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

TORI DUNBAR

Melbourne born-and-raised musician Tori Dunbar has always had a love for singing and songwriting. It is her love for audio production; however, that sets her apart from the rest. After studying audio production at Collarts, Tori went on to record, produce and mix the majority of the songs she has recorded for her solo project so far.

“I didn’t expect to like it http://production as much as I do. In saying that, my first official debut single ‘My Head’ wasn’t done by me at all. That one was much more experimental than anything. I’m not more excited about this one than the other songs or anything, but it was interesting to do. It was a total journey for me, having Anna Laverty produce it, just because it was something I’ve never done before.”

Despite experiencing a new way of producing music, creating music itself is definitely not something new to Tori. Hailing from the Eastern Suburbs, Tori began music at the ripe age of six and has stuck to her guns ever since.  Once she finished high school, she decided she wanted to turn professional as it was something she always wanted to do. So she started studying a Certificate IV in Music Performance at Box Hill.

“I played keyboard and guitar through primary school and high school. It’s pretty funny actually. My dad always played guitar too and when I was younger my brother and I shared a guitar. So dad used to set a timer and make up practice every night for half an hour. I always used to do the full half-hour, but my brother admitted to me not all that long ago that he used to cheat and skip some of the practice time!”

Tori also began song writing at a young age. From the age of 14 she first began to learn how to play the songs she knew from the radio. She then understood the idea of being able to sing and play at the same time, and then create her own chords, melody and eventually lyrics.

“[Song writing] came from a ‘I want to try that’ part of me. Once I learnt that I could do it, I wanted to do it. Nowadays, I will definitely start with chords or a rhythm- it’s got to have a colour to it. The lyrics I’ll write as I progress with the chords. With ‘My Head’, I wrote the first verse, then the rest of the song just predicted itself into the next section. My songs are often written together. It’s rate that I’ll write just the lyrics, or just the music, by themselves. That’s why I have so many unfinished songs because I get to a point where I feel that I can’t continue with them.”

And unlike many other artists, she finds herself writing songs for others rather than herself. Once again, ‘My Head’ happens to be the exception.

“I come from a place of unintentionally comforting others. It’s about me reflecting back to others about how they should feel about or sense themselves and trying to help them; give them hope. I try to write from a hopeful perspective rather than a dark place because I don’t like to send my audience there, not do I want to sit their either. The inspiration for ‘My Head,’ came to me after disagreement I had with somebody. You know when you’re in the heat of the moment having a big argument with somebody and they tell you that you’re making up things? It’s called ‘gas lighting,’ and it makes you question your own sanity. I’d never written anything with this sort of sound or feel before, but I enjoyed the percussiveness of the vocal and writing it in that way.”

With such an intense passion for the words she writes, and also how she conveys them, there is no surprise that Tori’s biggest musical inspirations range from Ella Fitzgerald and Billie Holiday, to John Mayer and Jason Mraz.

“My music is very rhythmically and lyrically driven. To put it into a specific genre is hard- maybe it’d be singer-songwriter? But some of my songs borderline onto folk and some have a soul vibe to them. I really like it that way though.”

Tori’s debut single ‘My Head,’ was released on July 7. Despite it being the first single she’s released, she doesn’t expect herself to dwell on it before she brings out more music. The Real Songwriters Live #5, an event she’s very much looking forward to, will act as a ‘semi-launch’ of sorts for it.

“I released the video for it last Friday, but I’m looking at getting another single out in a couple of months. I want to push out back to back singles until the end of the year and then release my debut EP early next year. I want to get as much of my music out there as soon as I can. I’m really excited to perform it at The Real Songwriters Live Show #5 too. Working with Jena has been amazing, and everything she’s done has been so crazy helpful. My brain can’t imagine what Wick Studios is going to look like on the night because I’ve only been there before for rehearsals, but I’m guessing it’s going to be awesome. It feels almost inclusive to be working with the RSOM team!”

Tori is one of the featuring artists at The Real Songwriters of Melbourne Live Show #5 on July 22nd at Wick Studios. Tickets are $15 at the door. You can view more information about the event here.

Tori Dunbar

You can check out more of Tori on
Facebook | Soundcloud | Website

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
Facebook | YouTube | Soundcloud


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
FACEBOOK | INSTAGRAM 

Written by Jordyn Hoekstra

BENJAMIN TRILLADO

Most artists rave about how all their songs are written from personal experience; how they’ve felt and experience everything in a particular song. This is not the case for Benjamin Trillado. The 19-year-old from Melbourne confesses that he has one specific desire for his song writing: to be able to find a song in anything.

“I like to think I have a great imagination. I’ll be like ‘I wonder what is feels like to experience this.’ I was at a train station once and I was thinking about how sad it would be to have to say goodbye to someone there. So I wrote about that- someone leaving and the sadness of it. Just the other day I saw this guy holding a bouquet of flowers and waiting and I was like ‘oh I wonder what he’s going through in that moment,’ so I wrote that idea down.

“I binge-watch a lot of dramatic television shows; I love dramatic stuff that gets to me and makes me cry. I also tend to story-tell a lot, I like to write in linear form and like the idea of going from the start to the finish of a story in a song.”

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Beginning music at the early age of 10, Benjamin took guitar lessons and the occasional casual singing lesson with his music teacher. He admits that it wasn’t something he necessarily wanted to do. At the start, he didn’t really care. Then after a while, he cared too much that he was reluctant to take it professionally as he didn’t want it to become a chore.

“After a while, I fell in love with it [music]. People then told me I had an alright voice, so I just kept listening to a lot of music. I’d listen to pretty much everything. Then I didn’t want to hate it, so I didn’t take any music electives or anything. Then when I finished high school I realised that I could turn professional, and that I just want to do music for the rest of my life.”

On graduating high school, Benjamin enrolled in a Bachelor of Music Performance at Collarts, where both his impending music career and song writing ability took off.

“When I was 12, I decided to write a song for my primary school graduation. I pretty much wrote this really lame song about graduating. I kind of liked it, it wasn’t bad for a 12-year-old. I really liked writing, but didn’t do it that much until I finished high school. My course has helped me a lot with my song writing. I have periods now where I don’t write at all, but I try to push through those and keep going.”

With nine years of guitar behind him, as well as experience in piano, ukulele and bass –“I’m no expert in them but” – Benjamin has found his songs often begin with the thing that began his love for music- the guitar. He often comes up with a guitar chord and then will fit a lyric over that. He utilises this to create a melody that is followed by the rest of the lyrics.

“Sometimes it’s both [the song writing process]. Sometimes I’ll change the melody to fit with the lyrics if I want certain words to stand out. I’ve only just started writing like this, I’ve been a lot more analytical in structuring the way my songs are formed.”

His progression in song writing has assisted him in becoming more descriptive and poetic with his lyrics. A huge fan of Ed Sheeran, lines such as ‘I could do without a tan on my left hand where my fourth finger meets my knuckle,’ [Wake Me Up, +, 2011] are the kinds of lines he imbues to create. And whilst Ed Sheeran may be a typical choice when it comes to an aspiring singer/songwriter’s influences, not all of them are that way.

“I have this ‘weird Frankenstein’ thing where I put together all these random influences. I’m a huge fan of Janis Ian; Beyoncé as well, Sam Smith and Lianne La Havas.  I think my voice has elements of soul in it because I listen to a lot of soul singers.”

 

Much of his original music, as well as covers he has recorded are available on YouTube and Sound Cloud. Whilst he shares his content via social media, he recognises the importance of keeping yourself down-to-earth and not letting yourself get caught up in the craze that can be brought with social media.

“I don’t think having a huge social media platform is a huge ‘be-all-and-end-all.’ I don’t think ‘oh I have this many likes which means I now get to tour’ or anything like that. If people really care and they really want to listen to my music, they will anyway. Don’t get me wrong, social media is a great way to share your music and connect with fans, but at the end of the day it’s really all about of the music. Some artists get too obsessed with it and lose focus of what music is really about.”

Recently joining forces with the Real Songwriters of Melbourne team, Benjamin will be performing at our upcoming live show. Whilst he is excited for the event, he admits he hasn’t set any high expectations for himself.

“I just hope that people will listen. I love to play and I just want to play for people. I’m not expecting the whole world, but I just want to share my music. My goal is to have my music properly released and produced. I’d love to be touring, even if it’s just around Melbourne and maybe even opening for some of my favourite artists. I feel like this is the starting point for that.”

You can catch Benjamin at the RSOM ‘Real Songwriters Show #4’ on 19 March at The Workers Club. For more information click here.  

You can check out Benjamin at the following:

Facebook | Youtube | Soundcloud

Written by Jordyn Hoekstra

SCOTT CANDLISH

“I break my influences down into categories because I want a grasp on a bit of everything. Folk is the main one, but ‘folk’ is a broad term. Singer-songwriter folk is definitely where my heart is.”

It’s not everyday you meet an upcoming artist is so willingly wearing his heart on his sleeve and delving into what his music means to him. I’m talking about Melbourne born and bred singer-songwriter Scott Candlish.

The 25 year old has been playing guitar since he was 14, but he admits it wasn’t until his later years of high school that he realised that music was all he wanted to do.

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“I’ve always loved music, but I guess I started [taking it seriously] a bit later- not at a ripe age or anything. I was working with a singing teacher during my late high school years and there were a few defining moments where I was like ‘yeah this is enjoyable,’ and thought about doing it professionally.”

For Scott, it was moments like these that gave him the confidence to keep going. One memory in particular that he recalls was his first gig at the Hawthorn Hotel. Despite being nervous, he confesses that there wasn’t a lot of pressure going in.

“It’s like anything once you get the hang of it and get into it. It’s definitely good fun though. I was dreading it leading up to it, but once I was on stage there wasn’t too much pressure to do my thing.”

Not only has Scott’s confidence increased since this very first gig, he has established himself as a songwriter. Admitting he’s complacent with the musical instruments he knows, his music goals include progressing his songwriting.

“I don’t have the drive to learn every single instrument out there. I am learning the piano, but I’ve got to lift my game with that. I really just want to get better as a musician. I love writing and I want to keep writing. I try to keep pushing my writing because I fear I might run out of things to write about. It’s so satisfying writing something you’re happy with.”

Describing himself as a ‘self-indulgent’ writer, he bases his music on his own experiences. Often reflecting on negative experiences in his writing, he uses it as a form of therapy. It hasn’t always come easy for him; however, in the beginning he felt incapable of writing lyrics.

“I used to be scared of sharing my experiences, and what other people would think about them. How they would come across, as well. I used to play a lot of covers, and I still love playing the things I listen to. Even now, I feel like I often rewrite the same kind of songs.”

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Songwriting seems to be a complicated process and every artist I’ve spoken to has their own method of doing it. Scott on the other hand, doesn’t really have one particular method. It generally begins with a chord progression on the guitar and then placing it together.

“It kind of snowballs. I’ll start with the chords, then force a line over it. Sometimes that one line dictate the basis of the song. I’ve tried writing lyrics first, but it’s harder to match them up to a melody. I find it more efficient to have the melody first, because then you have the sound of the song.”

Much like any other songwriter, Scott has his fair share of influences that affect his writing and his music. Unlike many other songwriters, he has influences across all genres. He is heavily influenced by folk music, as this is where he hones in specifically. His Scottish background means he is also influenced by Celtic folk.

“Folk is the main one, but ‘folk’ is a broad term. Singer-songwriter folk is definitely where my heart is- artists such as Ryan Adams, Damien Rice and Ben Howard. There are other peripherals as well. I’d consider myself primarily folk-rock. So there are rock influences in there: The Beatles, 90s/early 2000s Silverchair, Dave Matthews and his band Incubus, Radiohead.

“I get little bits of my Dad’s music and I hear direct influences of the Celtic-folk. I just want to hear more and more of that music. He used to play at folk clubs and places like that. It’s the traditional folk music, and different to the strand of folk you get today. It’s organically the root of all my folk. He’s shown me a whole bunch of records of local folk music from Scotland. It’s stuff I’d want to write.”

Scott’s Scottish roots merge with his own travels on his latest EP Home Away From Home. Situating itself within the one major theme, he explains his struggles of finding the place he was most comfortable whilst being away from home and travelling. The EP explores his journey to find that place. While each song depicts a slightly different story, they filter within the idea of finding a sense of comfort when you’re in a foreign or unusual position.

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“Travelling has so much to do with the EP as well. When I’ve been in a bad way, the experience of travelling has allowed me to shape things back together- to feel comfortable in an environment that becomes my home away from home. One country in particular that helped this was Barcelona, which happens to be the front cover of the EP [a picture overlooking the city]. I fell in love with it.”

His highlights from the EP include writing and recording Two Feet and Monsters. He also loved getting a banjo involved, having adored the sound and the timbre.

Scott will be debuting the EP at The Workers Club on February 23rd. It’ll be the second show he’s played with a band in the past two years. “It’s a new experience for me, but I will be reflecting on that. The priority is for the band to come together and sound good.”

“I put everything into my music when I’m making it, especially if it’s sounding good and working out.”

Scott will be debuting Home Away From Home at The Workers Club on February 23rd. You can purchase tickets here.

You can check out Scott at the following:

Facebook | Instagram | Soundcloud

Written by Jordyn Hoekstra