Tag: The Beatles

FRANK WOODBRIDGE · To The End

Born to an English father and Italian mother,  Paris-born and-based composer, multi-instrumentalist, electronic music producer and electronic music artist, Frank Woodbridge grew up in a passionate, musical household: at an early age, the Woodbridge family spent their evening listening to their vinyl record collection in front of their huge stereo. “My father loved The Kinks, The Beatles, The Bee Gees and Al Jarreau. My mother introduced me to Stan Getz, Carole King and the romantic refrains of the crooners that reminded her of her childhood,” Woodbridge recalls fondly in press notes. “From the age of ten, I was already deep into The Cure, Depeche Mode, U2. My teenage neighbor had decided to perfect my musical education. And then, Bernard Lenoir on Inter, the many weekends in London . . . I was an indie kid, that was my life.”

After spending many years in rock and electro pop groups as a singer/songwriter and self-taught multi-instrumentalist, Woodbridge has spent the past few years focusing on composing for films, the web, TV, as well as  sound design for events and stage music for theater. Currently, Woodbridge works with Andre Manoukian on his daily chronicle for the Daphne Burki-hosted TV show, Je T’aime, ETC — and he wrote a comic book Inversion, which follows its composer protagonist.

2020 has been a busy year for the French artist: a companies like Kenzo Parfums and Oris Watches commissioned him to compose music for web campaigns and for series of 10 films. He also composed the soundtrack for Florie Martin and Melissa Theuriau’s documentary  Seine Saint Denis Style, which aired on French station C8 earlier this year.  Additionally, Woodbridge’s latest album of original compositions LOLA LIFE DEATH ETC was released earlier this month.

Now, if you had been frequenting this site earlier this year, you may recall that I wrote about, the Uppermost and M83-like “Lola dans le bus,” a melancholic yet cinematic track specifically composed to drive or daydream along with that was actually inspired by personal experience: Woodbridge ran into an ex-girlfriend he had lost contact with. He saw her on the bus and waved at her but unfortunately, she didn’t see him. So as the result the song is punctuated with the sadness of a missed connection, nostalgia for old times and of unfinished business. LOLA LIFE DEATH ETC‘s latest single “To The End” is a motorik-groove driven track centered around shimmering synth arpeggios and thumping beats and a fairly optimistic air.  Sonically speaking, the track sounds like a slick synthesis of New Order and From Here to Eternity and From Here to Eternity . . . and Back-era Giorgio Moroder.

“It is music driven with an urge, a dream for something else, a lot of energy and yet peacefulness coming from inner strength and will,” Woodbridge says of his latest single. “I composed it thinking of movies I love, where people are at a turning point of their lives knowing it or not, and heading for their future. Although slightly melancholic, it has a positive light and effect.”

 

 

 

 

Live Footage: Black Pumas Performs “Fire” on “The Tonight Show Starring Jimmy Fallon”

I’ve spilled quit a bit of virtual ink covering the Grammy Award-nominated Austin, TX-based soul act and JOVM mainstays, Black Pumas over the past year. Led by Grammy Award-winning producer, songwriter, guitarist and producer Adrian Quesada and San Fernando Valley-born singer/songwriter and guitarist Eric Burton, the acclaimed act can trace their origins back to 2017. Burton, who grew up singing in church and in musical theater, started busking at the Santa Monica pier, where he brought in a few hundred dollars and day and honing his performance skills. He then traveled through the Western states before deciding to settle down in Austin, setting up a busking spot on 6th Street and Congress, a prime location in the city’s downtown neighborhood for maximum exposure.  

Meanwhile, Quesada was looking to collaborate with someone new. He reached out to friends in Los Angeles and London — but nothing seemed to fit. Serendipitously, a mutual friend recommended Burton to Quesada, telling the Grammy Award-winning songwriter, guitarist and producer that Burton was the best singer he had ever heard. The two musicians connected but Burton took a while to respond. “My friends were like ‘Dude, you’re a mad man, you need to hit that guy back!’” Burton recalls. When Burton did call Quesada, he sang to him over the phone. “I loved his energy, his vibe, and I knew it would be incredible on record,” Quesada says. “From the moment I heard him on the phone, I was all about it.”

Last year, the duo along with a talented cast of collaborators released their breakthrough full-length debut. Along with that, the band had gone on a relentless tour schedule that brought their uplifting live show across North America and the European Union, including three separate stops in the New York area: The Knitting Factory, last May; Mercury Lounge, last July; and Brooklyn Bowl last September. Additionally, during that same period of time the band has made begun to make the rounds across the nationally televised talk show circuit, playing  Jimmy Kimmel Live, The Ellen Show and others.

Since the self-titled debut’s release, the album has sold 155,000+ album equivalents worldwide, with smash hit “Colors” hitting #1 on Adult Album Alternative (AAA) radio and has been streamed over 60 million times. And as I mentioned earlier, the band was nominated for a Best New Artist Grammy along with fellow JOVM mainstay Yola — losing out to Billie Eilish.

Black Pumas will be releasing a deluxe version of their breakthrough self-titled album, which will feature new artwork, previously unpublished in-studio and live performance photographs, as well as a bonus 7 inch featuring three previously unreleased originals, live-in studio versions of “Colors,” “October 33,” and “Confines;” a live version of “Know You Better,” recorded at C-Boys Heart & Soul, the Austin club, where the band first made a name for themselves; the band’s attention-grabbing covers of The Beatles‘ “Eleanor Rigby,” Death’s “Politicians in My Eyes,” Bobby “Blue” Bland‘s “Ain’t No Love in the Heart of the City,” and Tracy Chapman‘s “Fast Car,” which they premiered on The Late Show with Stephen Colbert last month.

Building upon their rapidly growing profile, the act was recently on The Tonight Show Starring Jimmy Fallon, where they performed one of my favorite songs off their self-titled album, the Muscle Shoals-like shuffle “Fire.”

Live Footage: Black Pumas Perform “Confines” with a String Quartet

I’ve spilled quit a bit of virtual ink covering the Grammy Award-nominated Austin, TX-based soul act and JOVM mainstays, Black Pumas over the past couple of years. Led by Grammy Award-winning producer, songwriter, guitarist and producer Adrian Quesada and San Fernando Valley-born singer/songwriter and guitarist Eric Burton, the acclaimed act can trace their origins back to 2017. Burton, who grew up singing in church and in musical theater 

Burton, who grew up singing in church and in musical theater, started busking at the Santa Monica pier, where he brought in a few hundred dollars and day and honing his performance skills. He then traveled through the Western states before deciding to settle down in Austin, setting up a busking spot on 6th Street and Congress, a prime location in the city’s downtown neighborhood for maximum exposure.  Meanwhile, Quesada was looking to collaborate with someone knew. He reached out to friends in Los Angeles and London — but nothing seemed to fit. Serendipitously, a mutual friend recommended Burton to Quesada, telling the Grammy Award-winning songwriter, guitarist and producer that Burton was the best singer he had ever heard. 

The two musicians connected but Burton took a while to respond. “My friends were like ‘Dude, you’re a mad man, you need to hit that guy back!’” Burton recalls. When Burton did call Quesada, he sang to him over the phone. “I loved his energy, his vibe, and I knew it would be incredible on record,” Quesada says. “From the moment I heard him on the phone, I was all about it.”

Last year, the duo along with a talented cast of collaborators released their breakthrough full-length debut. Along with that, the band had gone on a relentless tour schedule that brought their uplifting live show across North America and the European Union, including three separate stops in the New York area: The Knitting Factory, last May; Mercury Lounge, last July; and Brooklyn Bowl last September. Additionally, during that same period of time the band has made begun to make the rounds across the nationally televised talk show circuit, playing  Jimmy Kimmel Live, The Ellen Show and others.

Since the self-titled debut’s release, the album has sold 155,000+ album equivalents worldwide, with smash hit “Colors” hitting #1 on Adult Album Alternative (AAA) radio and has been streamed over 60 million times. And as I mentioned earlier, the band was nominated for a Best New Artist Grammy along with fellow JOVM mainstay Yola — losing out to Billie Eilish. 

Black Pumas will be releasing a deluxe version of their breakthrough self-titled album, which will feature new artwork, previously unpublished in-studio and live performance photographs, as well as a bonus 7 inch featuring three previously unreleased originals, live-in studio versions of “Colors,” “October 33,” and “Confines;” a live version of “Know You Better,” recorded at C-Boys Heart & Soul, the Austin club, where the band first made a name for themselves; the band’s attention-grabbing covers of The Beatles’ “Eleanor Rigby,” Death’s “Politicians in My Eyes,” Bobby “Blue” Bland’s “Ain’t No Love in the Heart of the City,” and Tracy Chapman’s “Fast Car,” which they premiered on The Late Show with Stephen Colbert last month. To celebrate the forthcoming release of the deluxe edition, the band released live footage of their in-studio performance of “Confines” with a string quartet. While continuing to show viewers that Burton is a stand-out star, the in studio rendition is a stunningly gorgeous version of the album single. 

New Audio: Joe Wong Releases a Lush Meditation on Free Will

Joe Wong is a Milwaukee-born, Los Angeles-based singer/songwriter, multi-instrumentalist and composer, who has created the scores for acclaimed TV series like Master of None, Russian Doll, Ugly Delicious, Awkafina is Nora from Queens, and others — and is the host of The Trap Set podcast.

Over the past few months Wong has released material off his Mary Lattimore-produced full-length debut, Nite Creatures, including the album’s three previously released singles: the Man Who Sold The World-era David Bowie-like “Dreams Wash Away,” the Sgt. Pepper-era Beatles-like “Nuclear Rainbow,” and the Scott Walker-like “Minor.” Continuing to build buzz for his full-length debut’s September 18, 2020 release through Decca Records, Nite Creatures’ fourth and latest single “Day After Day” further cements the Milwaukee-born, Los Angeles-based artist’s 60s psych-inspired sound — lush string and horn arrangements paired with shimmering guitars, enormous hooks and Wong’s mellifluous baritone. And while there’s a deliberate attention to craft that gives the material an anachronistic feel, the material is bolstered by earnest lyricism. In this case, “Day After Day,” is a sobering exploration of free will. 

“The lyric came to me after I read an article arguing that traumatic memories can be encoded in DNA and passed down from generation to generation,” Wong says. “Whether or not that’s true, I wanted to explore the notion that many of our personality traits and life choices that we attribute to free will may, in fact, be beyond our control. This track features an English Horn solo by Claire Brazeau (LA Chamber Orchestra), partly as homage to my ‘labelmate’ and hero Marianne Faithfull, who famously used oboe on her hit ‘As Tears Go By.’”

New Audio: Joe Wong Returns with a Lush and Orchestral New Single

Joe Wong is a Milwaukee-born, Los Angeles-based multi-instrumentalist, composer, who has created the scores for acclaimed TV series like Master of None, Russian Doll, Ugly Delicious, Awkafina is Nora from Queens, and others — and for being host of The Trap Set podcast.

Over the past few months Wong has released material off his Mary Lattimore-produced full-length debut, Nite Creatures, which is slated for a September 18, 2020 release, including two singles I’ve written about so far: the Man Who Sold The World-era David Bowie-like “Dreams Wash Away” and the a Sgt. Pepper-era Beatles-like “Nuclear Rainbow.” “Minor,” Nite Creatures’ third and latest single continues a run of incredibly lush material, but it’s arguably the most orchestral of the album’s singles, and as a result it reminds me a bit of the late, great Scott Walker’s work — brooding, achingly lonely and breathtakingly gorgeous. 

 

Known as Juneteenth, Freedom Day,  Jubilee Day, Liberation Day and Emancipation Day, June 19, 2020 commemorates the 155th anniversary of Union Army General Gordon Granger arriving in Galveston, TX with his troops and announcing federal orders that all people held as slaves in Texas were free. In reality, those held as slaves in Texas were technically freed two and a half years earlier with the Emancipation Proclamation, which officially outlawed slavery across Confederate territories.

Although Juneteenth is commonly thought as celebrating the end of slavery in the US. it  was still legal and practiced in Union border states until December 6, 1865 with the ratification of the 13th Amendment abolished non-penal, chattel slavery across the country.

Officially celebrations of Juneteenth date back to 1866, initially involving church-centered community gathering across Texas. It spread rapidly across the South becoming much more commercialized, centering around food. Regardless of how you celebrate it, today should be America’s real independence day —  the day in which all Americans were made free. There’s still a lot of work to be done by all of us for all of us to truly be free from fascism, white supremacy, the patriarchy and other oppressive human systems. Let’s keep pushing on.

In the meantime, I wanted to spend today celebrating Black people and Black art. Being Black has truly been the best thing to ever have happened to me. Black is multifaceted. Black is beautiful. Black is powerful and righteous. Black is brotherhood and sisterhood. Black is swagger and flavor. Black is joy in the face of terror, horror and injustice. Black is survival and pride. Black is a wonderful, wonderful thing.

If you’re Black and gay. I love you, you matter to me. If you’re Black and trans, I love you, you matter to me. If you’re a Black woman, I love you, you matter to me. If you’re a Black man, I love you, you matter to me. If you’re Black and non-binary, I love you, you matter to me.

Because of the occasion, I had been thinking of Syl Johnson‘s 1969 full-length album Is It Because I’m Black? Born Sylvester Thompson in Holly Springs, MS, Johnson and his family relocated to Chicago in 1950. Acclaimed bluesman Magic Sam was his next-door neighbor — and Johnson quickly developed a reputation as a go-to guitarist and vocalist, playing with Billy Boy Arnold, Junior Wells, and Howlin’ Wolf throughout the 50s. He recorded with Jimmy Reed in 1959 and made his solo debut with Federal Records, a subsidiary of legendary Cincinnati blues label King Records that year.

Personally, I find Johnson to be interesting because he’s part of that last wave of the Great Migration — and because his work comfortably sits in between blues, R&B and soul.  As for Is It Because I’m Black? It’s a great album that deserves more love and greater attention for its observations and thoughts on being Black in America, Black unity and more — plus it features a Southern fried cover of The Beatles‘ “Come Together” that’s worth the price of admission.

 

 

 

 

New Audio: Joe Wong Returns with a Psychedelic Ode to Existential Dread

Joe Wong is a Milwaukee-born, Los Angeles-based multi-instrumentalist, composer, who has created the scores for acclaimed TV series like Master of None, Russian Doll, Ugly Delicious, Awkafina is Nora from Queens, and others — and for being host of The Trap Set podcast.

Wong’s full-length debut Nite Creatures is slated for release later this year, and as you may recall, I wrote about the album’s lush and ambitious first single, the Man Who Sold The World-era David Bowie-like “Dreams Wash Away.” Wong’s second and latest single “Nuclear Rainbow” is a Sgt. Pepper-era Beatles-like track, centered around a lush and ambitious arrangement featuring soaring strings, regal horns, strummed guitar, hi-hat driven drumming and fluttering flutes — and while sounding as though it came out of the psychedelic late 60s, the track is centered around a deep existential dread that should feel familiar to all of us. 

New Video: Mumbling Thom Releases Lysergic Visuals for Hypnotic and Yearning New Single

Thomas Anacker is an Italian-French and Swiss singer/songwriter, multi-instrumentalist, videographer and creative mastermind behind rapidly rising solo recording project Mumbling Thom. Influenced by postwar writers like John Fante and Charles Bukowski, Anacker has developed a reputation for crafting hypnotic material that’s dreamlike while focusing on societal issues. 

Anacker’s latest single “The O Mind” continues the Italian-French and Swiss singer/songwriter and videographer’s growing reputation for hypnotic material centered around layers of shimmering guitars, subtle bits of Rhodes and keys, samples of Lakota shamans chanting, propulsive Eastern and African inspired polyrhythm and an enormous hook, the song evokes the sensation of being in a the fuzzy daze of a waking dream — while radiating a yearning for a deep inner peace. Much like The Beatles’ late 60s psychedelic work, the song is a seamless mesh of the Eastern and Western. “‘The O Mind’ is a song about being an open mind in an extra narcissistic world,” Anacker explained to me in an email. 

Of course, the hypnotic song is accompanied by an equally trippy visual that evokes a Zen-level of peace. 

A Q&A with Jennifer Silva

Jennifer Silva is a Boston-born, New York-based singer/songwriter. Influenced by Stevie NicksAretha FranklinTori AmosThe Rolling StonesFlorence + The Machine and Alabama Shakes, the Boston-born, New York-based singer/songwriter has received attention for bringing a sensual and soulful energy to her live shows — and for lyrics that explore universal and very human paradoxes — particularly, the saint and sinner within all of us.

Silva’s debut EP was an EDM collaboration with DJ Sizigi-13 under the mononym Silva — but since the release of that effort, her material has leaned heavily towards singer/songwriter soul, rock and pop with 70s AM rock references, as you’ll hear on her most recent album, the Reed Black-produced Bluest Sky, Darkest Earth.

Silva’s latest single “I Wash My Hands” is a shimmering and gorgeous country soul/70s AM rock-like song centered around a fairly simple arrangement of guitar, bass, vocals and drums that’s sonically indebted to Stevie Nicks and Fleetwood Mac. Interestingly, the song was originally written as a weary lament over a major relationship that has come to an end – but the song manages takes on a heightened meaning, reflecting on a heightened sense of uncertainty and fear, suggesting that maybe Mother Earth is attempting to wash her hands of us.

The recently released video for “I Wash My Hands” was created during the mandatory social distancing and quarantines of the COVID-19 pandemic – and it features Silva, her friends, family, bandmembers and voice students, separated by quarantine but connecting through the song.

I recently exchanged emails with Jennifer Silva for this edition of JOVM’s ongoing Q&A series – and naturally, we chat about her new single and video, her influences –including her love of Stevie Nicks, and her songwriting process. Of course, with governments across the world closing bars, restaurants, nightclubs and music venues to prevent the spread of COVID-19, the impact on the music industry – particularly on small and mid-sized venues, and the touring, emerging and indie artists who grace their stages, has been devastating. Over the course of the pandemic, I’ll be talking to artists about how the pandemic has impacted them and their careers. And in this interview, Silva reveals that the much-anticipated follow-up to Bluest Sky, Darkest Earth has been rescheduled, with her and her backing band figuring out how to finish it with the use of technology. Then add lost gigs and the uncertainty of when you’ll be able to play or promote your new work, and it’s a particularly urgent and uneasy time. But the dedicated will find a way to keep on going on for as long as they can.

Check out the video and the Q&A below.

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Photo Credit: Paxton Connors

Jennifer Silva_IWMH

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WRH: Much of the world has been in quarantine and adhering to social distancing guidelines as a result of the COVID-19 pandemic. Hopefully you and your loved ones are safe and healthy. How are you holding up? How are you spending your time? Are you binge watching anything?

Jennifer Silva: The world is upside down right now and it’s been a rollercoaster of emotions for me.  Shock, depression, anger, acceptance — feels like the stages of grief sometimes! I really miss my friends and my social life. Playing shows, my band. The good news though, is that my family and I are safe, healthy and well stocked. We left Brooklyn right before it got really bad and headed upstate. So, I’ve been in the woods, pretty secluded, with limited cable news (thankfully) and some great outdoorsy vibes all around me.  I’m very lucky and I really can’t complain. I’ve been spending the time connecting with my family, homeschooling my daughters, cooking, knitting, reading and writing songs!  We’ve been living a simple life these days and that’s actually a great thing sometimes. I just started watching Ozark on Netflix, finally, which is perfect for this quarantine! I’m always down for an epic drug/murder/survival story. Oh, and wine.

WRH: Since COVID-19 was declared a pandemic, festivals have been postponed or cancelled outright, artists of all stripes have postponed, rescheduled or cancelled tour dates. Most of the world has been on an indefinite pause. How has COVID-19 impacted you and your career?

JS: This has got to be the hardest part of it all for me. I’ve also had to cancel shows, but, most significantly, literally one week before the pandemic really hit NYC, I was in the studio with my band and producer (Reed Black of Vinegar Hill Sound) tracking my next record.  We spent two full days laying down all the music and scratch vocals for 10 tracks, and I was so hyped and excited for the next two months of recording all the overdubs, lead vocals, background vocals and getting that final mix completed. Now, we must wait. Luckily though, we have the rough mixes to listen to and some of my band members are working on and planning overdubs at home. It’s frustrating but I’m still so grateful to have had those days in the studio. What we have already, sounds amazing!

WRH: How did you get into music?

JS: I’ve been singing all my life.  My father played guitar around the house throughout my childhood, and so at a young age I was singing classic rock and soul music to my family. “The House of the Rising Sun” (The Animals), “Bring it on Home to Me” (Sam Cooke) and “To Love Somebody” (Bee Gees) were my first covers!

I also went to Catholic school as a girl where the nuns always made me sing the solos at the Christmas and Easter performances. And of course, I was singing in Church every week. That really helped shaped me as a singer because I was taught to belt without shame because it was a “gift”, so I have always been a loud singer, haha. I’m not religious anymore (thankfully), but man, I love me some Church hymns! And there is nothing like the acoustics in a Cathedral.

WRH: Who are your influences?

JS: I have so many influences from so many different genres of music.  The Animals, The Beatles, The Rolling Stones, Janis Joplin, Diana Ross, Tina Turner, Lionel Richie, David Bowie, Elvis Presley, Sam Cooke and all of Motown were early loves of mine.

Then I had a whole Neo Soul moment, falling in love with singers like Erykah Badu, Lauryn Hill, and Jill Scott. They definitely influenced me with their powerful female energy and style and the vocal choices they made. I also love 80’s and 90’s female badasses, like Tori Amos, Bjork, PJ Harvey, Hole, Garbage, Madonna and Annie Lennox. Artists with true points of view and the guts to say it.

I love Blues and Jazz greats like Billie Holiday, Nina Simone, Etta James, Ray Charles, Lead Belly. Their emotional rawness and vocal prowess has always been a guide.

Singer-songwriters like Bob Dylan, Tom Waits, Tracy Chapman, T. Bone Burnett, Dolly Parton, Rufus Wainwright and Joni Mitchell have helped shape my lyric writing and storytelling. I love Lana Del Rey as well.

Vocalists like Amy Winehouse, Brittany Howard of Alabama Shakes, Stevie Nicks and of course, Aretha Franklin will always be the pinnacle of greatness for me. These artists INSPIRE me.

WRH: Who are you listening to right now?

JS: There is so much amazing music out right now. The talent level in this industry can be intimidating actually! Right now, we’ve been listening to a lot of indie rock and singer-songwriters like Marlon Williams and Aldous Harding, Töth, The Dø, Future Islands, Julia Jacklin, Sun Kil Moon, and Heartless Bastards.  And we are always playing The National and Arcade Fire. The Grateful Dead and Tom Waits are spun pretty regularly too around here. And of course, we’ve been listening to lots of John Prine since his recent passing from Covid-19.  What a loss.

WRH: I’ve probably referenced Stevie Nicks’ “Stand Back” more times than any other journalist in town. I think of a certain synth sound – and that song comes to mind. Plus, I love that song.

I know that Stevie Nicks is a big influence on you. What’s your favorite all-time Stevie Nicks song?

JS: One thing I really love about Stevie, which I read in her biography a few years ago (by Zoe Howe), and that I can totally relate to, was that she didn’t have any formal musical education. She just had her gorgeous melodies and emotional lyrics and really, just a simple catalog of basic chords.  Lindsey [Buckingham] would get frustrated with her because he’d have to finesse her songs so much to make them work. “Dreams,” for instance, only has 2 chords! But her songs were always their biggest hits. She tapped into an emotion and style and energy that people love and her voice is just absolutely unique and powerful. In a way, the reason she was so successful with her songwriting was because she wasn’t trapped in a musical box. She would write whatever she felt, and her uniqueness and melodies were memorable and beautiful. She inspires me so much! It’s nearly impossible to choose one favorite Stevie Nicks song, but I’ll go with “Edge of Seventeen.”  A close second is probably “Landslide.”

WRH: Your first release was an EDM-like collaboration with DJ Sizigi-13. Since then your sound has gone through a dramatic change. How did that come about?  How would you describe your sound to those unfamiliar with you and your sound?

JS: After my old band broke up in 2014, I was searching for new musical collaborations on Craigslist. I connected with Sizigi over email and we decided to make a song together.  One song led to four, over the course of a few months. I knew going in, EDM wasn’t going to be my personal sound forever, but I was down for the challenge of writing to existing beats and learning to record all my vocals at home with GarageBand. I bought a microphone and set up a vocal booth in my closet with towels on the doors to pad the sound.  I learned to edit. I love my lyrics and vocals on those songs, and I am very proud of the work I did. So, ultimately, I chose to have the record mastered and to release the 4 song EP independently. It was a stepping-stone for me.

The music I make now is all me though. I pen all of the lyrics and write the melodies on guitar, or sometimes I use my Omnichord (a vintage electronic harp/synthesizer from the 80s, which is AMAZING) and then my band brings it all to life!  My sound can be described as indie rock soul. I love the Alabama Shakes so that’s a decent comparison, I hope. The lyrics are evocative and dramatic, and the music is organic rock, but I always sing with soul. I also love to explore the saint and the sinner in all of us and tap into themes from my Catholic upbringing — like with “The Convent” from my last record Bluest Sky, Darkest Earth and “Purgatory Road” which will be on my next record. I am inspired by elements of the occult (tarot cards, following your intuition, voodoo) and I use nature and other metaphors to write about complicated relationships.

WRH: Rockwood Music Hall celebrated their 15th anniversary earlier this year. Sadly, during this century, existing 15 years as a venue in New York time is like 149 years. Rockwood Music Hall invited an All-Star list of artists, who have cut their teeth playing the venue’s three stages to celebrate. The bill that month included JOVM mainstay Anna Rose, acts that I’ve covered like Eleanor Dubinsky, Christopher Paul Stelling, The Rad Trads, Mike Dillon, Melany Watson, as well as Jon Baptiste. How does it feel to be included with those acts?

JS: It feels amazing! I am so lucky to have played a small part in Rockwood’s incredible history. It was an absolute honor to play the stage that night, and to join that list of talented artists. Rockwood Music Hall was the first place I ever played in NYC. I remember getting an early Saturday afternoon acoustic slot with my old guitarist and playing to a mostly empty room. It was still so damn exciting to me, the opportunity to play that famous stage.  Fast forward a few years later to my packed record release show on Stage 1 and then my graduation to Stage 2, last year. Rockwood has supported me since Day 1 and to help celebrate their anniversary, on the very stage where it all began for me, made me so proud!

WRH: Your Rockwood Music Hall set included a cover of one of my favorite Lead Belly songs ever “Where Did You Sleep Last Night.” It’s one of those songs that for whatever reason doesn’t seem to be covered a whole lot. So, what drew you to the song? And how much does the blues influence you?

JS: I have been listening to Lead Belly for a very long time. I only knew his version of “Where Did You Sleep Last Night” and never actually heard Nirvana’s version until many years later, which is what I think most people think of when they hear that song these days. I used to love singing that song in the car with my boyfriend. We each took a verse. It always seemed so chilling and powerful and it really tells a story that leaves you wanting more. You are right though, it’s not covered a whole lot and when we first tried in rehearsal, we knew it would kill. Everyone really responds to that one.

I generally gravitate toward big singers. Full voices filled with heartache and soul and you get that in spades with the Blues.  The Blues are rooted in emotion and that kind of expression comes naturally for me. Lead Belly and Big Mama Thornton are definitely my favorite blues artists, but I also really dig Howlin’ Wolf, Muddy Waters, Son House, Sister Rosetta Tharpe and Bessie Smith. I love how Bonnie Raitt, Larkin Poe and Gary Clark, Jr. are keeping that tradition alive and having success with Modern Blues too.

WRH: How do you know when you have a finished song?

JS: I know a song is finished when I love the melody and lyrics enough to play it over and over again, day after day and when I can get lost developing the vocal runs. A good sign is when my family really responds to it as well. I also think nailing the bridge usually seals the deal for me. That’s when I write over my penciled lyrics and chords, in my black, Papermate flair pen and make it final!

I’m not a person who usually tinkers on a song for years though.  I write most songs in a few hours, or a couple of days or maybe, up to a week. I like to capture the emotion of a sentiment and get most of it right and then move on to the next song. In all honesty, the best songs write themselves in 10 minutes! I actually wrote my new single “I Wash My Hands” quickly like that.

WRH: Your latest single “I Wash My Hands” and its accompanying video officially drops today. It’s a gorgeous country soul/70s AM rock song, a weary lament of someone who’s desperate to move on from a relationship or some other major life tie. You wouldn’t have known this at the time, but the song has an eerie double meaning that reflects our current moment of uncertainty and fear. Curiously, how does it feel to have written something that initially was supposed to be about something specific that suddenly transforms into something altogether different?  

JS: Thanks. I think the lyrics are very relatable for anyone in a long-term relationship who understands that compromise and respect are needed for a couple to survive and more importantly, thrive. But in this unprecedented moment in our lives, that can also be said about humans and our planet. Fear of Covid-19 leaves us all washing our hands like never before, so now, this track also invokes Mother Nature’s demand for more respect. She is also washing her hands of our abuse, forcing us all to pause while she shows us just how powerful she is. It’s humbling.

WRH: The video for the song is pretty intimate almost home video-like visual, as it features a collection of loved ones, including family and friends lip synching along to the song – while they’re in quarantine. How did you come about the concept? And how did it feel to have your loved ones participate in the video?

JS: Last week, my brother Chris and I were talking on FaceTime, about the need for interconnectedness even while social distancing. We thought about how lonely people are, even though we are Zooming and chatting on the phone, more than ever.

We thought it would be really special if I could get some of my friends and family to lip-synch parts of this song and create a montage. Video production resources are limited here in quarantine, but everybody has a phone with a camera and time on their hands!

The video is like being on a Zoom call but this one makes me feel so happy every time I watch it! It’s all my favorite people singing my song. People in Brooklyn, California, Detroit, New Jersey, New England, and even as far as Kenya! Everyone just really came through and had fun with this project, including my voice students, family members and close friends. People I haven’t seen in two months or more! I don’t know when I’ll see them again frankly, but the video makes me feel connected to them and I think it makes them all feel connected to each other. I love it so much.

WRH: What’s next for you?

JS: While I’m quarantined, I’m going to keep making art. Keep writing music. Keep singing.

I’m also going to continue to work on my next album. Right now, the plan is to release it in the Fall, so I’ve got shows to book and all the pieces in between to plan. Follow me on Instagram (@sheissilva) for all updates, single and video releases and of course, details about the album release party and tour dates.

Please stay safe and healthy, everyone. I’m sending vibes to you all. We will get through this. And I think we will be stronger for it. And don’t forget to keep washing your hands!