Words by Bree Stewart.

I'm rollin all this doja in my sleep man…

Tre Redeau’s “Doja” clip Ft. Dizzy Wright and Blossom has got our eyeballs super pleased; not to mention two ears filled with absolute chill. The Portland based MC serves listeners who are fed up with their long shift under the man, shirt unbuttoned, collar popped, settling down into VEVO to some easy mellow rap dedicated to the great Mary Jane.

The production echoes experimental Cudi bred with some early People Under the Stairs. The best thing is, this is only a taster - hit up Tre’s soundcloud for more epic production from his latest project Kool-Aid Stand.



Leron Thomas - 'Cliquish' Album Review

Words by Harry Upton.
'Cliquish' is the latest full length release from NYC based Jazz, Funk and Soul artist Leron Thomas, due out on October 16th (via Heavenly Sweetness).
This next paragraph is usually where I would try and define the genre of this album for you, but Thomas has built a reputation over recent years as quite the improviser, something which becomes more apparent as I listen through the 12 tracks and 56 minutes of 'Cliquish'. I hear tastes of funk, jazz and rock, dashes of hip hop and R&B, and sometimes a blend of two or three genres within one track! 

Not originally a singer, Thomas was persuaded to take to the mic by his regular collaborator Bilal (who also features on this record). Lucky for us he did! His style is unique and the listener first gets introduced to his story telling during the title track after chants of "Im so glad… I'm not a part of your clique.”

More humorous story telling is found on the fun and funky "Snicka bar,” and this track along with the more mellow space funk of "Role Play" has me drawing comparisons with the godfather of funk, George Clinton. "Role Play" is certainly a stand out though, it is the type of track that would be equally at home blasting from festival size speakers or enjoyed through your own little boombox at a Sunday BBQ, it can be enjoyed on different levels.

Be careful where you play "Asako" however, as this number might just blow up your little boombox! The catch cry is "Ambitious ways and no sex today" and this track needs to be played loud. Hints of TV on the Radio and Saul Williams can be heard as the guitar drives and the drums crash. They are joined by electrified horns and Thomas' distinct vocal cries before the crescendo is reached. Including a somewhat unexpected jazz breakdown, this rock track ensures a nod to Thomas’ jazz roots. 

Soul tracks "Mandy Jo" and "Don't you Know" are the love ballads of the record and let Thomas really sing. Although they are by no means deadly serious lyrically, there is less of the humour of earlier tracks and this makes for definite highlights.
Overall this is an enjoyable album. Book ended by trumpet solo's (Thomas is a trumpet player by trade), there is no shortage of great horn hooks on this record. Though these are often accompanied by funk-style slap bass, some heavy drums and whining guitars. He certainly crams a lot into the hour of genre hopping, but nothing feels rushed! Fans of music in general, not any particular genre, should certainly give this record a spin.

4 stars.


For those in London you can catch Leron Thomas at his official Album Release Party on November 5 at The Jazz Cafe. He is also performing a string of European dates including the MAMA Festival in Paris on October 15.




Josue ‘Bad News’ EP Launch Review @ The Vanguard

There’s something special about seeing a local soul star rise, although many people in Australia may not know much about him, he’s managed to gather a lot of attention with international bloggers in Sweden, Japan, Poland and the states. 

As soon as Josue jumped onto the stage, he was already a force to be reckoned with. A star was born that night, not only due to his soulful voice, but also because of his crazy outfits and his amazing 10-piece band behind him. 

Not only did Josue have an outfit change, but the band also did. Starting with them all wearing black and then ending with them wearing white. The attention to detail in the costumes, his band and his music was shown throughout the night. 

My eyes were constantly busy that night, one minute I am watching Josue on the guitar, the next thing I know he’s doing a little solo set with the keys. The sheer amount of talent from this 23-year-old artist is unbelievable, until of course you get to see if on stage with your own eyes. 

Whilst he was serenading his audience on stage, there was no doubt you could see the resemblance of D’Angelo, Justin Timberlake and Bruno Mars. In fact I was blessed to see a show in London of D’Angelo and The Vanguards, and all I could think of that night was Josue is going to be doing the same thing one day on an international level.  


Louis Baker Self-Titled EP Review


New Zealander Louis Baker’s recent self-titled EP can only be described as being an EP for soul lovers only, an EP so hauntingly beautiful that it won’t be long until we start to claim him as one of our very own. 

The EP is 5 tracks deep and kicks off soothingly with ‘Back On My Feet.’ Straight away Baker’s vocals sends shivers down your spine, in  good way of course, a voice so angelic and timeless you find yourself taken away, floating and trailing off into a tranquil universe where he makes you feel as if he’s playing a special performance just for you. 

While instrumentals remain simplistic, it flows perfectly and effortlessly through-out his music. 

Baker has the ability to make time stand still. His lyrics are so heartbreakingly raw that it showcases him in the most honest and vulnerable way, a way that soul music should be. 

While most of his EP is pretty soulful, his track ‘Birds’ heads into the direction of something a little more upbeat and lifting, reminiscing of Ed Sheeran. It’s no wonder this EP gained Baker an endless list of accolades, including a finalist spot in the prestigious APRA Silver Scroll awards.

Baker may very well be what we've been searching for and we're very glad that we've finally proper fallen in love with him.    



Glastonbury Festival 2015 Review

Glastonbury Festival 2015 Review 
By Harry Upton

This is it, the big daddy of them all. Ever since I could comprehend what a music festival was, I have been working towards this moment. All of the festivals I have been to over the past 15 years have just been pre-parties to prepare me for this. I am here! I'm at Glastonbury!

Since the first Glastonbury in 1970, the event has evolved and grown, now taking over more than 900 acres in Somerset, South West England. The site is huge! With several smaller festivals joining together to make up over 100 stages, hundreds of food stalls and bars, 180,000 punters plus countless artists, guests and crew.

I arranged to arrive nice and early on the Monday evening and with the sun out I was looking forward to finding the piece of grass that I would call home for the next week. The three hour journey from London featured an unexpected highlight when we passed Stone Henge (this tourist had to stop and take a sneaky pic!). After parting ways with my ride share pals at the festival gates I loaded myself up with tent, bag and booze (who knew it was B.Y.O!) and wandered into the festival. Within minutes I pass the infamous Pyramid stage and stop to take in the beauty of the site pre-people and pre-mud! Finding my camping area behind the stage I quickly set about erecting my tent and checking in to pick up my accreditation. A quiet night is in order as I can't see many more opportunities for sleep in the coming days.


Tuesday provided me with a great opportunity to explore the site in full before the majority of people arrived. One thing that struck me as I ventured from stage-to-stage was how much effort is put into the production! Arcadia, Silver Hayes, Shangri-La, Block 9, Unfairground, The Glade, The Common and the Park, all of these areas featured amazing stage set ups and art installations. Although the official program of music wasn't due to start until tomorrow, by the time night fell there was plenty to keep the thousands of us early-birds entertained. I enjoyed a few pints and some funk tunes in the Tow and Hitch bar before calling it a night.
Wednesday morning at 8am is when the gates officially open and within a matter of hours the rolling green hills were covered with tents, all of the stalls and bars were now open and the festival was in full swing! I took the opportunity to purchase an additional pillow from one of the many camping stores on site (turns out compact travel pillows just don't cut it) before making my way to the Common to check out some acts. But first I was treated to a tour of the local area by the Common's site manager, again the production levels were top notch with lots of pyrotechnics and one stage located behind a waterfall! I interacted with the roving street performers and indulged in a couple more pints before winding up at the Rum Shack. I got a good dose of hip-hop from the resident DJ's here - think Biggie, LL, Tribe Called Quest - and a couple of rums brought up the end of day 3.

Work on Thursday meant I didn't venture too many acts until the late evening, checking out Circoloco on the Blues stage and J.e.S.u.S. at Sonic. Tomorrow was when the big stages started so I was happy with the acts I had managed to catch and decided it best to retire to my tent and recharge.


Bacon and egg sandwich in hand, I started at the Gully stage watching some traditional New Zealand Maori performances by Manaia. They invited a special guest onto the stage to partake in the ceremony, Michael Eavis - founder of Glastonbury. He said a few words and I felt like I had been officially welcomed to the festival by the main man himself. What a great start to a massive day of music!

The afternoon (and the day in fact) belonged to Mary J Blige. Although I was not a massive fan before her show, I braved the rain and joined around 100,000 others at the Pyramid stage for the mid-afternoon set. I must admit, when seeing acts who are entering the “vintage” stage of their career, you do fear that their best days are behind them. This is certainly not the case with Mary J! She commanded the massive crowd like a pro and everyone soon forgot about the miserable weather. Her vocals, dancing and overall stage presence were something to behold, and the emotional rendition of ‘No More Drama’ in which she wound up belting out the final lyrics while down on the stage floor was one of the highlights of the whole festival. At the end of this number she needed a minute, telling the crowd “y’all gonna make me cry!” but it wasn’t long before we were back dancing again and the set came to a climatic end, as we knew it would, with ‘Family Affair.
Before arriving at Glastonbury, I had heard stories about how impossible it was to ‘stage-hop’ at such a massive event and this evening I intended to test out my stage-hopping skills with back to back sets scattered over four stages. Not to blow my own horn, but I pulled it off and took in sets from Australia’s own Flight Facilities (who had a very successful Glastonbury debut), SBTRKT, Caribou and Mark Ronson in the space of three hours! Another highlight of the festival was the very special rendition of ‘Uptown Funk’ that we were treated to with Boy George, Mary J Blige, George Clinton and Grandmaster Flash joining Mr Ronson on stage.
Saturday night presented a very tough clash with Kanye West on the Pyramid stage at the same time as George Clinton and Parliament Funkadelic at West Holts. However, after my successful stage-hop from the evening prior I decided to ‘try’ and catch them both.

My evening began with Sly and the Family stone (minus Sly of course) at the West Holts stage. Funk was certainly on the menu for tonight and The Family Stone know how to cook it. The groove was constant and mesmorising as the 10 piece wound their way through classic after classic. ‘Family Affair’ was a definite highlight (déjà vu?). Up next was George Clinton, a real hero of mine, and one of my all time favourite live acts, but at the other side of the field, Kanye had already started.. He had received a lot of bad press in the lead up to Glastonbury, with petitions going around to get him kicked off the bill. I had to go and see for myself what his set would be like, plus I knew Parliament Funkadelic would be playing for hours. So I bit the bullet and maneuvered to the Pyramid as quickly as I could. On the way there, I couldn’t help but notice a large number of people coming the other way (not a great sign). I arrived to see quite a quiet crowd by the Pyramids standards and a backlit silhouette of Kanye on stage. He hasn’t hired a stand in has he? Where’s his DJ or the band I was hoping for? Is that just a backing track? I thought. But after witnessing some pretty appalling versions of ‘All of the lights’ and ‘Touch the Sky’ including his signature cherry picker ride, I had to admit defeat and accept that this was in fact Kanye, but on a really really bad day. No time to dwell on it, I ran back to the West Holts stage, where the whole place was heaving with heavy funk. Catching regular set highlights ‘Flashlight’ and ‘We Want the Funk’ I was delighted with my decision to return to witness the godfather of funk yet again. 
Feeling a bit dusty as I rose on Sunday, I took the opportunity to check out 7-piece hip hop collective Doomtree on the nearby Sonic stage before venturing to The Park stage to take in the view (below) and catch a set by a man I had heard so much about in recent weeks, Jack Garratt. His one man band style show was an excellent way to kick start my final day on Worthy Farm. The bass heavy beats and soulful vocals work so well in the sunshine, which was thankfully on its way back to us today.
The next name I had circled on the timetable was the one and only Lionel Richie. As the first act announced for this years Glastonbury, he had become somewhat of a cult figure for punters from all walks of life. There were at least a dozen flags featuring the Commodores singers’ face and thousands of t-shirts sporting “Hello.. is it me you’re looking for?.” Attracting the biggest crowd of the weekend (close to 200,000), Lionel was visibly excited to “finally” be at the festival. Swapping between the piano and the front of the stage, Lionel treated us to non-stop hits for his extended set. ‘Brick House’, ‘Dancing on the ceiling’ and ‘All night long’ whipped the crowd into a singalong frenzy, while ‘Say you, Say me’, ‘Three times a lady’ and ‘Hello’ left the star astounded at the accuracy at which the crowd could sing the words right back to him. His set had everything, including a peer pressured skull of what looked to be cranberry juice. Kanye could learn a thing or two from this old pro.

A-Skills and Krafty Kuts kept the party going in The Glade with a banging set of hip hop, trap, throwbacks and party jams but all too soon it was time for the grand finale at the big spider on the hill – Arcadia – with 2ManyDJ’s, flames, lasers and dancers.

Packing up my tent the following umm.. afternoon I was so pleased to have finally experienced the biggest field festival in the world. Hopefully I'll be back again next year!