BBC 6 Music Festival Preview: jasmine.4.t
BBC 6 Music Festival Preview: jasmine.4.t If you ever find yourself trying to think of an artist that encapsulates everything The New Age Magazine represents, your mind should jump to Manchester’s jasmine.4.t. By Kyle Roczniak Currently Listening to: Despite critical acclaim and recent shows in Texas for SXSW, the artist (real name Jasmine Cruickshank) hasn’t had it easy. With a slow-moving beginning to her music career and an array of barriers in her personal life serving as a constant reminder of the difficulty she faces simply trying to exist as a transgender woman, her debut album ‘You Are The Morning’ released earlier this year feels like a triumph for the queer community, with its themes rooted deeply in trans love and life’s most formative experiences. Ahead of her show at Manchester’s YES for BBC Radio 6’s annual festival, TNAM sat down with Jasmine to talk about her debut album, trans experiences, and the state of the music industry. “It’s been a long time coming,” begins Jasmine, summing up her Boygenius-produced debut album’s recent release. “I could never have dreamed that my debut album would be produced by three Grammy award-winning musicians who are now massive heroes of mine and great friends of mine now too, and to have done that with a massive group of trans and queer artists in LA – it’s too much to even think about sometimes!” “The songs on the record are about the hardest time of my life, going through my transition, and when I was homeless and just heartbroken, and going through a divorce. But also all of these wonderful experiences like finding my chosen family, and falling in love with trans people for the first time, and how healing that experience was.” As timeless as the album is set to be, it feels just as though now is the perfect time for Jasmine’s voice to be listened to, and for her experiences to be taken seriously. “Trans people around the world are so under attack. We’ve had Wes Streeting banning puberty blockers for trans children,” she says, discussing a plethora of anti-trans legislation that is a clear, targeted attack against the community. Despite ‘You Are The Morning’ not being strictly themed around trans identity, the experiences Jasmine writes about are impossible to ignore. “In the public media right now, there’s so much hatred and fear still growing around transness that it’s impossible to not be shouting about it and be like, ‘yeah, I’m a proud trans woman’, even though its terrifying.” With the support of her queer and transgender inclusive chosen family in Manchester, her formative years in Bristol with long-term health problems and a struggle as a closeted trans woman feel a million miles away. But that isn’t to say she still doesn’t face danger. Speaking ahead of appearances at SXSW festival in Austin, Texas, Jasmine and her band still face uncertainty when it comes to travelling to share their art. “On on our way back from Texas, we have a stopover in North Carolina, and we’re not allowed to use public bathrooms. And so, we’re just going to have to hold it. And it’s like, we could get put in jail. And if I was going to prison as a trans woman, especially in the US, it’s a death sentence, so many trans men die in men’s prisons in the US. It’s insane and it’s something that’s completely unspoken about.” Our chat with Jasmine is hot on the heels of a campaign against the UK government’s proposed changes to copyright legislation, which would allow AI companies to use copyrighted music freely. “One of the most valuable things about this country is its music. We have incredibly acclaimed musicians emerging every year and we’re a huge part of the the direction of international music – we’re at the at the forefront of it and I don’t think that’s really recognised by the government and it needs to be,” says Jasmine. “It’s just completely impossible to work as an independent artist or on an independent label or anywhere in the music industry without having a second job. Like I work four days a week as a software engineer and that funds my music. I haven’t made any money from my music so far. I probably won’t for a while.” Now 33, Jasmine has been making music since being a teenager and was fortunate to receive monetary support from her parents for that. However, she’s aware of this position of privilege: “There are so many working-class musicians out there who deserve so much more recognition but are completely unable to access the kind of level of visibility that people who have the money to pay for it can like myself. I think that’s just completely unjust and unfair. I think that sort of recognition and support needs to not just be from funding bloodies and charities, but there needs to be massive change to the way our country supports artists. Speaking on the work of the BBC in supporting independent artists, Jasmine explains that even before her transition, BBC Introducing has always been supportive of her work.” I’m actually doing a playlist takeover on the [BBC 6 Music] indie show and I’m able to play some of Manchester’s trans artists as well, which is allowing the community to represent itself, which I think is a really beautiful aspect of it. On playing the station’s festival this month, she shares her excitement to be playing for a hometown crowd, which is set to be a beautiful moment for Jasmine to share with her chosen family in the place she calls home. Jasmine.4.t will be performing at the BBC Radio 6 Music Festival in Greater Manchester (26th-29th March). Listen to performances across the weekend on 6 Music and BBC Sounds. For festival tickets, visit bbc.co.uk/6musicfestival You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Lo Lauren releases new single ‘Rose & Jack’: A Heartfelt Ballad Steeped in Nostalgia
Lo Lauren releases new single ‘Rose & Jack’: A Heartfelt Ballad Steeped in Nostalgia Lo Lauren has steadily emerged as one of the most exciting new pop artists on the UK music scene, and her latest release, Rose & Jack, is a testament to her impressive range as a performer and songwriter. The track arrives as part of her upcoming EP, Wonderlust, which is set to drop on April 25, 2025. Known for blending 2010s pop influences with her own fresh songwriting style, Lauren’s music has drawn acclaim for its honesty, emotional depth, and infectious hooks. By Isaac phelan Currently Listening to: Rose & Jack is a heart-wrenching ballad that highlights Lo Lauren’s softer, more vulnerable side. Penned alongside longtime collaborators andysocialclub, Carys Selvey, and BlueGirl, the song reveals a stripped-back, emotionally raw performance. Lauren’s delicate vocals take center stage, gliding over gentle piano chords and subtle string arrangements that provide warmth without overwhelming the song’s intimate atmosphere. The track’s title nods to the iconic Titanic characters, yet rather than retelling the film’s story, Rose & Jack uses this reference to explore the emotional weight of a secret relationship — one filled with longing, passion, and unspoken connection. The storytelling feels deeply personal, and Lauren’s tender vocal delivery amplifies the emotional resonance. This sincerity shines through in her performance, as she taps into the vulnerability that makes the song so relatable. The accompanying music video wacks this feeling up to a hundred, depicting Lauren auditioning for the role of Rose, and ultimately failing to secure the role. It’s a remarkable narrative piece, and continues Lauren’s streak of producing high quality videos to accompany her music. For her previous single, Born To Run, Lauren spent three months learning the entire song backwards to create a stunning ‘reverse’ music video, a testament to her uncompromising artistic vision. Rose & Jack follows a string of successes for Lo Lauren. Her previous releases, Before The Kiss and Wonder, earned her significant industry recognition, including a feature on YouTube’s ‘Pop Fresh’ playlist and a coveted spot as BBC Radio 1’s ‘Future Bop’, chosen by Mollie King. Before The Kiss even caught the attention of Hollywood director Jordan Weiss, who featured the song in the trailer for her film Sweethearts on HBO Max. Beyond her recorded music, Lauren’s growing presence in live performances has cemented her as a standout act. After supporting acts like Mercer Henderson and playing a sold-out show at The Grace in London, she performed for 25,000 fans at The Hundred cricket event, sharing the stage with major stars such as Cat Burns, Zara Larsson, and Nell Mescal. As Lauren prepares to release her debut EP Wonderlust, fans can expect a project that captures the emotional highs and lows of navigating one’s twenties — a theme that resonates deeply in Rose & Jack. As anticipation inevitably builds for her long-awaited EP, Rose & Jack stands as a striking example of Lauren’s ability to craft deeply personal, yet widely relatable music. With a growing fanbase, notable industry recognition, and a clear artistic vision, Lo Lauren is undoubtedly poised to become one of the UK’s most exciting breakout artists. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
AK Patterson’s ‘Jailbird’ EP: A Haunting Exploration of Survival and Resilience
AK Patterson’s ‘Jailbird’ EP: A Haunting Exploration of Survival and Resilience Acclaimed singer-songwriter and multi-instrumentalist AK Patterson returns with her powerful new EP, Jailbird, an evocative four-track collection that delves into themes of trauma, resilience, and hope. Released on 21st March, the EP is a deep, emotional dive into Patterson’s shattered world. This is without a doubt the most exciting musical project I have seen this year. By Isaac phelan Currently Listening to: Known for her introspective songwriting and fearless exploration of dark subject matter, Patterson describes her style as “modern chamber pop fused with the melancholic spirit of 90s Lilith Fair”. Inspired by her time working in men’s prisons, the EP’s title track tells the story of three prisoners. Reflecting on her experience, Patterson shared: “Part of the job would be to walk around the blocks holding a clipboard with a list of cell numbers and names on it. I would knock for the men and gather them up to go sing songs together in the prison chapel… It has encouraged me to write songs that tell the stories that need telling.” This temperament defines much of Jailbird, which amplifies the voices of society’s outer fringe. “I Don’t Know How to Die” introduces listeners to Patterson’s own mental health struggles, written following a nervous breakdown that left her unable to sing for eight months — coupled with her decision to leave her band of five years. Dan Smith from Bastille praised the track, saying: “‘I Don’t Know How to Die’ blew me away when I first heard it. It’s spine-tinglingly haunting and beautiful.” Elsewhere, ‘Juno’ explores themes of independence and self-acceptance, while ‘Morticia’, inspired by a gruesome historical murder, adopts the voice of a victim pleading with death to piece him back together in the afterlife. Reminiscent of Soundgarden’s Black Hole Sun and The Cranberries, Morticia is a fierce and powerful song that blends brooding grunge guitars with evocative storytelling. Patterson’s musicianship is a defining feature of the EP. As a skilled multi-instrumentalist, she plays guitar, violin, harmonium, fiddle, and keys, giving each track a distinctive sonic character. From the stark minimalism of I Don’t Know How to Die to the dynamic intensity of Morticia, her versatility shines throughout. The EP’s title holds deeply personal significance for Patterson. Diagnosed with a muscular condition that trapped her voice for months, she felt like her voice was “literally trapped inside the cage of my own body.” This theme of reclaiming one’s voice — whether a prisoner seeking redemption, a victim seeking justice, or someone escaping a toxic relationship — lies at the heart of Jailbird. Patterson describes these songs as “darker than ever,” yet ultimately about “survival, resilience, and, above all, hope.” Following her acclaimed performances alongside Bastille, Patterson’s return to music has been met with growing recognition. Praised by The Independent for her “superb songwriting” and championed by John Kennedy (Radio X), Patterson’s ability to balance haunting narratives with emotional depth has marked her as one of the UK’s most compelling emerging artists. Jailbird is a fearless and deeply affecting EP, that transforms pain and uncertainty into an utterly powerful expression. This work won’t just stand the test of time, it will outlive the sun. Patterson is a voice that will whisper in our ears for generations to come. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Callum Lidington
Callum Lidington Callum is an award-winning student radio presenter and Broadcast journalism graduate, covering stories on diversity in the music industry and the longevity of grassroot music venues whilst studying at The UEA, Norwich. Articles
Kings Elliot – ‘I Hate The Sun’
To advertise press kit, bio, signed status, sold venue capacity, upcoming shows / releases, create your own TNAM Database profile and direct to contact box – sign up interest to TNAM Club here. Kings Elliot – ‘I Hate The Sun’ Release Date: 6 September 2024 Release Type: Single Exposure: Next Big Thing Genre: Pop Location(s): General and Greater London Signed?: Current Venue Capacity : Streaming /Socials What do you think? You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Holly Eve
Holly Eve A writer from the South West who loves collecting zines, long walks, and supporting the local music scene. Articles
*｡ New Single Release *｡ Liang Lawrence “Eulogy”
*｡ New Single Release *｡ Liang Lawrence “Eulogy” “Eulogy”; a powerful break up song that poses questions while pleasing the ears. 10.04.24 Words by Ed Lees https://www.youtube.com/watch?v=9pd__JN1QYU Released by alt pop singer songwriter Liang Lawrence, the acoustic tune finds a way to be heart wrenching but upbeat. With a title like “Eulogy”, it might not be what you’re expecting, but the song proves to surprise in a good way. Most recently, Lawrence released “Indefinitely” in February, alongside songwriter Riley Pearce, which followed her successful debut ep Letters to Myself, which racked up over one million streams. “Eulogy” is reminiscent of Lawrence’s own admitted influences such as beabadoobee, boy genius, and Clairo. However, Lawrence puts her own spin on this acoustic alt pop blend with her unique lyricism which aims to question the relationship the song aims to mourn. In the chorus Lawrence ponders the relationships worth as she manages to paint a clear picture in so few words. The song itself is inspired by her chance meeting with a former partner just months after their break up. While Lawrence wanted to capture the pain of a break up through music she also aimed to “make fun of just how dramatic it all feels in the moment”. Evaluating the song, Lawrence clearly completed what she set out to accomplish, creating a slightly tongue and cheek, but still meaningful, break up song. In essence, it’s hard to find another song that compares well in both tone and style. Most recently, Lawrence performed at The Lexington in London for BBC Introducing alongside Alfie Templeman and Siobhan Winifred and will follow that up by supporting Alfie Jukes at several of his shows this month. “Euology” is available on all streaming platforms. View this post on Instagram A post shared by Liang Lawrence (@lianglawrencemusic) You Might Also Like
Isaac Phelan
Isaac Phelan Hi! My name is Isaac (He/him), and I am a second year student studying Media and Creative Industries at the University of Warwick. I love screenwriting, journalism and filmmaking! Articles
₊˚⊹♡ Interview ₊˚⊹♡ Musica Festival 2024 Jazz Jam 09.03.24
₊˚⊹♡ Interview ₊˚⊹♡ Musica Festival 2024 Jazz Jam 09.03.24 An Interview at Manchester’s Only All-Woman Open Jazz Jam. 21.03.24 Words by Will Knight The University of Manchester’s Musica Festival returned this year, emphatically showcasing the role of women in music with a week’s worth of events across Manchester. The student run festival aims to “make a positive impact on the gender gap in the music industry” having ran successfully for three years. To end the week, the newly formed Musica Collective, an all-woman jazz ensemble, hosted a Jazz jam at the Feel Good Club offering a refreshing alternative in the hardline culture of jams and public performance. The group consists of bass guitar (Amy Browne), vocals (Betsey Bircumshaw), trombone (Emily Nicolas), saxophone (Grace Hillier), drums (Isla Hutchins) and keys (Mimi Sheikh). As well as through the lineup, their setlist marked out their unique edge gliding from smooth, silky standards to the grooviest take on Uptown Funk you will ever hear ending their set with a truly captivating rendition of Radiohead’s Weird Fishes/Arpeggi. I caught up with the band after their set to talk about the festival and gender diversity in the music industry. So how did this collective come about? Amy: Every year as part of the Manchester University Music Society and department we have the Musica Festival which celebrates women and non-binary musicians and the past two years there’s been a jazz jam. I actually wasn’t supposed to be doing it, but it just got chucked on me! At the start of this year, I was like okay I need an all women, gender diverse house band and then went clawing my way through all social circles being like “do you know any women?” I had to ask a lot of people which is ridiculous because it would be so nice if there was just more women in jazz but it makes events like this special. Will this become a regular ensemble with more gigs in the future? Amy: Yeah, actually we’re supporting another jazz group, Quadzilla, at Retro on the 22nd of March which will be fun. Isla: We’re talking about trying to start a bimonthly jazz jam which would be fun since it doesn’t currently exist in Manchester. I don’t think there’s any other all-female jazz bands in Manchester so we’re hoping to carry on. What issues that women face in the music industry don’t get mentioned enough, things that men may not be aware of? Isla: It’s subconscious bias which has been ingrained in people’s minds, it’s the cast and crew around the musicians especially. Even if you’re an all-female band, do you then have female sound engineers, lighting engineers – it doesn’t exist. When you go to jazz jams especially, it’s so much seen as this masculine thing, everyone feels judged if they’re a woman at a jam and most of the time there will only be one female at a jam if you’re lucky. I’m about to go to a conservatoire and I’ve been told there’s no other female drummers there so that’s lovely! There’s this whole idea of going to a jam as a woman, you’re just instantly judged, you’re singled out, you’re the only one there and if you play badly, it’s fine because you’re “only a girl” and if you do good then you’re good “for a girl” – just let me be good! This sort of event shouldn’t have to exist, it exists because something is wrong. Mimi: I’ve had so many experiences in rehearsals where I feel like I’m just stood at the side. I’ll say something and the guys will communicate to each other and literally block me out of the circle and it’s so uncomfortable and so demoralising. I think events like this bring together amazing groups of people and we all feel more supported and more understood and that is so important because it impacts your musicality, it affects how you perform and how you create music for yourself. Isla: With jazz, when guys play, a lot of it is quite soft and guys will have to tune into this “feminine” side to actually express the emotion which makes it seem polar opposite for these guys to be misogynistic to then go and play this beautiful music. How do you play this emotional, heartfelt music but you can’t accept a girl on the stage? Emily: In terms of marketing yourself as an all-female group, there’s challenges that come along with that as well. Obviously, it’s super important that we do this so people can recognise that we’re trying to take a step in the right direction and trying to show that it can be done. But the unconscious bias within society is immediately going to cause a reaction from seeing us being an all-female group and people will go “ew why would I wanna go see that?” That’s the struggle, trying to get audiences who are equally as diverse to understand that women do have a place in jazz, and we deserve to be here as much as anybody else. What can be done to remove the power imbalances between men and women created by the freelance nature of the industry? Isla: It’s hard to regulate the industry because it’s so self-employed. Everyone gets in these scenes that are really driven by this indie “lad” culture, especially in Manchester. It’s difficult when it’s so self-run with no one regulating it which means these misogynist scenes are really hard to tackle. Amy: You have the Musician’s Union so at least there is something. Emily: For me it’s always been a little different because I’m a classical trombonist and a lot of the work that I want to do in the future will be classically based. The differences I see between orchestras and jazz, firstly, is the audition process. Most orchestral auditions are screened these days, so you already rid the process of that initial bias. The Jazz industry is even more freelanced, a lot of the
⋆｡⋆𐙚 New Single Release ⋆｡: VASSIŁINA “Crooked”
⋆｡⋆𐙚 New Single Release ⋆｡: VASSIŁINA “Crooked” Athens and London based Vassilina returns with her first release for her upcoming album. 19.03.24 Words by Giannis Nikodimos https://www.youtube.com/watch?v=5HFIDsGhXRs ‘Femmeland” titled “Crooked”. After releasing her debut LP Fragments in 2021, VASSIŁINA is about to unleash her most awaited album, Femmeland. With its latest release, VASSIŁINA explores themes of reflection, acceptance, and the transforming power of embracing one’s true self through a musical study that goes beyond pop and electronic music borders. A series of thirteen electronic dark-pop compositions, Femmeland is a new chapter in VASSIŁINA’s journey of self-healing, saying goodbye to a former existence in London, and coming to terms with who she is. The album is a powerful emotional journey that explores the nuances of mental health, long-term sickness, bereavement, and traumatic experiences while discovering love and trust in other people. It is a powerful experience that resonates with the strength gained in accepting one’s actual self and the acceptance of inner voices. The song starts with an intense feedback noise and a trip-hop and slow-tempo ambiance, and it transitions to a synthpop anthem filled with maximalist elements in production and a strong essence of reverbed soundscapes. It is deeply rooted in pop-structure songwriting with a lot of avant-garde elements and lyrical themes. The influences of the two cities can be heard in the sound in the subconscious vibe that the song has. Overall, it is always nice seeing talented artists from my city thriving and building a wider audience filled with fresh ideas and good artistic vision and this single is a very dynamic introduction to what is to come. View this post on Instagram A post shared by VASSIŁINA (@vassilinam) You Might Also Like