbourne thanks to The Backline Project. You can check out her live interview here and acoustic live performance.

You can listen to it here.

Check out Natalie Nish on
Facebook | Website | YouTube

Written by Jordyn Hoekstra

CELESTE KATE

“I feel like writing is a bit cathartic. I’ll write about it [experiences] because that’s my way to essentially be my own therapist.”  

For some artists, the ability to find their niche happens overnight. This wasn’t the case for Celeste Polson. Not at all. The Ballarat-born singer songwriter, who artists under the stage name ‘Celeste Kate,’ didn’t begin performing her original music until she was in her mid-twenties. This was following the completion of a Diploma of Musical Performance at Gordon TAFE in Geelong, and making the move to Melbourne to give herself the best opportunity possible.

“The Diploma of Music introduced me to Jazz, so when I moved to Melbourne I found myself performing in the jazz scene. In 2015, I was singing in a big-band style ensemble at a jazz club in Richmond, where I shared the lead with male vocalist.”

Celeste also undertook a Diploma of Musical Theatre at the APO of Arts Academy. Whilst her main passion is singing and song writing, she took a year off her original music to focus on completing the degree and becoming an all-rounded performer: “I wanted to incorporate acting and dancing into my singing- I wanted to be a triple threat!”

With jazz and musical theatre under her belt, Celeste’s most in depth experience as a musician comes in her song writing. Having begun writing at the age of 12, after keeping a lyric-filled journal, she began to compose music with these lyrics. She even remembers the first song she ever wrote.

“I do actually [remember it]! I did record it. It was called Nowhere. It was sort of just about feeling like you’re literally getting nowhere in life, like people are trampling on you and you end up feeling like you’re never going to get anywhere.”

Recording these early songs proved beneficial to Celeste, as they equipped her with the experience needed to go on and place highly in several song writing competitions around Melbourne.

“In 2010 I was a semi-finalist in a competition called the Melbourne Fresh Industry Showcase. Then last year I came fourth in a competition called the Emergence Festival.”

Similarly, her last EP I’ve Been Waiting, created a track that came in the top 30 at the finals of the Australian Song Writing Association Competition in 2015. Beating thousands of other songwriters for one of these positions, Celeste described it as the “highlight of my career- it was all very exciting!”

I wasn’t surprised to hear of her success after further discussing her song writing skills with her. I was in awe as she took me through a step-by-step process of a song she wrote, entitled Smile for the Camera and depicted the completely captivating concept she had for a supporting music video.

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“I wanted to write a song about people who appear to be really attractive and look like they’ve got everything together and look like they’re happy, but behind that smile it can be deceiving. It was about the point that you can be attractive and you can look like you’ve got all those things but perhaps behind those eyes there’s someone dealing with something really huge. I had this vision for this film clip that I just don’t have the budget for yet. There’d be these supermodels posing for the camera and looking all glamorous and beautiful; then in another scene they’ll be in the bathroom snorting cocaine with tears running down their face, which shows how they’re really feeling.”

This song; however, was out of the ordinary. Celeste admits she tends to write based on her own personal experiences, starting from the journal she kept as a child. The themes she addresses may not be a direct reflection of her own life, but rather those of her family and friends yet that have touched her in some way. When she does write about herself; however, she confesses to feeling selfish about what she’s producing.

“It’s a bit selfish really, it’s all very internalised. I feel like writing’s a little bit cathartic. If I’m feeling a bit anxious or particularly emotional about something that is affecting me in my life, anything that might be happening, I’ll write about it because that’s my way to essentially be my own therapist.”

Increasing her song writing experience has also meant that her methods and processes have changed over time. In the past, Celeste says she would come up with an entire lyrical structure and then add the chords in whilst at the piano. The lyrics would always be the primary feature, with the melody being added second. Nowadays, her song writing method consists of lyrics and melody after she has created a chord progression on the piano. Even then, no one process is set in stone.

“I wrote a song about a week ago and I sat there and wrote all the lyrics down until I was completely happy with them. It was kind of like this weird poem. Then I tinkered with different melodies, not even at the piano, I just sang them out loud until I was happy roughly with what I was coming up with. It’s kind of considered a really backwards way to do it but it seemed to work for that particular song.”

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If you needed further convincing that Celeste’s song writing is on par with some of Melbourne’s best, you only need to look at her musical influences. The style of music she aims to create and perform can be determined without even asking her. Discussing how she grew up inspired by artists such as Katie Noonan and Sarah McLachlan – and currently greatly idolising Kate Miller-Heidke – Celeste admits that it’s Kate Bush that takes the cake as the most influential artist on her career so far.

 “The way in which she wrote a lot of her songs  was very unusual for that era. A lot of female artists were writing ‘love’ songs, about having their heart broken and everything, but she was writing about lust and desire and all those other parts of being in a relationship that we don’t always hear about in songs. We often hear about the pain and the heartbreak of it, but she was writing about all the good stuff. I just love the way that she writes, as well as the sound of her voice. She’s a fascinating story teller, so I definitely look up to her as well.”

Celeste is launching her next single I’m Not Sorry at the Matthew Flinders Hotel this Friday (May 12). She will also be performing a few new songs that have yet to be recorded but hopes to add to her next EP. As for what to expect on the night: It’s going to be just myself on piano so it’s going to be a very intimate performance.”

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You can purchase tickets to Celeste’s single launch on the night for $12.
For more information go here

You can follow Celeste Kate on
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Written by Jordyn Hoekstra

LUCCA FRANCO

“Hopefully it’s the kind of show Aretha would’ve put on thirty years ago except in Melbourne, sung by a little Italian-Australian girl.”

You’d be correct in thinking Motown was a thing of the past, right? Wrong. Meet Lucinda, known musically as Lucca Franco. The 24-year-old from Oakleigh has always had a love for Motown and soul, and is now taking her passion and reinventing the sound. And how did it all start? I hear you asking. Well as Lucinda recalls, it all started with one talent show that took place 14 years ago.

“When I was 10 years old I entered a talent competition where I placed and ended up winning. From there I started singing lessons and it wasn’t until I was about 13/14 that I really started taking it seriously. I just fell in love with music and that sound. I found my first Aretha Franklin record at that age, it was kind of like a ‘Best Of’ record, and I just fell madly in love with her sound and that genre of music- the old soul singers, Motown. People like Aretha, Stevie Wonder, Etta James, Michael Jackson and I just started singing all her tunes all the time. I became obsessed with the soul sound.”

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The talent competition wasn’t the only competition Lucinda starred in during her youth, either. The up and coming soul star placed in a song writing competition at the age of 12, adapting her with the skills she ended up using to write her debut album from a young age. The song, There Are Days, was the first song she ever recorded. She also admits that she came across it on one of her old computers the other day and “completely lost it.”

“I was 12 years old and it was the school holidays and my dad had bought me a little keyboard and I worked out all these functions where you could make beats and stuff. At school I was severely bullied, like I didn’t have very many friends when I was younger and it was just this song about having your family and friends support you through any situation.”

So many achievements at such a young age, and Lucinda had realised that music was the path she had to be on. Many artists make sacrifices when they first enter the industry, however Lucinda was beginning before she even finished school. Despite this, she admits that moving to Sandringham College from an all-girls Catholic school for year 11 and 12 was the best decision she ever made.

“Sandringham had amazing music teachers that nurtured my music and my creative side. One of the bands I started in the classroom became the band I ended up playing in right up until recently. We were like a reggae, funk band and worked our butts off and gigged from the age of 16 to about 22. Then Michael, the guitarist went overseas and worked on a cruise ship so whilst we never disbanded, it kind of put a halt to our music which led me to start the Lucca project.

“After that, I was really lost for a couple of years. I knew what I wanted to write but because I wasn’t super confident on guitar or piano, I was just banging out a few simple cords here and there whilst the chords were all in my head. I got myself a vocal loop station so I started writing with that but I was never really doing anything with the songs I wrote, I was just keeping them there.”

Lucinda was fortunate enough to meet her current producer, Lee Bradshaw at an event 18 months ago, where Lucinda worked as a vocal coach. Describing their meeting as a “serendipitous” moment, she says he completely understood the artist she wanted to become. The two went on to work together, with Lucinda going on to record not only a song he wrote, but writing, producing and recording her entire up and coming album with him.

“We wrote a bunch of songs that I’m really happy with that turned into this project. I worked with some incredibly songwriters and had some cool people playing on the recording- we did live recordings of the album. We’d spend 9 hour days in the studio and played these songs and it came out incredible. We’d overdubbed different sections as we couldn’t fit all the musicians in the room at the time. I got other vocalists in as I wanted it to echo the old soul sound and it was just so much fun. It seems like a lifetime ago now even thought it was only 6 months ago but I’m really excited to get it out on stage. It is my proudest achievement.”

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The Lucca Project was written entirely on piano and according to Lucinda each song was recorded with up to eight different musicians. She emphasises the team effort behind the album through the writing, recording and production as inspired by the documentary Standing in the Shadows of Motown. About The Funk Brothers, Lucinda describes the collaborative effort that they underwent and how she wanted to replicate that. Despite having been working on her debut single Sinking Feeling for years, she admits the support she had from her team was what solidified it into becoming her entrance into the industry.

“I started writing it ages ago. But I only ever had a chorus for it and it was constantly stuck in my head. I never knew where to go from there- I’m one of those people who has books and books and books filled with unfinished songs. When we started the process of writing Lee was like “Well what have you got? Bring your old stuff in” and he liked it. The way we worked on that song together was like thinking about what was going on and what I was feeling when I wrote it. It’s when you’ve got that ‘sinking feeling’ when you’re starting to date someone new and it’s all going cool and then things just start changing and getting weird really quickly. I write very differently by myself to when I’m co-writing as well but a lot of this album came out with just talking about what I was feeling when I was writing and it brought out all these cool songs.”

And the rest of Lucca’s debut album is set to have the same vibe, according to Lucinda with the ‘break-up’ theme no doubt playing a huge role. Fans are to expect it to be sassy and funky, whilst the sole love song on the able is sultry and sensual- “all of the songs are really different, but the theme of the album is definitely there,” she admits.

Showing just how much Lucinda wants to echo the Motown days, she will be pressing her album onto vinyl for die-hard vinyl fans. She also plans to head over to the United States and go back to where Motown all began, and also where her love for Motown all began.

“I want to bring my myself back to where this style of music was made. And if people like this project enough, then I want to create another one because I’ve already got a million ideas. I want to make Lucca my original – and full time – work. That’d be awesome.”

Lucinda is launching her debut single Sinking Feeling later on Sunday April 23 at The Toff in Town and hopes to replicate her Motown idols.

“Hopefully it’s the kind of show Aretha would’ve put on thirty years ago except in Melbourne, sung by a little Italian-Australian girl alongside some incredible musicians. There’ll be hooks that grab people’s attention and singalong music, especially with Sinking Feeling.”

Check out details for her EP launch on Facebook here

Check out Lucca Franco on
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Written by Jordyn Hoekstra