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Bradley Jago - A Brilliant Artist Exploring Queer Identity

/ By Admin
Bradley Jago - A Brilliant Artist Exploring Queer Identity

 

When you first listen to Bradley Jago, right away, you are overpowered by the sheer force of his voice. It takes centre in what feels to be an intimate stage, one that exists outside of space and time, where you and only you become privy to not only the beauty of Jagos soulful voice, but also the profoundness of his lyrics. 

Rain is a song that is full of feeling, full of something rare in music - accountability. Jago tells me that the song is about change, letting the rain wash over you and forgetting the mistakes that youve made. He asks if we can hear the rain pour, and we can. Behind the beat, there is the unmistakable pitter patter of gentle rain sounds. But this question conceals another. When talking to Jago about the intention of the song, he told me: I was… looking back at everyone I dated and I was like Oh damn, theres some people that Ive actually fucked over a little bit.” …  And Rain is an apology to those people, to say Ive changed now, and even though I have caused you pain, I hope we can move forward after. [It] is a metaphor for the pain I have caused them.” 

The song itself has smooth jazzy influences. Jagos clear voice overlaps itself in a layered harmony with a gentle underscored bass, Jago seemingly having a quiet moment of reflection to himself, as he sings to let it rain”. The songs intimacies are intentional. According to Jago Its kind of like a quiet moment to yourself. Youre at the gig with me in this intimate venue.” 

Then, the drums kick in. There is a desperation to the song emphasised by the changed tempo - the emotion becomes fevered as he sings let it rain” - the words repeating, creating a heightened emotional effect - it feels as if he is begging, bargaining, hoping. There is no longer just a sweetness and a softness and a sadness. There is a frenzy, a fury to be understood. And thats what love, remorse, and pain is like. 

Theres also important depth to be acknowledged within Jagos music. Jago himself is a queer artist, who writes from the queer perspective. Why is this important to be acknowledged? Because in a song that is this intimate and honest, you need to understand why it is also brave. 

Queer identity comes with an enormous amount of negatives - its a terrifying thing to out oneself, and make yourself inherently vulnerable to the disdain of others, and also yourself. Jago is changing the game by bringing this honesty to his music, in a world where queer people still find themselves being judged, discriminated against, the context of one love song can change from being a sweet romantic piece to a dramatic profession of bravery.

Jago is interested in analysing both sides of the spectrum of queer experience. I think Id want to write about the negatives [of queer identity]. Being queer is celebrated a lot (as it bloody well should be). But also there are negatives that people arent talking about.” 

Its important to note that queer art, music and writing should not be made distinct by its queerness. Of course it adds depth and context to the art itself, but it is important to acknowledge the art as full of feeling, and therefore, universality. As Jago himself points out: If I can relate to a straight song, a straight person can relate to my queer song.” 

So whats in store for Jago for the future? He is doing festivals Victorious, and The Peoples Lounge -  “Because the music is so honest, I dont want to do too much to the music. I want it to be really raw and still sound great - but very authentic and sound like its coming from my soul.” He also tells me: Im writing a track at the moment called New Gay Sadness(theres a little snippet available on Jagos instagram) - its about the gay yuppies in London who are living their life but cannot find love. Theres a lot of pressure… ‘okay, were getting to a place of equality, still a long way to go… its like oh you should be happy nowbut you have all these other life pressures of why arent you in a relationship. Why havent you achieved this yet?’”

You can catch Bradley at the Victorious festival on the People's Lounge stage at 5:10pm on the 27th of August. Listen to his amazing track RAIN here Here

 

 

05
Jun

Beta-Testers Wanted

Jeeni is a platform that we have been developing for over a year now, for Independent Musicians and Performers and is in a new beta testing phase. JEENI is a multi-channel streaming service for original and unsigned talent. Jeeni provides a showcase for musicians and performers to put their talent in the spotlight, giving superfans the power to make them stars. The Jeeni promise, is to treat their creative talent ethically, fairly, honestly and with respect. Most importantly Jeeni is committed to – No hype. No adverts. No rip-offs. No Fakes, and making sure that the artists get 100% of their direct sales. The Covid-19 pandemic has made the last year very difficult for new and emerging artists as well as established ones, which is why we believe it is now more important than ever to support not just music makers but artists across the creative industries. Jeeni is presently looking for beta-testers to help us improve the site. A beta-tester simply registers for a FREE account, then designs their own showcase by uploading their music and videos and give us feedback on their user experience. Please contact Shena@jeeni.com or call 07703567196 if you are interested and want to find out more. Check out Jeeni today: https://jeeni.com/

22
Feb

Alana Sukul, ‘Good to you’ - Single Review

Although released in the shadow of Alana Sukul’s previous huge success, ‘Closer’, the newest track from the singer, songwriter and producer is an impactful genre-blurring feat in its own right.  A newer addition to Jeeni, Alana has already added five tracks to Jeeni’s database in a sweep of popular genre channels. Learn more about Alana’s creative mission, her inspirations, influences and attitude as an artist with our recent Artist Focus blog all about her: https://jeeni.com/blog/alana-sukul-artist-focus-blog-jeeni/   This new single shows a moodier side to Alana that demands your focus and attention. The reversed piano melody, heard first, is eerily beautiful and sets the tone of the track incredibly naturally, despite the artificial sound of a backwards piano. Alana’s approach to the percussion is subtle, yet constant; instead of a steady, imitable beat, understated rim hits decorate the offbeats with almost irregular patterns. This embrace of more interesting percussion is most likely a prime example of Alana’s Caribbean heritage and influences shining through, resulting in her music completely breaking the mould from other popular music.  Alana regularly flaunts her adaptive and impressive vocal control in ‘Good to you’ as she dips lower than ever with the lyrics, ‘so heavy’ and then instantly soars upwards with a warbling and composed ‘closer to being buried’ delivery. Her fluent and gliding voice is perfect for communicating the angsty yet tuneful melodies that she’s designed here.   The lyrics here address something deeper than just relationship turmoil. Alana uses her craft to process dark and consuming thoughts, ranging from depressive apathy, the incessant passing of time and overwhelming pressure weighing her down. Through the darkness, Alana does try to maintain optimism, “I deserve so much more than what I’m really settling for”, however, it can’t help but feel hopeless at this point in time that she’s addressing. The lyrics do a heartachingly accurate job of narrating a dark moment in one’s head and adds introspective layers to what could be mistaken as just a heart-break song.   Check out this incredible track on Jeeni here: https://jeeni.com/good-to-you-alana-sukul/?channel=alana-sukul&rtn=btasc&artist=alana-sukul   And check out Alana’s Jeeni Showcase here: https://jeeni.com/showcase/alana-sukul/   How can Jeeni support artists like Alana Sukul?   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. 

07
Dec

Streaming Revenues - a tipping point?

At Jeeni, this is a subject we are following closely, being a platform set up to address this very subject. The balance of revenue on most platforms, is tipped far too heavily away from the artists, performers and writers, in favour of the suits and pen-pushers. Quite frankly, it's a disgrace! Jeeni's ethos is to ensure any performing members receive 100% of the revenue they generate. Should all streaming services work the same way? Journalist Dylan Smith, from Digital Music News has written the article below, updating how far the DCMS Committee has got with their fact finding and the issues to be presented on 11 December. Digital, Culture, Media and Sport Committee Chair Julian Knight. Photo Credit: David Woolfall British lawmakers have stated that artists are hesitant to participate in the ongoing investigation into streaming royalties “because they fear action may be taken against them” if they do so. The House of Commons’ Digital, Culture, Media and Sport Committee (DCMS Committee) announced the high-profile probe of streaming royalties last month. The comprehensive analysis aims to identify streaming’s impact on all relevant stakeholders, including labels and artists, as well as its long-term effects concerning “the sustainability of the wider music industry.” Last week, singer-songwriter Nadine Shah, Radiohead guitarist Ed O’Brien, and Elbow frontman Guy Garvey spoke before the DCMS Committee to address the contemporary music landscape. Of particular note was Shah’s statement that she doesn’t “make enough money from streaming” to cover her rent, despite having north of 100,000 monthly listeners on Spotify. Possibly in response to the abundance of information that the investigation has turned up thus far, the DCMS Committee also announced last week that it had extended the window for artists and others to submit written testimonials regarding royalties. From the original deadline of Monday, November 16th, members of the music industry now have until Friday, December 11th, to express their opinions. The probe’s upcoming oral testimony, for its part, is slated to take place next Tuesday, December 8th, with Maria Forte Music Services’ namesake owner, Ferocious Talent owner Kwame Kwaten, and José Luis Sevillano, director general at Spain’s AIE, set to participate via livestream. Ahead of the formal sitdown, DCMS Committee Chair Julian Knight has relayed that many would-be witnesses are opting not to come forward due to their fear of the potential professional consequences associated with speaking out against streaming royalties. “We have been told from many different sources that some of the people interested in speaking to us, in relation to this inquiry, have become reluctant to do so because they fear action may be taken against them if they speak in public,” said the Solihull MP, who became the DCMS Committee’s chair in January of this year. “I would like to say on behalf of the Committee that we would take a very dim view indeed if we had any evidence of anyone interfering with witnesses to one of our inquiries. … This Committee will brook no such interference and will not hesitate to name and shame anyone proven to be involved in such activity,” continued Knight. And in concluding his statement on the matter, the lawmaker emphasized that others who reach out to the DCMS Committee with information or insight pertaining to streaming royalties “will be treated in confidence.”