Jeeni Blog

Helping the next generation of talent to build a global fanbase

An Emerging Poetry Renaissance

/ By Andie Jeenius
An Emerging Poetry Renaissance

The last couple of years has seen a rise in artists publishing poetry collections. In 2018, two years after his death, 'The Flame' was published. A collection of the unpublished work of Leonard Cohen, became the 13th book of poetry for the Canadian poet and musician. Was this the point an emerging poetry renaissance took hold, or has it always been there and we were just waiting for the mainstream to catch up? At Jeeni, we welcome it.

Leonard Cohen poses for a portrait in April 1972 in Amsterdam, Netherlands. (Photo by Gijsbert Hanekroot/Redferns)

Over the years we've grown up with the talents of Patti Smith, who celebrated 50 years of performance poetry this year. Smith marked the occasion with a spectacular take over of Piccadilly Circus, London for New Year's Eve 2020. We sympathised with the turmoil in PJ Harvey's tortured lyrics and Tom Waits' social commentry, but there are more varied artists now dipping their inked quills into the genre.

Black literature and music are blessed with plenty of talented wordsmiths, including Linton Kwesi-Johnson, Gil Scott Heron, Maya Angelou, Tupac, and Robert Hayden. Plus, the next generation of artists who include, Vanessa Kinsuule, Malika Booker, Raymond Antrobus and the moving performance at President Biden's inauguration of the American National Youth Poet Laureate, Amanda Gorman. Her performance, many claimed was the highlight of the ceremony.

Amanda Gorman - American National Youth Poet Laureate

There has always been verse and when music was added, the verses became songs. The emerging poetry renaissance seems to be more about an artists collective work being published as a complete and independent body of work. Individually dropping poems onto an EP or a social media post is a starting point for many and Jeeni is pleased the Poetry section of their platform is being used by many to showcase their work. Uploaded personal performances allow them to earn and reach out to an engaged audience and fanbase.

The words 'cathartic', 'soul-searching', 'lost love', 'healing', 'political', 'social voice', 'mental turmoil' have been used many times to decipher the minds and thoughts of poets. Throw in a global pandemic, coupled with international lockdowns and the perfect storm is created, enticing many to put pen to paper. Facebook and social media pages have members flocking to groups such as Poetry UK, Just Poetry and Arts Group and Spoken Word Artists. Meanwhile, sites such as the Poetry Foundation offer a platform of varied works, themes and history.

The best works of 2020 included, Lana Del Ray with 'Violet Bent Backwards Over the Grass', which she also released as spoken word. Halsey released 'I would Leave if I Could', a body of work dealing with love, longing and the nuances of bipolar disorder.

Courtenay Marie Andrews - Photo Jordi Vidal/Redferns

For 2021, we are looking forward to the release from, Screaming Trees frontman Mark Lanegan - 'Leaving California', a collection of 76 poems following on from his well received grunge memoir of last year and Courtney Marie Andrew's collection entitled 'Old Monarch', to be released in May. The Alt-Country singer has created a collection in three parts and draws on the themes of childhood, family, leaving home, falling in love and becoming an adult.

www.jeeni.com

06
Jun

Let the Music Play and Save Our Venues

You may have seen the hashtags going around today #LetTheMusicPlay and #SaveOurVenues. If you were wondering what it's all about, an open letter has been issued. THIS is what is happening ? Some 1,500 acts including Ed Sheeran, Paul McCartney and The Rolling Stones urge the British Government to save the country's live music industry from collapsing because of coronavirus. Coldplay, Eric Clapton, Sam Smith, Rod Stewart, Liam Gallagher, Iron Maiden, Dua Lipa, Skepta and Florence + the Machine were also signatories to an open letter warning that the ongoing shutdown threatens thousands of jobs. They cited new research showing that live music added £4.5 billion ($5.6 billion, 5.0 billion euros) to the British economy and supported 210,000 jobs across the country last year. Live music has been one of the UK's biggest social, cultural, and economic successes of the past decade. But, with no end to social distancing in sight or financial support from government yet agreed, the future for venues, concerts and festivals and the hundreds of thousands of people who work in them looks bleak. Until these businesses can operate again, which is likely to be 2021 at the earliest, government support will be crucial to prevent mass insolvencies and the end of this world-leading industry. On July 2nd 2020, the Concert Promoters Association and a coalition of live music businesses including artists, venues, concerts, festivals, production companies and industry figures launched a campaign to highlight the importance of the sector to the UK’s economy. The campaign asked people to share on social media a film or photo of the last gig they played or saw with the hashtag #LetTheMusicPlay. If you’d like to add your support, you can download shareable graphics and quotes from some of the country’s biggest artists here. Post them on your social media to show how important UK live music is to you, and don’t forget to use the hashtag #LetTheMusicPlay. Read the joint letter Dear Secretary of State, UK live music has been one of the UK’s biggest social, cultural, and economic successes of the past decade. From world-famous festivals to ground-breaking concerts, the live music industry showcases, supports, and develops some of the best talent in the world – on and off-stage. As important as it is, our national and regional contribution isn’t purely cultural. Our economic impact is also significant, with live music adding £4.5bn to the British economy and supporting 210,000 jobs across the country in 2019. Like every part of the entertainment industry, live music has been proud to play our part in the national effort to reduce the spread of Coronavirus and keep people safe. But, with no end to social distancing in sight or financial support from government yet agreed, the future for concerts and festivals and the hundreds of thousands of people who work in them looks bleak. This sector doesn’t want to ask for government help. The promoters, festival organisers, and other employers want to be self-sufficient, as they were before lockdown. But, until these businesses can operate again, which is likely to be 2021 at the earliest, government support will be crucial to prevent mass insolvencies, and the end of this great British industry. Government has addressed two important British pastimes – football and pubs – and it’s now crucial that it focuses on a third, live music. For the good of the economy, the careers of emerging British artists, and the UK’s global music standing, we must ensure that a live music industry remains when the pandemic has finally passed. Yours, Leading UK artists, music professionals & venues (read the full list of signatories here) Click HERE to visit or return to jeeni.com

03
Mar

Artist Focus: Nnaomi

Describing her own music as “euphoric, experimental and nostalgic”, Nnaomi is paving her own exciting path in the RnB and neo-soul corner of music.  Portsmouth based Nnaomi has been an essential Jeeni artist for some time now and has most recently added her newest single, ‘Hate Me’ to one of Jeeni’s most rapidly advancing and growing channels, RnB (https://jeeni.com/channel/all-channels/r-and-b/). “At just over 2 minutes long, 'Hate Me’ still manages to progress so organically and timely; it takes its time to set the pace and tone of the story told in the lyrics. At the climax of the track, it feels like Nnaomi’s painful memories begin to swirl more unstably around her head as samples and synths begin to distort, warp and spin around the stereo space. These flittering pieces of audio eventually start to drown out Nnaomi’s voice, painting a tragic image of her thoughts and guilt becoming overpowering and too much to process.” Check out the full review of ‘Hate Me’ here: https://jeeni.com/blog/nnaomi-hate-me-single-review-blog-jeeni/   This newest track promises a lot from Nnaomi and if her short collection of singles says anything at the moment, it’s that she can deliver on them all. Nnaomi describes her singles as “little stories”, “I say this because the songs I make come from my real emotions and real experiences, the beats I choose actually bring emotions and thoughts out of me I feel like I suppress because I’m surprisingly not very good at talking about my feelings, so instead I put it in songs. It’s the easiest way for me to express myself”. From this analysis into her own work, it’s no longer a mystery as to why so much emotion is contained in tracks like ‘Like Me’ and ‘Hate Me’.  Mental health, and processing emotions healthily is certainly a recurring theme in Nnaomi’s work, as she explains, “Something that inspires me is my own ability to take advantage of the fact that sometimes my emotions are intense, finding a way to execute it in a healthy way has been amazing because I’m so used to bottling it up, which wasn’t beneficial”. Besides from her methodology in utilising emotions as a key inspiration for her work, Nnaomi’s has some specific masters in the alternative RnB genre to thank for her curious and adventurous creative tendencies. Progressive soul artist, Frank Ocean is a major influence for Nnaomi, as is modern neo-soul singer, SZA.  When asked about the similarities in the titles of ‘Like Me’ and ‘Hate Me’, Nnaomi noted that the connection was both coincidental but likely sub-consciously intended at the same time, “I wanted to portray my mental state in a way that was artistic. “Like Me” was written when my views and thoughts on certain things were hopeless and reminiscent. “Hate Me” is like the healing sister. The one that’s accepted the way that “love” and its experiences can sometimes change you for the worst. A much more self-aware and grown-up outlook on love and how to deal with it”; a poignant and layered insight into this partnership of singles.   Nnaomi hints at longer projects in the future, however she's currently happy “taking it one step at a time” with fantastic singles like ‘Party’s Over’, ‘Like Me’ and ‘Hate Me’. She’s also excited to arrange more live shows this year as restrictions are the lowest they’ve been in years.   Follow Nnaomi on socials to stay updated on what she’s working on:  Twitter: https://twitter.com/nomesm_   Instagram: https://www.instagram.com/naomim_0/   Check out Nnaomi’s showcase on Jeeni: https://jeeni.com/showcase/nnaomi/   How can Jeeni support artists like Nnaomi?   JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.  artist biography • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make.  • We empower our audience and reward them every step of the way.  • We promise to treat our members ethically, fairly, honestly and with respect.  • Access to artist liaison and a supportive marketing team. 

22
Nov

Kastopia - Self-titled EP Review

Kastopia’s eponymous debut project is a rapid and uncontainable demonstration of their light-hearted and fun-first brand of fusion jazz.   Helpfully, the group have curated an excitable and varied ‘influences’ playlist on Spotify. Featuring Kamasi Washington, GoGo Penguin and TOOL, the only similarities here are a tendency for experimenting and expanding the constraints of rhythm and metre. Aptly, most of these tracks burst outwards with passion and the joy of musicianship and although the group quite accurately states in their short bio, ‘No one sounds like us’, they have certainly adopted that energetic mindset here in these three breathless tracks.  A possible strain of influences not featured on their playlist is the superhuman Japanese brand of jazz fusion such as ‘Casiopea’ and ‘Dimension’. The latter of which lent their talent to Nintendo for select Mario Kart 8 soundtracks, a game that comes to mind regularly throughout ‘Kastopia’.  Music like this where no sole part takes precedence can be a challenge to mix effectively due to a core reference point (typically vocals) being non-existent, but the production on these tracks is so solid. This is likely as a result of the musicians having an obviously adept understanding of their own instrumental tone and capabilities, but also from the pure time and care taken by the producers and mastering engineers to bring out the final dazzling qualities.  The synergy between the Kastopia members is so satisfying to hear. At times, Kastopia are so tight and intuitively intwined that they come across as a sort of hivemind that has a masterful control over all elements of its sound. However, it’s important to remember that Kastopia runs on distinct individuality and personality expressed on each instrument;  Scott Bentley’s adaptive and assertive distorted guitar, the atmospheric and mood-shifting keys from Nicholas Twine Padin, Felix Barret’s bass, commanding the rhythm section with slaps and rumbles and all three at the mercy of William Moore’s relentless and robust drumming. These make up the nuts and bolts of the new jazz fusion super power, Kastopia.  How can Jeeni support artists like Kastopia?   JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.   • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make.  • We empower our audience and reward them every step of the way.  • We promise to treat our members ethically, fairly, honestly and with respect.  • Access to artist liaison and a supportive marketing team  Check out Kastopia's page on Jeeni: https://jeeni.com/?s=kastopia