News From Elsewhere: Paisley City of Culture 2021 – Songs to Back the Bid

fountain face

“The Saturday morning busking experience was a microcosm of the features that make Paisley special and such a strong contender for the bid.”

Lisa Kowalski is a young Scottish singer, songwriter, and performer. A huge Taylor Swift fan, Lisa celebrated her idol’s ten year anniversary as a performer by bringing together ‘Swifties’ in both Glasgow and Edinburgh. Here Lisa talks about her support for Paisley’s bid to become UK City of Culture 2021.

Part of a wider push to use the town’s unique cultural and heritage story to transform its future, organizers hope that a successful bid by Paisley for UK City of Culture 2021 will deliver audiences, jobs, an increase in the quality of life, and a renewed sense of civic pride.

You can read Iona Young’s review of Ten Years of Taylor Swift Show (organised by Lisa) here.


As a 16 year old aspiring singer songwriter from Paisley, the announcement that I had been successful in my application for a grant from the Paisley 2021 Culture and Heritage fund was clearly great news. I was one of a limited number of successful applicants and was awarded a grant to fund the recording of an EP.

Having started busking regularly on the High Street a year or so previously, I of course considered myself to be a key part of the town’s cultural scene! The Saturday morning busking experience was a microcosm of the features that make Paisley special and such a strong contender for the bid.

From the start, a strong sense of community surrounded me, as I struck up a friendship with the local Big Issue seller, the Salvation Army collector and the security guard from the store next to my pitch. The economic challenges that the town has faced were clearly on display, with many of the stores behind me lying empty and the folk passing in front sometimes showing signs of troubled lives. Despite this and the often cold and wet weather, busking on the High Street soon became one of my favourite things in the world to do.

51nvf5qtjsl

The people of Paisley welcomed me as the youngest female busker to regularly brave the wilds of the High Street, even tolerating the fact my initial busking set was 80% early Taylor Swift songs that they didn’t know! They smiled, danced and gave generously, commenting on social media that I brightened up the town centre.

This led to me penning a song about my Paisley busking experience – with the chorus “The streets are paved with Hearts of Gold”, which features on the EP that has been funded by the 2021 linked grant. It has taken about a year from the date of being awarded the grant to complete the EP project and along the way I have ridden a huge wave of support from the town and the people of Paisley. St Mirren FC has invited me several times to sing at the stadium, and local promoters , sound technicians, photographers and record studios have all offered time and advice. Local press and social media sites have also rallied round and I am often invited to perform in the town pubs and at various community events.

220px-p1070865_louvre_tc3aate_de_fausta_ma4881_rwk

This experience it seems to be sums up the reasons why Paisley is a strong contender for the bid. I am certainly not your perfect, X factor ready pop star any more than Paisley is a thriving, chic, good to go tourist destination but we have in common enthusiasm, character, and an open and friendly heart. Paisley wants to win in order to better itself and give the town’s population hope and pride and that’s certainly what the town’s support has given me. The title track of my Paisley 2021 funded EP Free Spirits includes the lyrics – “So you can try and take our pride, or honey you can join us for the ride, either way, you will watch me rise.”

I would say the same to anyone who doubts that the Paisley 2021 bid is a worthwhile venture. While the town faces strong competition, the work that has gone in to the bid has already made the town’s heart beat faster and toes are tapping along to the rhythm of community, hope and pride.


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! FIND US ON FACEBOOK! OR SIGN UP TO OUR MAILING LIST!

Edinburgh Academy Musicians (Queen’s Hall: 28 April ’17)

image-124.jpg

 “Almost three hours of glorious, live music, from the promising to the near professional”

Editorial Rating:  4 Stars: Nae Bad

That the Edinburgh Academy hires the Queen’s Hall for their Summer Concert is not just a capacity issue but a fitting testimony to the quality of their music.   Yes, perhaps the venue shed a little magic dust over gifted performers, but in turn they rocked the joint in in an eclectic programme that ranged from Vivaldi to Katy Perry and kept us engaged all evening.

Parents, whether it is for amateur dramatics or any other of the performing arts, are a loyal, enthusiastic and forgiving lot, but there was no need for any suspension of the critical faculties or parental indulgence here.  The students acquitted themselves magnificently.  Every moment of the evening was a pleasure, none a duty.  Some of it passed for professional standard. As the evening progressed it became clear that many of those performing were talented musicians who just happened to be at school, not students who just happened to take the music option.

As I found my way to my seat I was accompanied by the merry chink of ice in glasses as stressed out, end of the week parents – and benign grandparents – found comfort and delight in the Queen’s Hall’s bar. I noted no less than eight acts and 18 works in the programme. It would be wrong to exclude any from commentary.

The orchestral pieces comprised the first part of the evening and ranged from a disciplined Junior Orchestra who concentrated hard and demonstrated good phrasing and tempo, with some really effective pizzicato in the Shrek Medley and some good underpinning by the violas and cellos. Lily Penman, in particular, deserving an honourable mention on the cello front desk, and – to no one’s surprise –  appearing latterly in the senior orchestra. The Ragtime rendition got a good swing rhythm going.

 

 

image-4.jpg

 

Next up we heard the String Orchestra with Timothy Wong delivering an assured rendering of the Allegro from Haydn’s Violin Concerto in G major with good bowing and attack, followed by Hugh Cameron playing Vivaldi’s Concert Sonata No 5, who once in his stride showed great feeling and in the Allegro demonstrated an assured and well executed piece of playing. Confident violins led us into the beautiful melody of Allegro piacevole from Elgar’s Serenade for Orchestra Op 20, sensitively played with a good melodic line.

The Senior Orchestra then came on to tackle three early concerto pieces and an ensemble. First up was Ross Macnaughton playing the Allegro from the Bassoon Concerto in B flat Major by Mozart. Ross got great tone from this difficult instrument and made it look easy. It isn’t. He demonstrated an extraordinarily well executed cadenza including a couple of splendid Mozartian farts in the lower register. Great keywork and phrasing with terrific breathing. Matthew Black followed on with Mozart’s Andante in C K315 for flute. Matthew has a very clear, pure tone and the orchestra brought a real sheen to some of their playing and good pizzicato.   Jean-Claude Hubert’s clarinet brought a beautiful rich tone to the Weber Concertino, demonstrating real mastery of the keys in the Allegro. The orchestra were at their best in the concluding Pomp and Circumstance march no 1 in D by Elgar, causing one member of the audience to sing along and this writer and his companion to sway a little, Proms style.   Perhaps late nineteenth and early twentieth century music is best for developing orchestras, earlier compositions leaving things a little exposed.

 

image-59.jpg

 

Following the interval it was Band time. The Junior Concert Band punched above their weight with a warm, expansive tone in Brian Balmages’s Rain. The Senior Concert Band kicked off with Copland’s Variation on a Shaker Melody, with a spot on trumpet opening, echoed by the clarinets in a thoughtful, competent and uplifting piece of playing. The rock solid rendition of the Star Wars theme provided a lively, brass driven contrast.

Now it was time for the Voice. The G2 Choir, so young in years, demonstrated an early grasp of the discipline of choral singing: immaculately presented, eyes on the conductor, no music, and purity of youthful sound making up for any relative loss of volume. Big shout out for the soloists as well, and a good sense of rhythm in both Wade in the Water and Electricity (from Billy Elliott).

Sophie Penman and Kirsten Taylor gave a clear and assured performance of the Laudamus Te from Vivaldi’s Gloria, backed by a string quartet, playing standing as is often the Chamber style. Intriguing to hear this large-scale work played in miniature. It worked.

The Chamber Choir were a joy. The best was plainly being kept until last. Very clear diction, focus and precision with a good balance between soloists and ensemble was shown in Billy Joel’s The Longest Time. Eric Whiteacre’s Sleep, in pure musical terms, was the event of the evening: beautiful tone colours, effortless moving up and down the dynamic range, unforced, quietly confident with assured handling of the dissonance, this moving piece was not so much sung as painted. The choir concluded with a clever and sensitive arrangement of Katy Perry’s Chained to the Rhythm by their conductor/director Angus Tully, who actually stopped and restarted them when they temporarily lost their way in a difficult piece that they were singing without music. I have only seen this done once before and that was by Nigel Kennedy! Nobody minded. It was great to get this unofficial encore.

image-148.jpg

If musically the Chamber Choir was the act of the evening, the Big Band topped the bill for sheer entertainment value. Masses of noise in Starsky and Hutch, huge musical laughs in the Pink Panther, with the finale of Quincy Jones’s Soul Bossa Nova No 2 bringing the house down. Terrific solos on Sax by Jean-Claude Hubert and Freya Scott, drums by Niclas Coli, Daniel Jourdan on vibes and others, I am afraid, too numerous to mention. A very talented bunch.

 

image-171.jpg

 

So there we have it, not so much a concert but a festival of almost three hours of glorious, live music, from the promising to the near professional. Philip Coad and his team played a blinder and the musicians themselves should be proud. In an age where the teaching of music is in danger in many schools, the Edinburgh Academy provides a beacon to how it should be done. “Grounded in Scotland, ready for the world” was emblazoned on the school van as I walked back down the alleyway from the rear entrance to the Hall. Yes indeed, the future of live music, whether in Scotland or even perhaps the world, is safe in the hands of those gifted young people we heard tonight.

nae bad_blue

Star (blue)Star (blue)Star (blue)Star (blue)

Reviewer: Charles Stokes (Seen 28 April)

Go to the Edinburgh Academy website

Visit Edinburgh49 at the Queen’s Hall archive.

RSNO. Sondergard, Williams: Beethoven, Mahler, Sibelius (Usher Hall: 21 April ’17)

Image result for Sibelius pictures

Jean Sibelius (1865-1957)

“Their playing of Sibelius’s Finlandia was one of the best, if not the best, I have ever heard, live or recorded. “

Editorial Rating: : 4 Stars: Nae Bad

One of the excitements of live music is that you never know quite how it is going to turn out on the night. You think you’ve got it at rehearsal, but performance is something different. Only a very few orchestras turn out a consistently really high standard, time after time.

After two years in Edinburgh I am becoming increasingly impressed by the quality of the local bands, and Friday’s concert contained some excellent playing in a well chosen, thoughtful programme that while relatively well supported was deserving of a larger audience. Clearly the Florida sun has sown benefits. It was a very good concert indeed.

The RSNO’s opening numbers are sometimes a little shaky before they get into their stride. Not so tonight. Their playing of Sibelius’s Finlandia was one of the best, if not the best, I have ever heard, live or recorded. The opening chords of the brass were well rounded and melodic whilst still conveying the angst of the Russian threat to the mother country in this highly nationalistic piece. Not a trace of blaring or vulgarity. The mournful strings provided a similarly well-rounded tone in what was a very well executed opening number, convincing and moving. Applause was loud and long. Deservedly.

It was a very interesting choice to follow with Mahler’s Der Knaben Wunderhorn, a less austere work than Kindertotenlieder, or, for example, Das Klagende Liede.   Five songs were selected from the original 24 settings, covering nature, folklore and soldiers’ tales. Baritone Roderick Williams gave a well-executed performance in which the orchestra again shone, but perhaps a little too brightly. There were issues of balance between soloist and orchestra and one would have preferred the soloist not to have referred to his music.   This notwithstanding, the intriguingly named “St. Anthony of Padua’s Sermon to the Fish” was sung and played beautifully, and was well balanced. Also, “Where the Fair Trumpets Sound” was the star of the set with gentle orchestral backing, melodic singing.

After the interval it was back to Sibelius and The Oceanides. I confess I had not heard this 11 minute miniature before and I loved it. It started with a most unusual but effective piece of string writing that reminded me of sea mists and tides, to be followed by the increasingly effective flute section before building to something stronger involving the whole orchestra evoking the ocean’s sheer vastness and permanence. Commissioned and first performed in America, one critic described the new work (1914) as “the finest evocation of the sea which has ever been produced in music”. Well, there is plenty of competition for that, not least Debussy’s La Mer, but it certainly stands the comparison.

Our evening was brought to a close by Beethoven’s Symphony No 1 in C Major. Critics have often categorised his first two symphonies as Mozartian, with the composer coming of age with the Eroica. I am not so sure. The first few bars’ shifting harmonic sands alone, quite startling in early 19th century Vienna, point to something more revolutionary, and although there is a classical theme overall  – such as can be found in both Mozart and Haydn –  as Tovey said, the symphony has “more of the 19th century Beethoven in its depths than he allows to appear on the surface.” This contention was certainly supported by Thomas Sondergard’s interpretation, which was mature and grounded in what was a hugely enjoyable performance by an orchestra that was clearly loving what it was doing. So did we.

nae bad_blue

Star (blue)Star (blue)Star (blue)Star (blue)

Reviewer: Charles Stokes (Seen 21 April )

Go to the RSNO website

Visit Edinburgh49 at the Usher Hall archive.

Edinburgh Quartet (Queen’s Hall: 27 March’17)

Painting by Erik Petrie

“The band’s playing being bolder and more committed as they got into their stride”

Editorial Rating:  3 Stars

The life of a professional musician has always been tricky, whether you were Mozart churning out prodigious quantities of glorious music against impossible deadlines and demanding creditors, Shostakovich keeping Stalin and his apparatchiks at bay, or even today as a rank and file player with the necessity often to freelance and keep several irons in the fire, both for the benefit of professional development and regular employment.

All these aspects were present at Monday’s Queen’s Hall recital by the Edinburgh Quartet. First, the line up. The first violin desk has been filled by a variety of (very talented) artists since Tristan Gurney left for London last year and was tonight filled by Zoe Beyers. Second violin Gordon Bragg also plays for the RSNO and is currently touring with them in Florida, his place being taken on the night by Tom Hankey. Catherine Marwood ably took the viola desk on behalf of Fiona Winning, leaving only Mark Bailey on cello as part of the regular band. I am afraid, notwithstanding good individual playing, it showed – a bit. Talented individuals do not necessarily an ensemble make.

The evening started with Mozart’s String Quartet in D Major K575. Composed towards the end of his life and published posthumously it is an enjoyable work that allows each member of the band to show off their individual talents, a wise choice here in that their experience of playing together is limited. It made for an easy to get into start to the evening, with Catherine Marwood’s viola to the fore supported by Mark Bailey’s Cello.

There followed Shostakovich’s String Quartet No 1 in C major. A short (fourteen minute) romantic work, yet of some intensity but also tunefulness, it surprised and pleased the audience as not coming as too much of a shock after the Mozart; the band’s playing being bolder and more committed as they got into their stride.

The evening concluded with Beethoven’s String Quartet in C major No 3 ‘Rasumovsky’ one of three so named after its sponsor, the Russian Ambassador to Vienna. Again, the work offers plenty of scope for the individual players to respond to, as well as some good ensemble playing as the Quartet were by now fully warmed up. There was real verve in the opening movement, particularly in the Allegro vivace, smooth togetherness in the Andante con moto quasi allegretto supported by well despatched cello pizzicato and really good ensemble playing in the Menuetto. The work was brought to a close with a high sprirted, high speed Allegro molto.

The concert was part of the Edinburgh Quartet’s season branded ‘EQ:Revolution’ and as before an artist from a different genre offered a complementary interpretation. In this instance it was Erik Petrie who went on stage, as he has done at others, to describe three colourful artworks, influenced by music and revolution, commissioned by the Quartet. The theme is certainly applicable to Shostakovich but more nuanced elsewhere. Petrie is an artist and was a little uncomfortable talking, understandably so when mentioning that the artworks were available for sale, albeit with the very noble cause of thereby providing financial support to the Quartet.

Star (blue)Star (blue)Star (blue)

Reviewer: Charles Stokes (Seen 27 March)

Go to the Edinburgh Quartet

Visit Edinburgh49‘s Queen’s Hall archive.

A Step In Time (The Magnuson Centre, Edinburgh Academy: 10th & 11th March ’17)

“The group demonstrates all the qualities that make show choirs eminently lovable”

Editorial Rating: 3 Stars: Nae Bad

In large part thanks to a popular American TV series from the 00s, being in a show choir has become a lot more socially acceptable – even “cool” in some circles – in recent years, so it was great to see a packed house for Edinburgh University Footlights’ latest show, and a stage full of diverse young people who love being there.

In A Step In Time the group demonstrates all the qualities that make show choirs eminently lovable: fun renditions of upbeat popular tunes, killer vocals, show-stopping choreography and smiles big enough to fill the room. But behind all the glitter and grapevines, did the performance itself deliver a knock-out punch? In my opinion, not quite.

Opening number Step in Time set the scene well as a lively and energetic introduction to the night’s proceedings with some clever, subtle changes in lyrics and arrangement to make the song feel like the choir’s own. Accompanied by full-on intricate choreography, it says something about the fitness and dedication of the group that they were even able to breathe for the next ten minutes, let alone perform song after song, complete with dance routines.

For me, it was a shame there was significantly more focus on the “show” rather than the “choir” elements of the performance, with complex choreography and numerous costume changes detracting from the vocals throughout. Harmonies and power were often lost in the frantic flailing of arms and apparel, and what remained was at times imprecise and unnecessary. The flow of the performance was also quite stilted, with some uncomfortable lengthy pauses between songs, hindering the overall enjoyment of the night.

However, it was in the simpler and more stripped backed numbers where the group really excelled: the 90s medley, Seasons of Love and the 00s medley in the second half really showcased the strength and depth of the choir’s vocal talents, and it’s a shame we didn’t see more consistent top quality vocals and arrangements like these from the choir as a whole throughout the show. There were also some beautiful stand-out solo and small group performances (specifically Believe, She Used To Be Mine and I Know it’s Today) which highlighted some really gorgeous individual voices.

I would have preferred more quality over quantity in terms of the choreography, using it cleverly in specific numbers to give wow-factor, with greater focus on the basics of group singing as the overarching emphasis. Overall I think the group tried to do too much too often, which left the lily not just gilded, but smothered in cream and cherries too.

Still, it was an entertaining performance from a talented bunch of young people, that was, on the whole, very enjoyable. I look forward to the next one.

nae bad_blue

Star (blue)Star (blue)Star (blue)

Reviewer: Steve Griffin (Seen 10 March)

THIS REVIEW HAS NOT BEEN SUBEDITED

Benedetti; Oundjian; RSNO (Usher Hall 10 Mar.’17)

Image result for RSNO Images

“I was happy to leave the concert hall with a spring in my step and wish them bon voyage on their long flight to Orlando”

Editorial Rating:  3 Stars

The RSNO are rounding off their glorious 125th Season with a tour of the USA, Florida to be exact. Why Florida? Because classical music’s largest constituency is older people, and Florida is a state where they are legion, both full time residents and the “Snowbirds” who go for the winter. And Florida has more world-class concert halls than any other state in the USA. Five, no less. They played their final concerts in Glasgow on Thursday, and Edinburgh on Friday. There was a real whiff of excitement in the air. The last time they toured the States was 1992, before the fabulous Nicola Benedetti was born.

So Friday night’s audience, loyal to their orchestra and adoring of their favourite soloist, were in no mood to be troubled by the niceties of musical criticism, they were there to have a good time, and they did. Alas, it is the job of the music writer to point out the subtler issues.

The first half of the concert was, on paper, a romantic’s dream, Debussy’s Prelude a l’apres-midi d’un faune, followed by the ultra romantic Bruch violin concerto. This writer anticipated both eagerly. Both disappointed.

Principal flute Katharine Bryan led off the Debussy confidently and competently in what is an extremely exposed solo in a difficult register. The orchestra answered in a well played ten minute exposition of the theme, but only on a fairly superficial level. This work has mystery, shades of eroticism and soul, and we didn’t get this. Indeed, in the entire first half of the concert Peter Oundjian’s baton was there for the score, but too restrained in the exposition.

By all accounts Nicola Benedetti had given a bravura performance of the Brahms’s Violin Concerto in Glasgow the previous evening. Tonight we were all well up for the Bruch, arguably the most romantic violin concerto ever written, if not as great a work as the other three German concerti: by Beethoven, Brahms, & Mendelssohn. While one doesn’t want the soloist – or orchestra – to wear their hearts on their sleeves, there was much more that could have been brought out of the work by the soloist in terms of phrasing, power and sheer bravura of performance. Competently executed and, yes, restrained, we were left feeling puzzled and short changed. The presence of sheet music tucked away on a stand suggested a performer perhaps a little weary before the USA trip, allied with, unusually, no encore. Yet, of course, in the eyes of the RSNO claque she can do no wrong, and was applauded enthusiastically. The orchestra played well.

Live music is a fickle mistress and often provides the unexpected, both disappointing and pleasing. What on earth could the RSNO bring to Beethoven’s Fifth Symphony, and what new is there to write about it?

Well, the RSNO brought a fresh, lively approach to the work from the beginning of the well known opening theme. It was as if they had received a half time pep talk. They made a lively pace throughout, notably the cellos in the andante con moto, along with the cleverest, anticipatory build up to the final Allegro. Clearly a game of two halves, I was happy to leave the concert hall with a spring in my step and wish them bon voyage on their long flight to Orlando

 

Star (blue)Star (blue)Star (blue)

Reviewer: Charles Stokes (Seen 10 March)

Go the the RSNO

Visit Edinburgh49 at the Usher Hall

 

Interview with Lisa Kowalski, producer of Ten Years of Taylor Swift

“Taylor Swift is not only an amazing songwriter with relatable and eloquent lyrics, an incredible singer, but she’s also just such a lovely person.

Lisa Kowalski is a young Scottish singer songwriter and performer – and most of all she is a huge Taylor Swift fan. To coincide with Taylor Swift’s ten year anniversary as a performer Lisa decided to celebrate and to put on an event to bring together all those ‘Swifties’ out there. Well, some of them at any rate.

Lisa’s event ‘Ten Years of Taylor Swift’ was held in Glasgow and Edinburgh and featured a fantastic collection of young, upcoming musicians from around Scotland who each performed their own versions of Taylor Swift classics, from her earlier country tunes to some newer pop princess anthems.

Ten Years of Taylor Swift Show (organised by Lisa Kowalski, January 2017). Our review here.


Why Taylor Swift?

She’s not only an amazing songwriter with relatable and eloquent lyrics, an incredible singer but she’s also just such a lovely person. She’s so kind to her fans and she’s so real. I also just connect with her lyrics and how passionate she is about songwriting. Writing music is my favourite thing to do and she’s really inspired me to be brave and vulnerable when I write my feelings into songs.

How big is the Swiftie community in Scotland?

Taylor sold out the Hydro in minutes, so I would say there’s a fair amount of Swifties! I’ve made lots of friends in Scotland that are her fans and it’s nice to get to talk about her and her music to people without them getting sick of me.

Have you had support from Swifties outside of Scotland?

We had a Swiftie from England fly up to Scotland for the last show which was pretty insane! He also helped us to set up a promotional website for the event which has ended up being really useful.

For this year’s event we had someone from America ask to play and cover all of the plane costs herself! Unfortunately we had all of the acts sorted but it’s pretty insane to have so much talent asking to perform and going to such great lengths to do it.

51nvf5qtjsl
You had a fantastic line up of young artists performing in your show. How did you bring the talent together?

All of the acts are people I’ve seen perform at gigs that I’ve also done! I chose these people not only because they’re all absolutely incredible singers and performers but also because I consider them all good friends of mine now! The show really brought us all together and I’m grateful for it.

They’re all so different from each other in the way they sing and perform – some prefer acoustic, others prefer the band. Some have higher voices, others have low. Some have loud voices, others have softer voices. Either way they’re all extremely talented in their own special way and I could never choose a favourite.

Were all of the artists who performed already devoted Swifties before the show?

Not all of them are huge fans but they still managed to take the songs, make them their own and perform them with so much passion. Everyone who performed likes different kinds of music and writes their own amazing songs but they all came together to celebrate one pop/country artist and they did it amazingly.

220px-p1070865_louvre_tc3aate_de_fausta_ma4881_rwkHow did the event in Edinburgh compare to the first event in Glasgow?

Both events were so amazing but the Edinburgh gig was in a smaller venue which I preferred. It made the show more intimate as everyone was much closer and you could see everyone dancing and smiling a lot more clearly which was really nice.

What’s the one thing you know now that you wish you’d known starting out on this journey?

There’s going to be some ups and downs but it’ll be worth it! Working really hard is definitely the key for success but when it pays off you’ll be so relieved and happy that you devoted as much time and energy as you did.

Do you plan to organize more shows in the future?

There’s a lot of factors to consider before we dive into organising another event as it definitely isn’t easy but I would definitely love to! Making other artists and an audience happy made me really happy and I would love to do it all again.

Lisa, you also performed at the show. As an artist do you have anything exciting lined up for 2017?

Within the next month I’ll be releasing my debut EP of original songs! I’m really proud of all the songs on there and I can’t wait for people to hear them in a new way! I’ll be performing at the VAMOS festival this year which is exciting!

If you could ask Taylor Swift one question what would it be??

It’s hard to just choose one question! I would probably ask for advice on making myself known in the music industry and building a loyal fan base.


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! FIND US ON FACEBOOK! OR SIGN UP TO OUR MAILING LIST!