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The Communards / 7th Heaven Remix – ‘Don’t Leave Me This Way’ 35th Anniversary Of Debut Album On London Records – Essentially Pop



Online today a brand new remix of the classic Communards hit, ‘Don’t Leave Me Way’, from pop remix masterminds 7th Heaven.  8 minutes of bouncing four-four dynamite, with an extended intro, rich brass section, Jimmy Somerville’s unmistakeable vocals to the fore and Richard Coles’ ecstatic piano solo in all its glory.

Remix and production duo, 7TH HEAVEN (aka Jon Dixon and Andy Wetson) are among the world’s most in-demand commercial remix teams having remixed club hits for Ariana Grande, Selena Gomez, Little Mix, Kylie Minogue, Scissor Sisters, P!nk, Giorgio Moroder, Britney Spears, Erasure, Katy Perry, Take That, Whitney Houston, and many more.

The Communards seminal debut album is to be reissued on its 35th Anniversary this autumn by London Records. The duo’s iconic ‘Hi-NRG’ cover of Don’t Leave Me This Way gets this new remix from 7th Heaven as part of an expanded CD/Digital release, and there will be a limited edition vinyl release of the album, all available from 17th December.

Mixing pop and politics wasn’t exactly a revolutionary act in itself in 1985, but no mainstream chart pop act had ever done so with the fervency, purpose and personal passion as The Communards.  From the message laid down in songs such as Reprise (acidly dedicated to Margaret Hilda Thatcher on release) or Breadline Britain’s condemnation of life under the Conservative government, right down to their stark, tongue in cheek, Soviet-styled artwork. Even the band’s name was taken from a group of 19th century Parisian revolutionaries.

“The Communards were more of a political outfit making music,” says frontman Jimmy Somerville who alongside Richard Coles delivered fiercely pro-gay rights and staunchly left-wing messages within an era-defining mix of glorious Hi-NRG pop and beautiful, piano-led melodicism; all held together and lifted skywards by the astonishing leaps and bounds of Somerville’s unmistakable counter-tenor voice.

To revisit the duo’s debut LP today is a wonderful reminder of just how special and transformative pop music can be. Take Disenchanted’’s melancholic pulse; the delicate, moonlit flourishes of ‘La Dolora’; the clear message in their reading of jazz standard ‘Loverman’ and of course, the soaring, evergreen rush of their cover of Gamble and Huff’s ‘Don’t Leave Me This Way’ – number one in the UK for six weeks, the biggest selling single of 1986 and still a song that can send joy pulsing through the veins of generations not even born when the pair first stormed the charts.

The band’s commercial success massively expanded their platform and the audience for the ideas and ideals.

“We were one of the only bands at that time that were openly and up-front and honestly dealing with this whole new dark period of gay politics and AIDS. We weren’t sitting on our hands.” recalls Somerville of the height of the band’s fame. “We felt it was our duty in a sense.”

The Communards were a band that led with their identity and ideas, driven by the hope that living their truth would help set others free. 35 years on that truth remains as important and inspirational as ever.

The CD and digital formats have been expanded to include some rarities, fan favourites and previously unreleased material.  These include  ‘Don’t Leave Me This Way (Gotham City mix part two) which Coles calls “my favourite thing that Jimmy and I did” and fan favourite, ‘Disenchanted (dance)’ remixed here by Mike Thorne. Also included is the only radio session the duo ever recorded with Janice Long in October 1985 on which they debuted previously unpublished tracks and the demo version of Summertime, the only recording in existence of this collaboration with Sarah Jane Morris. Stream and download here.

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Drakes’ Honestly, Nevermind Becomes His 11th Chart-Topping Album



Is Drake unstoppable? The answer might be yes. The rapper’s latest album, Honestly, Nevermind has debuted atop the Billboard 200 Albums Chart, giving the performer his 11th number one album. Even more amazing, there was hardly any build-up leading to the record’s release – it was dropped by surprise at midnight on June 17th.

Drake is now the 5th artist with double-digit chart-topping albums joining Bruce Springsteen, Barbara Streisand, Jay-Z, and The Beatles. To top the chart, Honestly, Nevermind launched with 204,000 equivalent album units.

The album is Drake’s 14th overall top 10-charting album. Since 2009, when he charted for the first time, he’s been a force to be reckoned with. Honestly, Nevermind marks the 8th straight year that Drake has charted with a top 10 LP.

For his surprise album, Drake took a left turn from his typical musical styling, creating a moodier house-styled listen. To create his new sound, he collaborated with seven dance artists, making sure the new tracks are as authentic to the scene as possible.

As of this writing, the most streamed track on Honestly, Nevermind is the closing title, “Jimmy Cooks.” Featuring 21 Savage, it has already been streamed over 40 million times. Other top tracks include “Sticky,” and “Falling Back.”

“Falling” is another popular track, and the only one Drake has released so far with a music video. Trailing Drake on the album chart is Bad Bunny’s Un Verano Sin Ti, which showed off 121,000 equivalent album units. Harry Styles’ Harry’s House rounded out the top three with 79,000 equivalent album units.

BTS fell from the top spot to the fourth spot with 75,000 album equivalent units, down 76 percent from last week.

In a surprise rise up the charts, Morgan Wallen’s Dangerous: The Double Album climbed to the 5th spot with 52,000 equivalent album units.

Have you streamed Honestly, Nevermind yet? Where does it place is Drake’s discography?

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INTERVIEW – The Vamps Chat About Greatest Hits Tour, Their Biggest Accomplishments, and What the Future Holds!



It has been ten wonderful years for The Vamps. After starting out their music careers as teenagers and posting covers on YouTube, they quickly grew to be one of the biggest bands in the UK, with a large, loyal, and dedicated fan base.

2022 marks their tenth anniversary, and they will be celebrating with a greatest hits tour at the end of the year. With two Number 1 albums, an astonishing six billion streams, two billion views on their YouTube channel, and becoming the first band to headline at London’s iconic venue O2 arena five years in a row, they certainly have a lot to celebrate, which means their tour is going to be one hell of a party.

Not only that, but they will also be releasing a fanzine to mark the occasion. This will include photos, exclusive interviews with the guys, limited edition merchandise, and a CD which contains some of the bands favourite songs.

They have recently returned from Barcelona where they hosted an epic weekend festival, which saw a line-up of fantastic music acts including Sigala, Mae Muller, Matoma and more! The weekend also saw a cocktail masterclass with Brad, a boat party with Connor, a brunch with Tristan, and a scavenger hunt with James.

We had a chat with the guys to reminisce on the past ten years, and what the future is looking like for them.

I wanted to start by talking to you about your fanzine that you’ve got coming out for your ten-year anniversary. Why did you decide to release something in that format?

Brad: I think we always liked the idea of doing something that was like a scrap book, or a collection of memories of the past ten years, that was stuff that hadn’t been released. So, it’s like unreleased photos, interviews where we kind of go a bit deeper than we have in other ones. It’s just like very exclusive because we’ve kind of grown up with exclusive merch of bands that we love, and I think from a fan perspective, it’s really nice to have those kind of specialist, limited edition things. So, we wanted to do it as that really, as a celebration of our ten years, and then also, hopefully the people that are getting it are going to be fans who have been on this journey with us, so it feels like a shared thing.

Yeah because you have got your fans involved haven’t you…how have they been involved?

James: They’ve sent in pictures.

B: Yes.

Connor: Sent in photos, yeah.

And that’s all going to be in the fanzine?

B: A few hand-picked ones, yeah.

So, you’ve got an album coming out with the fanzine. How did you decide on the songs that you were going to put on there?

Tristan: It’s a collection of faves, plus like the stuff that our fans really like, but mostly kind of, some live tracks on there, some personal favourites. It’s just a collection of what The Vamps are about, really.

That must have been quite hard, you’ve done a lot of songs!

All: Yeah!

So, you’re going on tour at the end of the year. What are you most looking forward to about it?

J: It’s going to be the first tour that it’s not like with an album per say, or campaign, so I think picking the set list will be interesting. It will be nice to cover the whole decade of The Vamps in a set list, so I don’t know what that will look like, but it will be good though, it will be really cool. And maybe like reimagine some of the earlier songs for how we perform now, maybe, we’ll see!

Did you mention that you’re getting fans to help choose your set list, or did I miss hear that?

C: Yeah, I think we’ll maybe do it like a twitter thing or something. We’ve done similar things in the past, but yeah, like we’ll do a certain portion of the set where they decide between a few.

Ok. That might be a good idea, considering you got bullied into playing Lovestruck on the last tour!

B: We did, it was bullying…thank you for acknowledging that we were bullied!

*all laugh!*

B: We didn’t know the words, we didn’t know the chords.

J: Yeah, genuinely that!

You’ve been in the music industry a really long time. How have you seen it change over the years?

B: A lot, to be honest, and it’s kind of changed in stages as well. There was a big change after our first album, in terms of the way, this is a bit more like the behind the scenes stuff, that the way the approach to radio was….it really changed. Whereas before, you would be able to kind of build up a bit of excitement around your songs, or we would gig the first album songs for a while, before they ever went to radio, so people would appreciate the songs…things like that. And then that changed, so you couldn’t do that. And then streaming came in around the third album for us.

I think with every change, as challenging as it may be, it presents a whole host of new opportunities. So, at first, it’s quite a scary thing, and there’s a big change going on at the moment, with Tik Tok. We’ve had conversations about it, and I think, on the whole, it’s a good thing, because it gives potentially, unknown artists, or unsigned artists, as much of an opportunity as the biggest artists. So, it levels the playing field, which is only a good thing.

Do you ever find it hard to keep up?

B: That’s part of it though, it keeps it exciting. Sometimes, getting complacent can be a bad thing, and just like, it being the same strategy every campaign can be a bad thing. Learning to adapt is good. So yeah, we’re just waiting for the next big change, whatever that will be!

Is there anything about the industry that you would change?

B: Tris, you mentioned the way that song writers are paid, off the back of Spotify and streaming. It’s not great, it’s not good at all really. So, I think that can, and will inevitably change in the next few years. So that needs to be looked at!

I think putting a structure around, especially now, with social media, and how integral it is in an artists’ field, I think there needs to be real support networks provided by anyone…whether it’s a record label, or a management company. Whoever it is who is supporting an artist, because they are asked so much more of than they were a few years ago. You’re not only the singer, song writer, producer, performer. You’ve got to be the content creator, and come up with the ideas yourself, and put yourself out there.

So, I think there needs to be a real like mental health support system around the artist, whether it’s like a therapy service, a time out, or whatever it is, I think that needs to get looked at.

That’s a good answer.

So, in your ten years then, who would you say has been like an influential teacher or mentor, or just someone that you’ve looked up to?

T: There’s been a couple of heavy hitters in the industry for us, like throughout the years, on the first album who’ve moved on to really interesting, amazing things. Obviously, our families play a big role in that. Each other, we inspire each other. Who else?

B: Is there any drum ones?

T: Yeah, I mean, loads! Well the main one was like Joey Jordison who’s passed away, which sucks, and a couple of others. Travis Barker obviously.

B: There was a group of producers that we worked with around the first album. They were called Espionage. They were like a duo from Norway, who wrote a lot of great songs. They co-wrote and produced a lot of the first album singles. And I think what we learnt from them was like, they were so rigorous with the way they approached the song writing, and the vocal takes, and the production. And I think, as hard as it was at the time for us, because they really put us through our paces, it actually instilled a really high work ethic for all of us. So, it set our bar very high within the band.

What’s been the best advice you’ve been given in your music careers?

T: It was quite funny, there were two of us, or maybe not, it was so long ago! I was speaking to Taylor Swifts’ mum, and I had a really good conversation with her about not relying on third party people. You know, “if you guys want it to happen, you have to make it happen”.

It was talking about her experience, and how you can’t rely on the label, you can’t rely on management. You have to really have that vision of how you would make this happen if it was just me, you know what I mean?

What’s been the worst advice?

T: You know what? Someone told me that if you don’t mix alcohol, you’re fine? If you stay on the same drink, you’re still gonna be screwed the next day! It doesn’t really affect it, like there’s no difference for me!

C: That’s life advice!

*All laugh!*

I asked a band that question before and they said something like, they were told to make sure that their fans know that they’re beneath them, or something!

*All laugh!*

J: What the fuck?! You will always be beneath us (sarcastically)!

T: Who was that?

I don’t remember, it was a band, but I can’t remember!

T: Yeah you do!

C: That’s so fuckin rude!

B: Let’s hope they ignored it.

It was their label that gave them the advice, but I can’t remember who the band was.

J: Bastards! You will never amount to anything (sarcastically!)

So, what would you say has been your proudest accomplishment?

J: Number one album I think, on both the third and fifth is cool, but I think like five consecutive years at the O2 is kind of crazy. Obviously loads of people have played it loads of times, but I think that doing it every year is kind of crazy, and to be able to sell that.

The Vamps - Missing You (Live At The O2 London, 2019)

C: We’re still a band!

*All laugh!*

C: No one’s hit each other yet.

B: Not intentionally!

That’s good.

T: Honestly, the friendship for me is an achievement. Just that kind of, ten years of knowing someone, and actually still being as tight as ever, you know what I mean?

Yeah, that’s an achievement in itself with anyone, isn’t it?

All *Yeah!*

What else would you like to accomplish?

B: Another ten years?

Another ten years!

B: Absolutely! More albums.

T: More travelling. There’s loads of places we haven’t been to.

B: Do a gig in Bali.

C: Yeah, on the beach.

T: Yeah, that’s actually genuinely on the bucket list.

C: That’s where we should do the weekender!

All *ahh yeah!!*

T: That would be crazy, things like that!

C: So relaxed!

So, you’ve done a lot of albums. What has been your most favourite era so far?

B: It’s either Meet the Vamps or Cherry Blossom for me. Between those two. I loved Cherry Blossom as an era. I liked everything, from the styling and the artwork.

It had a good aesthetic.

B: Yeah, thank you!

C: Meet the Vamps probably had the biggest learning curve. Everything was new, and we were learning everything right at the start. We were so young for the industry, which was probably a good thing and a bad thing. Because we were so young, we couldn’t really put our foot down a lot. But then we’ve learnt through that.

T: Four Corners for me, probably, because we actually went to four corners of the world, which was cool.

J: Yeah, I agree. The music and the touring eras, like some of them weren’t always at the same time, so it’s hard to like pinpoint one. But from a music perspective, I think the magic around making the first album was really cool, which like no one else saw, because it was obviously before we released any music. But that was cool, like getting the songs together, going to meetings for the first time, joining the band. Like, all that for me was really cool!

Wake Up was my favourite era, if you wanted to know?!

B: Was it really?

Yeah, I love Wake Up.

So, what’s a song that you’ve written that you’ve been the proudest of, and why does that song stand out for you?

B: I think collectively, the approach to Missing You was fun, because it started off like, I had the verse and the chorus, and it was just a kind of like a piano thing. And then we took it all in, the four of us, and we went into a studio called Livingston in North London, and we just figured the whole thing out. It was really, really fun. Like, we spent some time figuring the bass line out, and writing the second verse round the piano together, and it was like a really nice, collective writing, which we have done a few times.

C: I sort of like Hurricane, like that was brief, and then we went into a room and actually played it all live at the same time, which we hadn’t really done before.

T: Hurricane was really fun, because remember, we had James’ surprise party thing? Do you both remember?

B: At the studio?

T: For his surprise birthday.

J: Oh, LA, yeah!

T: In LA, Hurricane, and the second day, we had to leave early.

J: It was my 21st birthday or some shit.

B: What did we do?

C: Oh, in that room?

J: We watched the RDMA’s, and it was so nice.

B: What a life!

*All laugh*

The Vamps - Hurricane (From "Alexander and the Terrible, Horrible, No Good, Very Bad Day")

So, when you’re writing songs, how do you get over a creative block, if you’re stuck, or you have got writers’ block?

T: Have a break.

B: Have a break, deffo. I think it’s like, if you stay on it too long, it’s hard to see it clearly, so have a break. Maybe write a different idea and come back to it, and if it’s meant to be, it will be. If you’re really struggling with something, maybe it’s just time to move on to something else.

Right, fair enough!

So, Connor, you have just done Dancing on Ice, and James, you were on I’m a Celebrity. Are there any other shows you would like to be a part of?

B: Is The Cube still going?

J: I don’t know, man!

I think it is, I think it’s not long come back.

B: I’d love to see one of us on The Cube, because it must be fun, but I’m not sure if there’s any others. None of these things have ever been planned. It’s just like, if the opportunity comes up at the right time in our lives, and in the bands’ lives, then…

Can I make a suggestion?

B: Go!

I would love to see one of you in The Masked Singer!

*All laugh*

What would you go as, if you did?

C: I would love to do a Davy Jones of Pirates of The Caribbean, with tentacles!

J: That would be so funny!

B: I think it would either be that or a bearded dragon!

J: That’s good actually! Do you get to choose what you are?


C: I didn’t know that.

T: Have you seen the budget behind the costumes as well.

B: They’re big aren’t they.

They’re insane, yeah!

J: Was someone like a fly, like why would you choose that? Grow up man!!

*All laugh*

C: Aled did it.

J: Did he? Aled Jones?

B: Yeah.

I’d go as something really boring, like a pencil, or like a microwave or something.

*All laugh*

A microwave would be good, because when you go to unmask, you can just open the door, and then your face would be there!

B: A post box would be quite good, like a red one.

Yeah, you could see out of it then!

Ok, so you’re obviously very talented musicians, but what’s the most useless talent you have?

T: Fifa, honestly. It’s just, it’s awful!

J: Do you mean like talent, like you’re really good at something, that’s pointless?


J: So, like, the opposite of that.

T: Pointless? Ok.

J: We’re just good at fuckin everything!! There must be something!

B: It’s only useful talents that we have!

T: The Irish jump is really impressive.

B: I don’t know if I can still do that, I’m a bit stiff!

*all laugh*

You’re just good at everything!!

If you can have your fans remember you for just one thing, what would it be?

B: My favourite thing is when you meet a fan, or a group of fans, and they’re like “oh we met through you guys”. And they become best friends through us. That happens quite a lot, and I think if we can instil some kind of happiness, and some good moments throughout peoples’ lives, I think that’s what the purpose of music is. So, I would say that, if we could leave that, that would be good.

Is that the same for all of you?

T: Agreed!

J: I don’t like making people happy!!

*all laugh*

J: No, yeah, that’s really nice.

So, what’s the weirdest or funniest thing you’ve been asked in an interview?

J: We had some guy in Belgium who was like really, really sexual!

C: The juicy mouth guy?

J: Yeah, he was asking like really weird, sexual questions!

B: The process of the interview was like a sext conversation. Like who’s the best sexter in the band?


C: And he would start it off, and we had to carry on the conversation, it was weird!! He said I had a fruity little mouth!

B: You do have a fruity little mouth!

C: And a juicy one! And there was something about loins? That sort of thing?

B: Eat my loins!

C: Yeah, he said “eat my loins”, and I said no!!

*all laugh*

C: That was the end of the conversation!

That sounds really uncomfortable!

So, last one then. What’s one question you wish someone would ask you in an interview but no one ever does?

B: Oh, I dunno!

T: What brand of boxers are you wearing?

*checks what brand of boxers he’s wearing! *

T: H&M!

Ok, cool!

T: What about you guys?

B: That’s about it really!

So, you want to be asked what boxers you’re wearing?

B: It’s an important question, it’s a big part of someone’s day.

Big thanks to The Vamps for having a chat with us. Their fanzine is now available to pre-order here – if you pre-order now, you will be given access to presale for their Greatest Hits Tour two days before tickets are due to go on sale. General sale will be up on Friday 1st July. Tickets will be available here, and full tour dates can be found below;

10 Years Of The Vamps – The Greatest Hits Tour

Wednesday 23 November – Manchester O2 Apollo

Friday 25 November – Brighton Centre

Sunday 27 November – London The O2 Arena

Wednesday 30 November – Bournemouth International Centre

Thursday 1 December – Cardiff Motorpoint Arena

Saturday 3 December – Dublin 3 Arena

Monday 5 December – Belfast SSE Arena

Wednesday 7 December – Liverpool M&S Bank Arena

Thursday 8 December – Glasgow OVO Hydro

Saturday 10 December – Nottingham Royal Concert Hall

Sunday 11 December – Birmingham Utilita Arena

To keep up to date with what The Vamps are up to, be sure to follow them on Facebook, Twitter, Instagram, and TikTok!

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Germein Chatted With EP About Their Fifth Isle of Wight Festival Performance And Their Latest Single ‘Good For A Girl’ And How It’s Important To Be Genre Fluid.



Germein are the critically acclaimed trio of sisters from Australia that are starting to build up a real UK following with performances like last weekend’s Isle of Wight Festival appearance and opening slots for Ronan Keating and Little Mix.

Before that appearance, the band were quoted as saying:

”We are over the moon to be heading back to the Isle of Wight Festival! It’s been a tough couple of years for everyone and we’ve really missed being able to perform for our amazing UK audiences- so we absolutely can’t wait to finally share our new songs with everyone this Summer!”

They have been very popular because of their energetic and charismatic live energy and absolutely smashed the Festival but at the back end of last year they released a single which is getting some real attention with its edgy guitar hooks, powerful lyrics and rhythmic vocal percussion. It’s a song that has an important message and goes beyond the haunting harmonies that only siblings can create. The song has many levels and deals with many issues about gender equality and judging people by their appearances, it’s a bold statement but for me will be the song that finally brings them to a wider audience as their music is brilliantly cross genre and by the end of the Summer, Germein might just be your favourite new discovery.

They said:

“We wanted to write a song that would help tackle these stereotypes, and give a voice to anyone who might be going through a similar experience. It’s about giving womxn an equal playing field, and not discriminating based on gender”

I was lucky enough to chat with the band after their IOW performance and this is what Georgia, Ella and Clara had to say.

EP: Inevitably, you seem to always get compared with HAIM, that’s cool, but is that not just another illustration of the annoying insistence of putting artists in boxes? After all, there’s an element of that problem of stereotyping highlighted in your new single ‘Good for a Girl’. Is it important to be genre fluid?

G: Well, we think they’re amazing so we are totally happy to be compared to them and I guess everybody’s always looking to compare you with someone or find who you’re similar to.

I think as people never knew how to categorize us over the years, there’s always been a “you’re kind of like this, you’re kind of like that” kind of thing. And I think since HAIM got big and kind of well known, people have thought we are quite similar to those girls. I think even if they weren’t sisters we’d probably still be compared, there’s that connection.

And maybe because its three girls too. But, they’re incredibly talented and we’re happy to be on the same sort of scale. If someone said you’re like The Beatles or like Queen, we might think differently (laughing). That’s alright, they’re good.

EP: You’ve become regulars at the Isle of Wight Festival, this is your fifth time. What makes you keep coming back to that specific festival?

G: We love going there, it’s one of our favourite festivals. John Giddings, the guy who organises it, he has us back, thank goodness. We just love it. The UK festivals are so much fun and the UK crowds really get around new artists; it was such a nice vibe this year as well. After COVID, everyone was there to have a good time and we just love it. It’s so funny, there was some technical issues on the main stage and there was a bit of booing and they just put ‘Sweet Caroline’ on and the whole crowd completely changed their tune.

EP: You can’t be unhappy with ‘Sweet Caroline’ playing, it’s a cure all. It’s become a real thing in the UK; it was played at the Queen’s Platinum Jubilee concert so I guess it’s now our unofficial National Anthem (laughing)

G: We’ve got a few of those in Australia (laughing)

EP: ‘Good for a Girl’ was inspired by an interesting trip to a music shop; tell me about what happened please?

G: I was just going into a little music shop and I think I needed a tambourine to add to my drum kit and the guy at the desk asked if I’d bought it for my boyfriend. I was like “no its for me” and then afterwards I thought that was a bit weird and a bit presumptuous. Saying that we’ve been to many music shops and most of the time they are absolutely lovely but there was just that business where people would say “you’re good for girls”, girl musicians and we just wanna be good. It shouldn’t matter what gender you are.

The second verse was inspired by friends and stuff in that you can dress the way you want; everybody can dress the way they want. We wanted to cover a few different aspects because a lot of people think that if girls present themselves in a certain way they are asking for a certain type of attention and I’ve had some friends who have had some really negative experiences and me, myself, over the years too. There are people that think that because you like to wear short shorts or high heels or get glammed up that you’re asking for someone to crack on or take advantage of that sort of thing. So, we wanted to write that you should be able to dress and be whoever you want to be and not get harassed for that. And then the last verse was more about equality and that everyone deserves to be treated with respect no matter how they want to live their lives. We wanted to cover all the bases with that. 

EP: For me, it’s a really cool song because it’s lyrically quite powerful and thought provoking and it’s also melodically strong. Fun and harmonious but with real depth if you dig deeper into the lyrics. It’s a really important message isn’t it across the whole song? Is that something you’re trying to achieve by having music that has an earworm but also has an element of message?

G: Yeah, we want people to have fun, we want people to have a good time but some of the best feedback we get is “I really love those lyrics in that song, it really spoke to me” because that’s the whole point of music. It’s such a universal language and can mean different things to different people. So if you touch someone when they listen to the music then you feel like that’s a success as a musician. You can be making millions of dollars but it’s more important if you affect people, or help them with processing things through lyrics or just make them feel better; then you’ve done your job as an artist, I think. 

EP: I think it’s those songs that stick around in people’s memories, the ones that resonate. The ones that mean something to people. Are you enjoying getting back to playing these songs live?

G: Yeah, it’s been amazing. COVID was a very different time for us obviously and for many other musicians, so being back doing this familiar thing, we’re just so excited. We want to soak in every moment and see every site; probably in the past we’ve been a bit more heads down, drive there, get things done kind of thing whereas now we look for those little opportunities of fun along the way if we have time and really soak it all in.

EP: I think the pandemic and subsequent lockdowns have really made us all appreciate how important live music really is, the community, the common focus and just enjoying each other’s company. 

G: It was just so cool to see so many people having a great time together and it was like “COVID Whaaaat? Did that even happen?” but yeah, it was so cool.

EP: Did you find that lockdown gave you a little time to evaluate, take stock, write the songs you wanted to write and find your direction of travel as a band?

G: A bit of both. We wrote ‘Good for a Girl’ and another song called ‘21’ and we’ve got a few more that are in the works at the moment and we also came up with a concept to keep our musicianship alive called the ‘Sister Sessions’ where we collaborated with other artists around the world and we could write with them. It was definitely a different way of doing music because a lot of it was online and there was time to write songs I guess. We had more time to spend at home and it was hard coming back in a sense too, almost like a sort of post-traumatic stress or anxiety that came with COVID because there was a lot of things that we’d get booked in to do and then they would get cancelled and booked in for next year, and then get cancelled again and it was continuous so we didn’t want to get excited about anything in case it didn’t happen. It was a bit of a weird feeling because you want to do it but also thinking ‘what if this is the end?’ kind of thing and coming to terms with that because we’ve been doing this since we were teenagers and its part of our identity. You start thinking what am I without music and that sort of thing so now that it’s all kicking back we really feel this is what we’re supposed to be doing and this is who we are so it’s nice. 

EP: When you were chatting about the second verse of ‘Good for a Girl’ and the need to accept people however they dress, the difference of perception dependent on how you present yourself. Do you think the gender barriers, freedom barriers and genre barriers are being broken down by songs like yours and songs like Maddie & Tae’s ‘Girl in a Country Song’? Pushing back against those pre conceived ideas. Is that the feedback you’ve received from this song?

G: Yeah, nobody really talks about the second verse too much; it’s more about the guitar shop one. Hopefully people that do listen do hear the message in that because I think it can go over people’s heads a little bit but that was something that I personally really wanted to express in it because a lot of people talk about the other side of it but think that people that present themselves in this world with confidence are really asking for a certain type of attention because they are confident in their own skin and confident in showing their skin and that sort of thing but I think in this world now, you can really wear what you want, you can be and do what you want; it doesn’t mean that you’re a certain type of person if you present yourself in a certain type of way. That can be the same if you’re wearing baggy clothes or emo black head to toe or if you’ve covered up. It’s just not judging people on what their appearance is as well because you never know what people have been through or what they’re like. Everyone deserves respect.

EP: It’s such an important message, which must make it really rewarding to you guys that the song got an Honourable mention in the International Songwriting Competition for Best Lyrics and also won third place out of over 21 thousand worldwide entries. Was it almost more important to get the lyrics nod than the third placing in the whole competition.

G: We will take whatever we can get (laughing) but it was really nice to be judged on just the lyrics. That was very special. It was pretty cool.

EP: It is cool with over 21000 worldwide entries to get that recognition for your work. Will you be coming back to the UK soon?

G: Yeah, we’re just organising some things. We might be staying longer than expected and also might be coming back to the UK too. This trip was more to say ‘we’re back’ and it’s been really, really good so far. We’ve had some amazing feedback from the show and people are keen to have us back to play and so we’re just organising that at the moment. We would love to stay here a lot longer so we will just have to see what happens. Georgia’s dogs are having puppies back in Australia in a couple of weeks so we’ll see.

EP: Finally, you are a really inspiring group but who are the people that inspire you?

G: Our Mum has been amazing. We wouldn’t be doing this without her. She was sort of our Manager since we started because who’s got a better interest in your career than your parents? They’re not there to make money; they just want to see you do well. So, our Mum has been amazing. She’s worked all over the world; she spent time in Africa doing aid work and for the Flying Doctor in Australia; she’s always pushed us to pursue our dreams and encouraged us to do what we’re doing. She’s probably been our biggest inspiration in terms of who we’ve looked up to and our Dad as well is amazing, especially on the music side of things. Tons of other artists but I think our parents will always be our biggest inspiration. I like seeing people that don’t stop, they just keep going because it is harder especially as you get older; you have to change your style a bit and some people feel a bit lost. But, I think the people that just keep going and keep going, that always gives me encouragement.

EP: That’s great to hear; they must be super proud. Thank you so much for taking the time to chat and I hope I get to see you play live soon. Good luck with the music and have a great Summer ahead.

G: Thanks, you too.

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