Emiliyah and the MightyZ Allstars at The Queens Hotel Southsea

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Helping the next generation of talent to build a global fanbase

Emiliyah and the MightyZ Allstars at The Queens Hotel Southsea

/ By Freya Devlin

COMPETITION TIME

WIN FREE ACCESS FOR A GROUP OF 6

The Queens Hotel Southsea Sunday 13th June 2021.

Emiliyah and the MightyZ Allstars are a collective of talented musicians fronted by lead singer Emiliyah Witkiewicz. The band perform original new reggae music, while still staying faithful to reggae roots from the 1970s and early 1980s.

Emilia ‘Emiliyah’ Witkiewicz from Warsaw is a true vocal phenomenon. Without doubt the most exciting new talent on the Reggae scene. Never formally trained, she started her musical journey with Jazz, Blues and Soul music before finally choosing reggae. Singing from her heart always, Emiliyah has already worked with and supported names like Janet Kay, Vivian Jones, Winston Reedy, Kenny Knots ,Starky Banton, Luciano to name but a few.

Joined with immensely talented musicians – ‘the Mighty Z All-stars’. Consisting of Stuart ‘MightyZ’ Inglis on bass, Bri Cotter on guitar, J Sealy on Drums and Cajon, James ‘The Jazz Priest’ Richardson on keyboards and Clinton ‘Rock’ Jones on lead guitar.

Emiliyah and the MightyZ Allstars will be performing at the Summer Garden Party hosted at The Queens Hotel Southsea along with The Majestic, Sunday 13th June 2021.

How to win: All you have to do is like and share this blog post and we will enter you into the draw to be announced Saturday Night 12 June 2021 at 8pm.

Full Details of event can be found at:

https://book.events/queensgardenparty/2021-06-13/30015

#funky #upbeat #uplifting # emiliyahandthemightyzallstars #blogs #reggaemusic #band #livemusic #jamacianmusic #guitar

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06
Dec

Artist Focus: Barbudo

If you were to picture yourself at a beach festival, with an Aperol Spritz in hand, the funky sound of Barbudo would be sure to get you moving. The brothers Ben & Harry Stanworth plus their best friend Elliott Salter, hailing from Havant (South of England) have created their own unique blend of modern Funk, Soul and Disco, with some Psychedelic chord progressions throughout their discography. The sweet vibes of Barbudo take inspiration from Michael Jackson, Chic, The Bee Gees and Prince, artists that Ben & Harry’s parents would often play to them at home during their days out on the disco scene. Parliament, Funkadelic and Anderson .Paak are three names they said they would love to support at a live show, and this is hardly surprising considering their style! Their track ‘Realise the Reality’ I found notably brilliant, with the knock of a ‘Thundercat’ beat, but written in a major key. The song encapsulates their playful, joyful identity. You could say they make you want to talk about that ‘Secret Admirer’ (their 2018 single). Ben’s seemingly nonchalant tone is brilliantly confident and elegant, with great vocal licks and kicks that are very original and identifiable. Their track ‘Magnolia Mansion’ is a great flagship to their genre stirring pot. A classic bassline and an excellent, clean drum beat sure to get a crowd moving. Their cool use of chords on a Wurlitzer type electric piano gives a lovely chilled vibe to the verses, before the clearly disco influenced guitar brings us to the front and center stage of the ‘Magnolia Mansion’. Overall, I have been blown away by Barbudo, and await their next release. Their melodies have definitely struck a chord with me (pun intended). How can Jeeni support artists like Barbudo? 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 Barbudo’s Jeeni page: https://jeeni.com/?s=barbudo

10
Mar

Daisy Chute – 'Songs of Solace' EP Review

Multifaceted singer/songwriter, Daisy Chute’s newest project, ‘Songs of Solace’ is a warm, comforting collection of acoustic music, powered by sentiment and emotive memories. According to Daisy, The EP walks the listener through the "beginning, middle and end of a relationship”. Cleverly, the EP acts not only as a narrative describing the need for solace during a relationship, but also as the solace itself. The tone and style of ‘Songs of Solace’ couldn’t have been timed better. The soothing instrumentation found in the twinkling guitars, legato strings and tender vocals provide unmistakably autumnal compositions. The burgeoning seasonal blues also coincides well to the comfort that many could find in this project right now. The opening track, ‘Secondhand Heart’ acts as an almost sorrowful prelude to the story Daisy is about to tell, like something you might see at a play to set the audience up for the tragedy they’re about to experience. It’s one of the most effective introductions I’ve ever heard in such a short project. Another highlight on the project is the inviting ‘I’ll Drink for You’ which subtly reveals Daisy’s classical background in music theory and understanding as the melodies and rhythms leap and pause around in unexpected yet totally satisfying and accessible ways. I hope Daisy isn’t sick of hearing the comparison but folk legend Joni Mitchell can’t help but come to mind when Daisy demonstrates her brilliant range in pitch as she does on this track. ‘Meet In The Middle’ holds a certain delicacy and familiarity reminiscent of Laura Marling’s ‘Song For Our Daughter’ album from last year. As a matter of fact, Marling could do with taking a page out of Daisy’s book in terms of expanding her instrumentation. The track ends the project in a similar yet more optimistic tone to the introductory track, ‘Secondhand Heart’. The track swells and features the full band before fizzling out with a spacey hum of the instruments. Perfectly produced, each component shines together to make a well-rounded and polished example of modern indie folk. If you need some warmth this Autumn, Daisy Chute’s ‘Songs of Solace’ is out now. How can Jeeni support artists like Daisy Chute? 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 Daisy Chute’s page on Jeeni: https://jeeni.com/?s=daisy+chute

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.”

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