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 A collection of the unpublished work of Leonard Cohen, became the 13th book of poetry for the Canadian poet and musician.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.

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14
Feb

Pat Spencer & JoeSach - ‘Alive & Surviving’ EP Review

This collaboration between a heart-felt lyricist and a versatile songwriter results in a sweet and layered three-track project.  Although songwriter and producer, JoeSach has already uploaded various electronic tracks on the global streaming platform, Pat Spencer is a new addition to Jeeni and has already broadened Jeeni’s indie channel. Be sure to check out the showcases of these two invaluable jeeni artists: JoeSach - https://jeeni.com/showcase/joesach/ and Pat Spencer - https://jeeni.com/showcase/patspencer/.  Pat Spencer’s sweet lyrics and vocal talent provide the heart to this project, while producer, JoeSach forms the body with day-dreamy and mellow instrumentals. The creative and stylistic change of pace lends itself well to Pat’s voice; with thrashing live drums and angsty bass-centered tracks, Pat’s last year singles were much rowdier and faster paced. His casual, yet sincere vocals contain a lot of character and have been fully realised with these calmer instrumentals.  The opening track, ‘I Like You’ is an excellent introduction to this short project. It swells open with a filter-swept beat and warm electric piano chord as though this EP is warming up. With the softer, jazz inspired instrumentals, Pat’s conversational lyrics and sweet melodies are much more obviously reminiscent of Rex Orange County and the British take on bedroom pop. This light-hearted introduction helps set the initially brighter tone which helps contrast the darker tracks to come.  ‘Time’, the second track, is a retrospective and peaceful cut. Layered, imperfect vocals make the song feel warm, comforting and real. While there’s a certain sadness in Pat’s voice here, there’s also acceptance and optimism as he sings ‘Keep your head down, you’ll be fine’. The particular easiness and comfort in Pat’s vocals on ‘Time’ makes the track a clear highlight.  The final track, poetically named ‘The Persistence of Memory’ is an emotional and longing closer. The final piece of this trilogy feels the bleakest, making the project feel like a gradual decrease in hope and enthusiasm, which is an incredibly effective narrative considering it’s told in just three tracks. Minor keys, moody timbres and morose mixing helps to tell the story of this increasingly blue EP.  How can Jeeni support artists like Pat Spencer?   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.  album review album review album review

01
Apr

MUSIC STARS JOIN NEW TALENT TO BEAT COVID

On April 10th seventeen acts from around the world will beat the pandemic restrictions and join together to perform in a virtual festival called JAM, and they guarantee complete unknowns will get equal billing with world-famous headliners. Grammy Award nominee Barrington Levy contributes from Jamaica, in defiance of the Covid virus. Spanish youngster BlueVein will multi-track his own backing from his bedroom. Number One Billboard Dance Chart star Zeeteah Massiah will appear in her own spectacular James Bond movie sequence. Indie rocker How Mean will perform from his grandmother's house in California. Daisy Chute, the lead singer with platinum-selling supergroup All Angels, performs live from her home in London with newcomers on the other side of the world in Australia. Grammy-Award winner Skyler Jett, whose Record Of The Year with Celine Dion for Titanic is the highest-grossing movie theme of all time, will perform his latest track with complete unknowns dancing in lockdown on every continent in the world. And more artists will beam in their contributions from Detroit to Brighton, from Northern Ireland to Rhode Island. The producer of JAM is Mel Croucher, veteran founder of the UK video-games industry, and creator of the world's first million-user viral marketing campaign. Mel says, "Members of my team have made it to the top. We've been responsible for over 500 million record sales over the years, we've pioneered the online music revolution, and now we're giving something back to help unsigned independents and new talent in an industry that all but collapsed in the face of Covid. We've got Paul McCartney's Wings Over Europe double-decker bus ready to roll out as a mobile live venue, and we can't even think about using it until the crisis eases. So we've gone online. This is our third online festival, and by far the biggest. And it's absolutely free." Mel goes on to explain why it's called JAM. "The Festival is a collaboration between three organisations. The J is for my own company Jeeni, where performers showcase their talent and keep 100% of everything they make. The A is for AmplifyX, based in Los Angeles, where you invest in artists you believe in. And the M is for MultiView Media, an amazing streaming platform where fans get to be the director and control the action." The JAM Festival is at 12 noon Los Angeles time, 8pm London time on Saturday April 10th 2021, free to live stream on: https://mvm.multiviewmedia.co.uk/jamfestival For further information etc... jeeni.com amlifyx.com multiviewmedia.co.uk

06
Jun

Meet The Curators Behind Spotify Playlists - the A and R Dictatorship

Landing on an official curated Spotify playlist is for many artists a holy grail. To provide some insight, we hear from a Spotify editor about how they find the songs which eventually make the cut. Spotify seems to be the opposite of Jeeni, where the process is democratic and those artists that start trending are based on real votes, and whilst technology has moved on they are still in the dark ages where their music is still decided and dictated by A&R agents. And unlike Jeeni.com, with Spotify if they don't like the look of you, then you're not coming in! Guest post from Spotify for Artists by Khalilia Douze A Spotify editor explains how they discover songs to include in their curated lists. Being added to a Spotify playlist remains the dream for most emerging artists, as it exposes their work to some of the most-clicked on playlists in the world. But for many musicians and their teams, the behind-the-scenes process still feels shrouded in mystery. While there’s no formula for scoring a coveted slot on Pollen or RapCaviar, there is rhyme and reason to how the massive team of editors curate tracks. We spoke with one Spotify staffer, who helps oversee R&B playlists such as the genre flagship Are & Be, The Newness, Soul Coffee, Soul Lounge the Black Lives Matter playlist and more, to learn about their process and tips on how musicians can stand out when pitching unreleased music through Spotify for Artists. Spotify for Artists: What strategies do you use to curate playlists? The strategy is based on the playlist itself. Each has its own hypothesis, theme, or audience that we’re thinking about. If it’s one of the genre-specific playlists, like Are & Be, that’s the home for the current, biggest songs in that space. The Newness is new releases or developing artists. Chilled R&B, Soul Coffee, those playlists have a mix of current and some legacy and catalog artists. It really all depends on what the goal of the specific playlist is. What are you listening for when you’re curating? I’m listening for lyrics. I’m listening for melody. A lot depends on the playlist itself, and sometimes that’s the filter that I have. When I’m listening, [I’m like] Oh, this song would do good in this playlist or, This song could fit here for this moment. A lot of it is based on the audience. You have the specific genres, but then there’s a lot of cases where those lines are blurred. The instrumentation and the beat can determine an audience, so [we think about] where we believe the audience is for that particular song. Does song length play a role in how you’re curating? It depends on the playlist. Soul Coffee is more of a relaxing [vibe]. In our minds, that’s one of those where you would just get up in the morning and that’s what you throw on while you’re getting ready, eating breakfast, or reading a book on Sunday. I know that the people will just have it on, so that playlist has a longer time spent listening as opposed to the flagship, Are & Be, and The Newness. For The Newness, when people are listening to that or one where it’s developing artists and new releases, that’s more about discovery. People may not spend a lot of time listening to that playlist—it’s about skimming and seeing what’s out. Can you walk me through how you use the submission tool to discover music? Labels pitch to us every week. We’re able to get their submissions through there, but they also communicate with our Artist Label Partnership team. We’ll talk to them [about] what their plan is for their priorities. There’s a ton of music—it’s countless. That’s pretty much the majority of Mondays and Tuesdays, listening to the pitches that come in for that week. It goes to our whole team. We listen to everything. The rest of the week is updating the playlists and finding the space for them, reviewing what songs are already in the playlist, looking at the performance, and things like that. When it comes to tags in the submission form, what advice do you have? People should be as specific as possible and fill out every single thing to make sure it goes to the right people. Different editors might have different filters to differentiate. I’m listening for if it’s a cool song first and foremost, but past my opinion of it, do I know if there’s a home for it? It’s about being able to find it and [seeing] where it can fit. I’ve seen entries where it would literally just be the artist name and their title—that’s how it gets lost in the abyss. We’re not omnipotent, so we don’t know what we don’t know. Are there any rules about how many times an artist can be playlisted? No. Every curator is different and has [their] own philosophy on what songs are in a playlist. There’s no concrete rule. Click HERE to visit or return to jeeni.com