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.


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


“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.”


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.”


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

Written by Jordyn Hoekstra


As soon as I heard that this gig was coming to town, I made myself a promise that I would be in attendance. I saw Bloom, and supporting act Tempus Sun at the Melbourne Music Bank finale in October and I was immediately impressed by both acts. These two acts represent how exceptional the Melbourne music scene is.

I walked into the Bandroom at The Workers Club just in time for the beginning of Tempus Sun’s set. I was amazed. The Bandroom has quickly become one of my favourite live music venues across all of Melbourne, but I had never seen it so crowded. Full of family, friends and fans, it was a true testament to Tempus Sun and their passion and love for the music they play.

The band begun their set upbeat and energetic, the best way possible for this girl who was attending her first gig of 2017. I can only describe the song as a ‘summer kicker,’ which enabled them early on to engage with the audience and have their full attention the entire set.


With a mixture of upbeat and slower, heavier songs played throughout the set, lead singer Lucy was able to demonstrate her versatile vocals. Each lyric she sung had me entirely transfixed, as if I could feel every emotion she felt in that moment. ‘Stop’ showed us that her silky smooth vocals were able to be transformed into rock and roll.

Male lead Andrew was also fantastic. It was difficult to pick who he reminded me of, but they were definitely reminiscent of the likes of John Mayer and Jarryd James. Andrew and Lucy’s voices worked incredibly well together, with the entire banding meshing and playing the set of their lives, depicting just how much they love what their doing.

It was practically impossible to fault their set. ‘Owls,’ the song they won the Melbourne Music Bank with, was definitely the highlight of the night. Catchy but heartfelt, it is one of those songs that you just want to here on the radio.

After a short intermission, main act Bloom graced the stage with her presence. I saw her perform also at the Melbourne Music Bank Finale and she was nothing short of wonderful. I had noticed that the crowd had died down, but she was able to continue the engagement of those that were still there. It also made it far more comfortable in the room.

She begun her set smoothly which not only showed off her vocals but demonstrated who she is as an artist.


I appreciated that her set wasn’t predictable and admired her diverse tracks. I didn’t manage to catch the names of the majority of the songs; however, which was disappointing. In saying that, she has a mixture of slower-jazz tunes and upbeat folky tracks, which she performed on the night with ease. She often accompanied her vocals with either a piano or a guitar, as well as the rest of the band. This was an obvious highlight, as she interacted with her band better than I have seen any solo artist playing at The Workers Club do.

There is a reason why these two acts were the final two acts in the 2016 Melbourne Music Bank and I’m sure Melbourne (and hopefully beyond) will see more of what they have to offer.

Follow Bloom on:


Written by Jordyn Hoekstra


The minute I stepped into The Toff in Town at the Curtin House, I knew it was going to be a good night. For starters, I adored the venue from first sight! It was relatively small, but I loved that the bar was set up at the back of the room and the tables set up.

I’d missed the first supporting act, Easy, but made it just in time for Gretta Ray, who I was excited to see. The year 12 student (who had sat her VCE English exam only the day before!) was crowned the national winner of the 2016 Triple J Unearthed competition. She is the 2016 winner of the Vanda & Young songwriting competition, which was announced the same day as the gig.

With so many accolades at such a young age, you could only imagine the pressure placed on her to perform well to a crowd of people she mostly knew. But she definitely did not  disappoint.

At just 18 years of age her songwriting ability is beyond what most of us could even imagine. And while her vocals were versatile and impressive, it was her vivid, occasionally haunting lyrics that drew me to wanting to hear more.

I appreciated that she performed a set full of original songs, as she was able to show everything she had to offer. She also went out of her way to interact with the audience. Providing the whole package, the short set she played was enough to gain me as a fan.

The final act of the night was the headliner: Noah Earp. Noah, launching his debut album ‘Disinheritor,’ was supported by his band, including the violin-playing manager of both Noah and Gretta- “Jono.”

I was transfixed by his voice from the opening song. His unique, bluesy tone took me back to the 1960s/70s (a period where I wasn’t even alive) and his talent was shining through. The band too were talented, however, for most of the night they overpowered his vocals! The set-up of the stage meant that any sound coming from it was most likely to echo as well so at times it was difficult to understand what he was singing. Regardless, Noah is definitely one to watch.

Listen to Noah Earp’s new single, The Raw and the Cooked.

I loved that he played his entire album in order. Sometimes the ‘no surprise’ element can become predictable, but as I think this was done perfectly considering he was debuting the album. The best possible advertising he could’ve done was to play the entire thing in order, so everyone who ended up buying one knew exactly what they were getting.

The highlight of Noah’s set was his instrumental tribute to American Delta Blues Artist Blind Billy. Despite being introduced as an instrumental, Noah admitted at the start that he was ‘still going to sing’ in it. And honestly, it worked. The song was a true reflection of his feelings towards this artist and his story, leaving everyone in the room in awe.

Two great sets were performed by Gretta and Noah. We’ll definitely be seeing more from both of them in the future. 

Follow Noah on
Website | Facebook | Twitter | Instagram | YouTube

Written by Jordyn Hoekstra.


I’ll start by saying, I’m no stranger to the Gasometer Hotel in Collingwood, but I had never set foot inside the Bandroom. It was a charming little venue that reminded me of the local pubs you’d find in British films. In saying that, I found that the Bandroom was possibly too small for The Hunter Express, as the audience packed in for what was a night of music to remember.

The first act of the night, Jane Sea, was a last-minute fill in. She definitely succeeded beyond her role, however! Her powerful vocals shone through as she played a mixed set of covers and originals. I adored her acoustic cover of MGMT’s Electric Feel, as she was able to impress with her vocal ability.

Scott Candlish was the next act to take the stage and despite his laid-back nature, he didn’t fail to deliver. I found it difficult to place him into one particular genre without any prior research, but he did give off a folky vibe with some country undertones. Regardless, I really enjoyed his set! He performed part of his set alongside his friend Annabelle and their voices balanced each other out superbly. A highlight of his set included the launch of his single ‘Two Feet.’

Concluding the night was main man Brad Ellis aka The Hunter Express who was launching his debut EP Bluestone Lane. His mixture of roots and big-band, as well as his heartfelt lyrics created an EP that is definitely worth checking out! Hoping You Don’t Mind at All, the leading single of the EP, was the most memorable song. It’s big-band vibe and catchy lyrics had everyone in the room singing and dancing away.

I also really enjoyed Feels Alright, as Brad was able to show off his folk ability. He and Scott performed part of his set together, which I loved as the banter between them was fun and easy-going. That is what I really appreciate about smaller gigs!

Despite the venue being crowded, three acts with bright futures played their hearts out in what was a great night of music!

Congratulations to The Hunter Express on the launch of his debut EP, Bluestone Lane.


 Follow The Hunter Express on
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Click here to buy Hunter Express’ EP titled Bluestone Lane.

Written by Jordyn Hoekstra.


Charm of Finches is made up of sisters Mabel (16) and Ivy (13).
Mabel tells Jena all about their journey together so far.

J: So, firstly, can you please introduce yourself?
“Well, my name is Mabel and I’m 16. I’m a singer/songwriter living in Northcote, Melbourne. I play guitar mainly, and sometime ukelele in our live shows. I also play cello, but only on recordings. My sister Ivy is 13, and she sings amazing harmonies and co-writes songs with me. She also plays violin and banjo.”

J: What was it like singing with each other in the house as sisters growing up? Have you always performed together?
M: “We’ve grown up in a musical household. Our mum is a musician and we’ve also listened to a lot of music, especially folky stuff, and old time music with lots of harmonies. Our mum has led choirs while we’ve been growing up, so harmonies has been a hot topic of conversation throughout our lives. My sister and I used to make up songs about our guinea pigs and try and think up crazy harmonies singing in the bathtub! Also, we have gone to Steiner school which means singing in the classroom everyday!”

J: When did you start songwriting? How did it come about?
M: “I wrote a song when I was about 8 years old about birds and wanting to fly and I performed it to my toys! In Grade 6 my teacher encouraged us to write a song for our end of year CD that reflected on our journey through primary school. My song was called In Another Life. I can’t even remember what it was about! I quickly became addicted to writing songs after that.”


J: When did you decide to become Charm of Finches and head out into the Melbourne live scene?
M: “Ivy and I started busking with our friend Bel when we were about 8 and 11 as ‘The Highway Sisters’ doing bluegrass and gospel three-part harmony stuff. We were inspired by the O Brother Where Art Thou soundtrack. We occasionally were asked to perform. Then in 2014, I decided to record my original songs and make a CD for my Year 8 major project. That’s when Ivy and I became a sister duo Charm of Finches.”

J: Where have you performed around Melbourne?
M: “Most of our shows have been at festivals, actually. We have performed at lots of local venues: our locals in Northcote, Open Studio and The Wesley Ann, Gasometer in Collingwood, The Corner and The Flying Saucer Club, both with Clare Bowditch and The Spotted Mallard, which is such a lovely room.


J: What it is like performing to big crowds at such a young age? Do you feel nervous?
M: No, we don’t get nervous. We were a bit starstruck and nervous before opening for Kasey Chambers at The Murwuillumbah Country Roots Festival last October. We had just met her and knew she was at the side of the stage watching. We don’t really get nervous though.”

J: Do you write the songs together or does one write both music and lyrics? How do you write your music?
M: “I usually have written both lyrics and music, while Ivy has composed harmonies which I feel is an intrinsic part of our sound, and therefore an important part of the songwriting. Recently, Ivy has started writing songs and bringing them to me partially formed. So there a lot more co-writing both of lyrics and music now.”

J: Can you tell us about one of your originals and how you came about writing it?
M: “I like to write songs about what it’s like being a teenager and draw inspiration from what I observe in the people I go to school with as well as myself. The song, Lost Girl, has a very melancholic feel. It’s about someone’s insecurity in themselves and how they try to prove themselves and find their identity. The song is written from the perspective of a boy in a relationship with a girl. In the end he makes the realisation that she has flaws like anyone else. In terms of composition, there are only three chords in the songs.

It’s very simple, bit it serves the song well. More chords don’t necessarily make a song better. When I decided to put it on the new album, I still wasn’t sure whether it was finished, because it’s so simple with only three verses and a middle bit which is like a chorus, but only happens once. After a while I realised there was nothing more to add to it and felt complete. It’s a perfect last song for the album, as it sounds like an ‘after thought’. We just finished shooting the video up in country NSW in sand dunes.”

J: Have you released any EP’s or are currently making one?
M: “We released our debut EP in 2014. It has 6 original songs on it, and is fairly representative of the live sound. We are currently recording our second album with an amazing producer, Nick Huggins. It’s looking like ten songs, with piano, lush strings (Ivy and I playing violin and cello) and even a touch of banjo along with our signature harmonies and guitar sound.”

Check out their current video clip for original, Home.

J: Have you got anything coming up that you would like to promote? 
M: “Yes! Well, firstly we have a Pozible campaign running right now to help us complete our album project. We had a bit of fun making the Pozible video, with cameos from our little brother and mum. This is our second Pozible campaign. We thought the first one was such a great move. We were discovered by many people and it helped us pay for CD pressing. We also have already set the date for our Album Launch. It’s on Saturday 6th August at the Wonderland Spiegeltent at Docklands. It’s such a beautiful space inside, underneath that surreal massive wheel!

J: What is the one piece of advice you have to a young songwriter like yourselves who wants to start performing and get their name out there?
M: “Firstly: be yourself. Develop your own sound and don’t try to copy other people you think are popular. Be dedicated to your art and keep making it regardless of what others say. Find out what is special about what you do. Practice a lot! To get gigs, try and play as much as you can to develop your live show and allow your songs to develop. We found busking helped us develop a strong performance and going our and seeing local music you love.

Being part of songwriting events, like ‘Songwriters in the Round’ is also a great way to connect with other songwriters and getting known. I know this was supposed to be one piece of advice…woops. But entering competitions is worthwhile. You just never know! We enter songwriters competitions a lot. To our utter surprise, our song Paper and Ink ended up winning the Darebin Songwriters Award last year.”

“Our music is what interests people , so seeing us perform live is ultimately the best insight into ourselves as artists.”

Pre-order their new album via Pozible here
To get tickets to their album launch on Aug 6 at the Docklands, click here


Check out Charm of Finches on:
Website | Facebook Instagram | iTunes | Bandcamp | YouTube | Soundcloud


A child of a musical household, a part of her time growing up was on tour with her Mum and Dad as they played Benny Andersson and Anni-Frid (Frida) Lyngstad in ABBA tribute band, BABBA. 

When not on tour, her father would play the piano around the house and baby Jade would sing gibberish back, singing before she could even talk.

Performing and writing songs from a very young age, Jade was involved in musical theatre productions and later on in her high school years, began to collaborate and perform with other musicians.

“So many special moments in my life have come because of the people I know and the contacts I have come across,” she says. “Everyone is so intertwined in the industry, you’re always bumping into someone.”

Her achievements include performing at Hisense Arena in front of 40,000 people as part of the Victorian State School Spectacular in 2014, as well as being crowned the winner of the 2015 Melbourne Music Bank competition, a competition designed to kickstart a musician’s career in the music industry.

Entering the Melbourne Music Bank gave Jade the motivation to build her confidence and her profile as an artist. Talking about both the Spectacular and MMB, she said that she loved them both for different reasons.1

“I was more nervous for MMB because it was a competition, I knew that I was being judged and up against artists who are just as deserving. In the arena, I wasn’t nervous.”

Since the win, she got stuck straight into recording her winning single, Kick Drum, at Melbourne recording studio, Sing Sing Studios, two days after the final.

A song written at the age of 15, Kick Drum is all about the uncontrollable feeling of happiness and the effervescent feeling of joy. Hearing the melody in a dream, she woke up and instantly recorded the melody which then turned into this upbeat and happy tune.

Jade’s busy schedule also included filming a video clip for Kick Drum, photoshoots as well as interviews on radio and for various publications.

Winning the competition has taught Jade many things about the practice of the music industry. “You don’t realise how many people are behind the scenes with making just one small thing happen.”

When talking about shooting the video clip, she said that it was the first time she had given someone else control over her music as she had always done everything on her own.

“Handing over something personal and letting someone else take control was very weird,” she said. Although letting go was hard at first, she said that she has had a lot of fun and has learnt a lot in the process.

Plans for the future include releasing an EP and sharing many more of her songs with you all. She also plans to continue on building her networking and sharing their knowledge.

Jade Alice is currently preparing for a single launch for Kick Drum which will kick off tonight at Shebeen. You can purchase tickets here.

Check out Jade Alice on:
 Facebook Instagram Twitter | YouTube | Soundcloud

Single Premiere: No Hands – Connor Ross

No Hands is the first single off the anticipated debut EP, Come To Think set for release next month. 

Written and produced by 19 year old singer/songwriter Connor Ross, the EP was produced at his parents’ home in NSW in the cold winter of 2015.

The single promises great versatility in the debut EP as the instrumentation in the track uses the synth, an initial experiment for the artist, in order to create a sinister mood.

“I really wanted to capture as much of the raw, rough, powerful sound of the synth that I could within the mix, to give the piece a real moody vibe.”

He also said that the five-track EP was a chance to test himself as a songwriter and producer as he experimented with big band sounds as well as soft folk guitars. By doing this, Ross’ aim is to make the wider public aware of the many different aspects of music.

In a recent interview on RSOM TV , Connor described his music as alternative/folk influenced with jazz and blues. He goes by the motto, “If you can play jazz, you can play anything.”

Growing up in country New South Wales, his parents would play artists like Nick Drake, Nick Cave, Miles Davis, James Morrison as well as contemporary artists such as The Cat Empire which have had a great impact in his songwriting.

Connor packed his bags and moved to Melbourne last year and is currently studying music at RMIT. He praises Melbourne as the music capital of Australia. “If you want to be doing music in Australia, the best place to start is Melbourne. There are not only great musicians but so many bodies that advocate for music that nowhere else has yet.”

He has supported many artists in metro and regional Australia and has learnt along the way that there is never a bad gig.

“Even if you seem like a pretty big artist, you can still have some pretty rubbish gigs, but you have to got to push through those. Even if it is a small gig with three drunk people heckling you the whole time, you never know who might be in the corner of the room.”

You can check out Connor Ross’ interview on Real Songwriters TV below.

Follow Connor Ross on
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