Kendra: You eventually took the piano skills from your childhood and your love of poetry from your adolescence and, from it, started to create music, but what was that sort of aha moment that made you realize to put two sorts of passions into one?

Julian Talamantez Brolaski: Thank you for that question. I think probably deep down I already knew they were one. But when I was living in Berkeley, I fell in love with old country music on the college radio station. I heard artists like Charlie Patton, Hank Williams, the Carter Family, and Kitty Wells. And most of all I wanted to emulate Hank’s lonesome voice break and learn some of these songs. So I got a guitar, taught myself three chords, and you know, the truth came to me. 

I was into writing a lot of formal verse at the time. You know, poems that rhyme—sonnets and things like that. I was studying medieval and Renaissance literature, where poetry and songs were often the same thing. And I’d been writing poems since I was a kid, so putting it all together wasn’t a far leap.

Kendra: Because you didn’t grow up immersed in country music, I’m interested to know what artists were you listening to as a youth in Southern California?

Julian Talamantez Brolaski: Omigosh—well, a lot of classical music. And then your usual ’90s fare. I kind of got into Riot Grrl music for a minute in the early-mid ’90s. I loved Nina Simone. Some gothic and industrial music, indie rock music. 

There is a great record store in Encinitas where I grew up—Lou’s Records. That’s where I first heard artists like Wu-Tang Clan, Fugazi, and PJ Harvey being played. I confess to being very moved by Tori Amos at the time. There wasn’t the internet in those days, so to find out about music you really had to look around.

Kendra: On top of being a musician, you’re highly educated, with an MFA in poetry and a Ph.D. in English to your name. You also taught for several years. Do you think being in front of a classroom helped prepare you for the highs and lows that come with being a live performer?

Julian Talamantez Brolaski: Wow, you dug deep! I don’t tend to front my education on the internet. I got those degrees because I was trying to figure out how to be a poet in the world. And I love to live a life of the mind. Being a professor is very performative—you have to hold people’s attention. 

I’d been reading poetry out loud since I was a teenager, but I was still really shy. Grad school helped me learn to talk in front of people. And teaching, too. I started off as a substitute teacher for elementary and high school when I still looked like a high school student myself. Teaching the younger kids was a good way to ease into teaching adults; I felt less shy around five-year-olds. Later, I taught for many years as an adjunct professor, and occasionally I have gotten the privilege to teach poetry and creative writing, which is wonderful. 

I think teaching and giving poetry readings both gave me the form of being on stage. But being a poet prepared me the most for performing music live because it taught me how to emote from the heart. 

Kendra: People will hear those songs live soon – as you’ve noted, you plan on touring once ‘It’s Okay Honey’ drops on August 4th. Which, speaking of the new record – what poet do you think would appreciate the lyricism of this album most and why?

Julian Talamantez Brolaski: That’s a great question. Living or dead, I might ask, if we were speaking live. I would say that the songwriters who are also poets might appreciate this record. In my fantasy world—Leonard Cohen beyond the grave; Bob Dylan, it would be a dream if he ever listened to my songs. And the poets who are also songwriters—Joy Harjo, Ana Božičević, and Patti Smith. 

Kendra: Let’s talk about what’s on this record a little more, starting with “No More Lonesome Heartache,” which you’ve noted is both a love and lust song. Love that, because I think we often hear so many that are either or, but in reality, it’s nice to have both on the table. Why do you think we often separate the two in songs and in life?

Julian Talamantez Brolaski: Well, love songs are obvious; I mean, they’re the natural outpouring of pop music. And sometimes a good lust song makes its way in there, and those are always fun, too. Maybe for love songs, there’s something about keeping it pure and true? And for lust songs, keeping it purely naughty, no strings attached? But a love and lust song is like the complete package. 

Kendra: Another song on the record is “Covid-19 Blues,” which a lot of music in the past couple of years has had this subject – but most have been sort of underlying. What made you want to be so upfront about the pandemic and its impact?

Julian Talamantez Brolaski: I was thinking about the Blues tradition of songs about illness, like the “T.B. Blues” and things like that. I wanted to speak the grief of what was in front of us. So as I felt the deepening difficulties of the pandemic, the song just started to naturally develop. I also wanted to do something along the lines of Hank Williams’ “Long Gone Lonesome Blues,” which has this elaborate, substantive yodel part, a yodel that’s over words that have real meaning, not nonsense words like “yodelay’ee.”  

I made “covid” into six syllables: “co-o-o-o-0-ovid.” When I finally uploaded the song for digital distribution, I laughed about how many songs have that same title. It’s a natural impulse to respond to the blues with the blues. 

Kendra: Time for a side note – So August is a huge month for me, with so many loved ones’ birthdays being celebrated, so I’d love to know what song you’d dedicate to your loved ones, be it friends, family, or both…

Julian Talamantez Brolaski: Probably the title song, “It’s Okay Honey.” It’s a song that’s meant to soothe in times of difficulty. It’s meant to be a healing song, like that universal salve: “This too shall pass.” Writing that song was sort of a gift I gave to myself, that I can now give to others. 

Kendra: Lastly, with ‘It’s Okay Honey” dropping on August 4th and some rumblings of touring thereafter, what else can the people out there expect from you as 2023 rolls along?

Julian Talamantez Brolaski: There’s also a songbook coming out concurrent with the album. My publisher, Wave Books, is putting it out—and it will have song lyrics, chords, and some ephemera like handwritten lyrics and setlists. I also have a chapbook of poems coming out in the fall from Asterion Projects called “Sky Hammer.” And I’m touring a Western tour from August 7th to the 15th, with shows in Seattle, Olympia, Portland, Eugene, Santa Cruz, Oakland, Cayucos, and Santa Barbara, and you check my website for more tour dates in the fall and winter.   

The post Everything’s Okay with Julian Talamantez Brolaski appeared first on ZO Magazine.

Kendra: Well, the last time we spoke, vaccines had just rolled out, and you were overseas, still in Ireland. Since then, you have nestled down in France. When it comes to the music scenes in each, from the venues to the community of indie artists, how would you say they differ most?

Claire Hawkins: It’s been a while! I left Ireland in the summer of 2021, and have moved around quite a bit since then. My latest stop was France, where I was fortunate to get to spend a month in Canet-en-Roussillon as an artist-in-residence working on a new songwriting project.

In each new music scene I visit, I’m always intrigued by the different roles that music can play in different societies. Of course, there’s great music everywhere, but it can have very different functions in different cultures, which I find really interesting.

Kendra: How much of your upcoming 2023 EP release do you feel represents your time in France?

Claire Hawkins: Actually, none of it! I finished this EP at the beginning of the year before I headed to France. The music I worked on at the artist residency is even newer, which means there’s more on the way after this EP (but I’m getting ahead of myself)! The EP covers the last two years of my life. 

I started writing these songs when I was still living in Ireland, I finished writing in Germany, I tracked demos in Thailand, I finished the EP in New York City with producer Katie Buchanan, and then I shot the cover art in Ireland. These songs have already traveled the world with me, which is a pretty special thing to be able to say before the EP is even out.

Kendra: Thinking ahead, even just 10 years from today, what countries do you hope to have checked off your musical bucket list?

Claire Hawkins: What a great question! There are several countries in Latin America that I would love to visit. There’s a lot more of Mexico that I still need to see, and I’d love to visit Costa Rica, Colombia, and Brazil and get to know the local music scenes in each of those countries. I’d also really love to travel through West Africa and learn more about the origins of country music in places like Mali, Nigeria, and Ghana.

Kendra: Back to the EP, which is going to feature “Choosing to Stay.” This song felt like it could be about a person, but being a traveling musician, it also felt like a song centered around your wanderlust. Do you remember where you were when this song started to take place in your head?

Claire Hawkins: “Choosing to Stay” was the last song I wrote for the EP when I was living in Germany last summer. Spending a summer in Berlin had been a goal of mine since I studied there in college, and finally getting to realize that dream brought on some questions of “what’s next?” I was playing with this theme of choice and the idea that trying to avoid making a decision by standing still is still making a decision.

Kendra: With that, what do you think is the most rewarding thing about not choosing to stay in one place too long?

Claire Hawkins: The freedom that this nomadic lifestyle offers is really unmatched. The knowledge that I can pick up and go at any time is really comforting to me, and it makes me feel good about those times when I do choose to stay put for a bit.

Kendra: For those who are unaware and not already subscribed to your glorious YouTube channel – like you mentioned, you weren’t just in France to be there; you were actually there as a sort of job. Do most countries have these sorts of artist opportunities?

Claire Hawkins: I was in France as part of the Odyssée Artist-in-Residence Program, which is a government-funded program that invites foreign artists to come work on their craft at different heritage sites in France. It was an incredible experience, and sharing the adventure on my YouTube channel made it all the more fun. I’m always on the lookout for opportunities to take my music abroad, and I’ve found that there are quite a few cool programs like this around the world, especially in Europe.

Kendra: Time for a side note – So August is a huge month for me, with so many loved ones’ birthdays being celebrated, so I’d love to know what song you’d dedicate to your loved ones, be it friends, family, or both…

Claire Hawkins: There’s a song that I wrote during my residency in France that was very much a love letter to the friends and family that have supported me through all my comings and goings over the years. I don’t know when I’ll get to share that one, but hopefully soon.

Kendra: Lastly, with a new EP on the way and your life always on the move, what else can the people out there expect from you as 2023 rolls along?

Claire Hawkins: My next single, “The Name,” came out on August 4th and we played a single release show the night before at The Mint in Los Angeles. In September I’m heading back to Ireland, where we’ll be celebrating my EP release with a very special show at Whelan’s in Dublin. That’s all I can share right now, but I definitely recommend keeping an eye out on my socials for some more announcements coming soon…

The post The Name’s Claire Hawkins  appeared first on ZO Magazine.

Born into a family that loved the arts as much as they yearned to make the world a better place, it wasn’t a shock to anyone when Ariana Delawari pulled from each of those aspects. Today, Ariana is a proud activist as well as a seasoned musician whose new album, ‘I Will Remember,’ is out now. We talked about that, what keeps us going in life, and more in this wonderful exchange. 

Kendra: A lot of art throughout history has been inspired by activism, but for you – what entered your life first? 

Ariana Delawari: Both entered my life simultaneously. My parents were very dedicated activists, so I was immersed in a family belief system that we are here to serve the whole. My mom was very passionate about art, showed me classic films, took me to the theater, played lots of music for me, and put me in all kinds of classes; dance, music, acting, all of it. She also worked in international film distribution, so she took me to work a lot. 

My father’s activism was mostly regarding peace in Afghanistan. He was very very dedicated to Afghanistan, as dedicated as it gets. Every single day he did something for his people back home. He was also involved locally with projects for houseless people in LA, as well as projects for crippled children in LA. At one point, he had ideas for building individual housing units off of the 110 FWY (this was in the ’80s). 

The subjects in our home expanded outwards with my mother’s activism to issues like immigration rights, working-class rights, and the dismantling of colonialism, imperialism, and patriarchy. My father was born in Kabul and comes from a long line of ancestors who were dedicated to civic duty in Afghanistan. My mom was Afghan and Sicilian born to an “illegal” immigrant father who snuck into the country hiding in the rafters of a ship for 33 days. Her dad married a Sicilian woman and they had 12 children. 

Though American-born, my mom’s childhood was absolutely brutal in comparison to my father’s in a once peaceful Afghanistan. He was the son of a diplomat growing up when there was no war. My mom had no money, bed bugs in her home, teachers sent home notes that she was malnourished, and her family was ridiculed for being the only Muslim family in her town at the time. 

Because of this, my mom became a revolutionary thinker with a deep appreciation of every freedom fighter and every freedom movement throughout time – particularly in relation to the global south. I was also a baby in a home of newly arrived Afghan refugee relatives and friends listening and dancing to Ahmad Zahir songs in our living room. Ahmad Zahir was a pop musician, but also very political. I was raised on a lot of protest music and art in general.

Kendra: Do you think it’s a missed opportunity when artists who have larger-than-life platforms choose not to get involved in the world around them; like in politics, human rights, etc.?

Ariana Delawari: I try not to worry about what other artists are doing. A younger version of me cared about this a lot, but these days everyone is waking up. I think each person has their own path. The important thing is listening to whatever we are called to be and sharing that from the heart. We do shape our world together, so I think it’s a beautiful thing to strive for a more just, healthy, and peaceful world.

Kendra: Musically speaking, it’s been a handful of years since your last release in 2016, and a lot in the world has gone in since then. What drove you to get back into that creative mode for ‘I Will Remember?’ 

Ariana Delawari: After my last release in 2016 I was focused on getting my documentary ‘We Came Home’ out into the world. There was a lot of re-doing deliverables, all kinds of technical stuff, and finally releasing that via TIME Magazine fall of 2018. That was right after my mom was diagnosed with Kidney disease, so I was caring for her and also writing two different projects about Afghanistan. 

In the midst of all of this, I sat down and started writing more personal songs about losing her. COVID-19 hit, she died in April 2020 and my brother-in-law died 12 days later. I kept making demos at home, and then I started recording ‘I Will Remember’ about a year later during quarantine. We laid down drums, percussion, bass, sitar, and most of my parts in the studio – everyone else tracked remotely at their homes. 

Just as I finished recording the record, Afghanistan fell to the Taliban and the two film projects I was writing made absolutely no sense anymore. I could barely process the sadness and rage about what had happened with Afghanistan, so I still haven’t revisited and revised those scripts. I also knew throughout that whole time that my album was what I really felt I was supposed to make right then. So I think some part of me knew how this was gonna pan out.

Kendra: Listening back to it now, do you feel what initially drove you to start writing and recording is still very much the foundation of the record, or did you start to get inspired by other things once the wheels got rolling? 

Ariana Delawari: I was initially writing about losing my mom and lots of the themes that I was working with as an Afghan American activist. When Mark died, my brother-in-law and Afghanistan fell, and I realized that these events were also part of the message. I added some lines about the fall of Afghanistan in “Tread Lightly,” I say in Pashto, “Someday Afghanistan will be free” as well as, “freedom” over and over again. Those lines were added after the fall of the country.”

Kendra: One of the songs that caught my attention was “Tread Lightly.” You seem like someone who does not do that, you feel like a charge ahead and get things done. In a world that can feel so hopeless at times, what keeps you going?

Ariana Delawari: I wrote “Tread Lightly” from the viewpoint of a refugee child. I was imagining the refugee children in boats like my grandfather once was on – searching for a new land and a new home. Only their story isn’t just a story of immigration, it’s also a story of displacement and their land being destroyed by so many political agendas. 

I think that’s why you hear softness in the song. It’s true that, personally, I do charge ahead, but I am also very very sensitive. I feel everything deeply, and I often feel the weight of hopelessness along the journey. I’ve had multiple challenging moments about this over the years where I completely broke down, and I have had to dig very deep within myself to find that hope again. For me gratitude, love, family, and friends keep me going. 

My friend and mentor Dr. Jane Goodall once said to me when I was crying to her about Afghanistan, “There can’t be rainbows without rain.” I always think about what she said. She also told me once that monks spend time belly-laughing together. I think she sensed that I needed to be reminded of some levity. 

Kendra: Time for a side note – August is a huge month for me, with so many loved ones’ birthdays being celebrated, so I’d love to know what song you’d dedicate to your loved ones, be it friends, family, or both…

Ariana Delawari: Awe this is so sweet…what a cool question. Lemme think… maybe “With You.” I was thinking, “What if I make a song about love in the midst of war and climate change and the whole world unraveling”. So “With You” is a love song about love, community, and staying united through it all. Maybe that’s a good one to dedicate to loved ones.

Kendra: Lastly, with ‘I Will Remember’ out on August 4th, what else can the people out there expect from you as 2023 rolls along?

Ariana Delawari: Oh man, I’ve been through a lot. Hugs and dancing sound good to me! I wanna play live shows, and I’m sure I’ll also start creating new work again soon… 

The post The Unforgettable Ariana Delawari  appeared first on ZO Magazine.

Angst-ridden from a small town with a back pocket full of emo records? It’s clear Sylvia Rose Novak and I would’ve found one another had our hometowns been one and the same. Alas, Novak was down south in Alabama and I was in Southern California but somehow our paths have crossed now and I’m sure I’ll be heading out to see if she comes through with the My Chemical Romance cover she talked about. We not only engaged in emo-laced memories, but also what guided her towards leaving one genre for another, the new album, ‘A Miss / A Masterpiece,’ out May 20th, and more!

Kendra: There’s this joke that country music is all about loving your hometown and pop-punk is about hating it. For you, what was life like for teenage Sylvia back when you were a teen in Opelika, Alabama? 

Sylvia Rose Novak: I feel like most teenagers hate their hometown. But I definitely had more than a few good reasons. The current version of Opelika (which I will admit doesn’t suck), with its bars and breweries and gastropubs, is not the same Opelika that I grew up in. The Opelika, AL that I lived in when I was a teenager had a hard time getting an Olive Garden because the local mega-Baptist church was worried about the fact that the chain sells alcohol on Sundays. 

We finally got the Olive Garden when I was maybe 16. That same church was a church that a lot of my friends went to so, of course, I was invited. The first time I went I walked outside in the middle of the sermon – the pastor was preaching on the fact that mental illness is caused by demons and I, having received a bipolar disorder diagnosis the year prior, noped right out of there. 

I was definitely an odd kid, but not unpopular by any means. I was always dating someone and had an amazing group of friends – even as one of the biggest band nerds you’d ever hope to meet. My friend Morgan (Hi, Morgan!) and I used to drive around in my purple PT Cruiser with the windows down and the moon roof open blasting Jimmy Eat World, Brand New, and Motion City Soundtrack CDs. 

I feel like maybe this is another one of those areas in my life that I can’t pin down. I hated growing up in Opelika because I was an angsty and mentally unwell kid who didn’t know how to navigate being such. That’ll make you hate everything. Including where you live. 

Looking back and looking at it now, it’s an absolutely gorgeous town full of genuine people and people that I genuinely love. Is it the area of the world that elected a bigoted football coach as a senator? Absolutely. And I am deeply ashamed of that. But Opelika has been – mostly – willing to try to grow and change with the times. You can’t say that about every southern town, for sure.

Kendra: I ask because you spent the first part of your musical career in the depths of Americana and country music, but are now going back to your first love of sorts and that’s rock music. Was there anyone or anything in particular that guided you towards this decision, or did you feel like…well, I’ve done what I wanted to do in one, let me tackle the other? 

Sylvia Rose Novak: I’ve never really felt like I fit into the country or Americana music scene, which is hilarious because I’m probably the only artist in the genre that actually trains horses / teaches people to ride as their money job outside of music. 

I remember when I first started making country music I had just had a pretty long weekend of discovering how gatekeepy people could be about who is and isn’t “real outlaw country” – hint: a lot of men don’t like women singing them cowboy songs.  

It was August and I was moving a flatbed full of 50-pound hay bales into my hay shed by myself and dog cussing the whole genre. 

My next logical move was Americana. I found it broader and thought I might enjoy myself a little more if I leaned into a rock-forward style of country music but all it did was confuse and polarize people. I stuck it out for a bit but I’ve been a bassist since I was 12 and couldn’t find a bass player that I liked more than myself. You’ve never seen people so confused. If you’re fronting a band in the country/Americana world you can either play a fiddle or an acoustic guitar. Maybe a hollow body electric. But not bass.

After four (!!!) full-length albums in six years failed to get me any real leverage in the industry, I decided I was done making music that I had come to hate making for the sake of people who wouldn’t even purchase my music v. streaming it. Who couldn’t even be bothered to share it on social media when I released something new or had a local show. These are, of course, the same people who complained when I started playing my new – heavier – songs live.

When the pandemic set in it was truly the perfect opportunity to burn it all down and start over. It was a solid wake-up call that life is short, strange, and somewhat terrifying so I might as well do whatever I want. 

Kendra: From what I’ve heard, ‘A Miss / A Masterpiece’ sounds like a record that’d lend you to tour with the likes of Jimmy Eat World, maybe Taking Back Sunday. Who were some of the pop-punk and emo bands you admired that perhaps inspired the new record? 

Sylvia Rose Novak: Hell yes and thank you! I admire Jimmy Eat World immensely and seriously think you’d be hard-pressed to find someone who has listened to the ‘Futures’ album front to back more times than I have. Going on tour opening for them is actually kind of a goal of mine.

I also really loved Brand New and think that the arrangements and production on ‘Deja Entendu’ and ‘The Devil and God Are Raging Inside Me’ (I know there are some issues re: the band’s singer but those are some phenomenal albums) set a standard in the genre that most other bands fell short of.

Motion City Soundtrack, Dashboard Confessional (I wore the ‘Dusk and Summer’ album out), (early) Paramore, My Chemical Romance, Jack’s Mannequin, Death Cab for Cutie, and The Used are a few more bands that I listened to ad nauseam. I still do, honestly. 

Kendra: I’ve written for a number of sites and some aren’t always about things I live for, but when I do get to write about things I’m passionate about – the flow is constant. Is that how you sort of felt when it came time to put together this record? 

Sylvia Rose Novak: I actually honestly felt a little disjointed, initially. Even if I had improved as a writer, arranger, and producer over the years, I had done just one thing for so many albums. Learning to self-edit for the sake of pop sensibility posed an interesting challenge for me but, once I figured it out, it was as natural as breathing. And it was exciting.

A few songs ended up cut from the record because, as the process of making it went on, I really got my feet under me and would come back for each new recording session a little bit smarter. A little bit harder on myself and my band. Sometimes with a whole new song that fits a little better or would serve to move the album in a better direction. 

I’ve got a couple of new singles in my back pocket that will be released on the heels of ‘A Miss/ A Masterpiece’ because I feel like I’m definitely just about to hit my stride making rock music. 

Kendra: I always feel like I’d be the worst musician when it came time to pick a single because I’m horrible at decisions. So I’d love to know if there was a significance to “Man I Used to Be” that made you say, this is the lead, this is the first one heading out to the world? 

Sylvia Rose Novak: I crowdsourced! I always do. I trust my objectivity only so far so I asked the people on my awesome team and a handful of close friends what they thought. “Man I Used to Be” was unanimously everyone’s first pick so it seemed like a clear winner for the first track out of the gate!

Kendra: There are these Emo Nights all over the country now and there was one recently in Texas in which a country band came out to do covers of classic emo and pop-punk songs. Have you ever tossed one of those into your live set, would you, and if so – which one?

Sylvia Rose Novak: We do toss a cover song into our sets! I’ve always loved to do that because it’s fun for us and the fans. We actually cut a cover of Jimmy Eat World’s “Dizzy” on ‘A Miss/ A Masterpiece’ so that one gets trotted out live for sure. We almost covered “Work” on the album instead so that may happen (live or recorded) at some point. 

I have a whole list of emo covers I would love to do. I think “I’m Not Okay (I Promise)” would be an absurd amount of fun to play live.

Kendra: Time for a side note…since April showers bring May flowers, I’d love to know what song makes you bloom with happiness and why? 

Sylvia Rose Novak: The first one that comes to mind is “Party Hard” by Andrew W.K. because it is ridiculous and I am ridiculous. I also love the feeling that “Every Girl” by Turnpike Troubadours gives me; a kind of lightness that starts in the soul. 

Kendra: Lastly, with ‘A Miss / A Masterpiece’ out on May 20th, what else can you let us in on? Are you touring this year?

Sylvia Rose Novak: Lightly! It’s been an interesting process getting back out on the road but the last half of 2022 will definitely see us playing in various corners of the United States. As I mentioned earlier, there’ll be a couple of follow-up singles toward the tail end of June so be on the lookout for those, as well.

The post Mastering all the Pieces of Sylvia Rose Novak appeared first on ZO Magazine.

Kendra: Your mama taught you to be humble, but your daddy seemed to be the one with the musical lessons. Were you always one to take his word when it came to music or did you rebel just a little?

Stephen Sylvester: My Dad definitely brought music and singing into our lives in a big way, but I pushed back against his efforts to teach me to play guitar as a teenager for sure. To his credit, I think I just wasn’t ready yet, and the way I sing today was influenced in a massive way by my dad’s voice. So I’d say half rebellion, half genetic predisposition.

Kendra: You eventually found your voice but you did lean more towards the songwriting side of things for a minute. When did you decide to start singing what you wrote?

Stephen Sylvester: You know, I sang covers at the top of my lungs from a young age, and that kind of performing came naturally to me. The songwriting thing started when my wife was going through treatment for leukemia – before then I didn’t have much to say to be quite honest. Writing songs gave me an outlet for those huge feelings I hadn’t experienced before, and performing my own work felt a lot more right than any cover song ever did. I still enjoy playing music by other artists, but I’m definitely a singer/songwriter if that makes sense.

Kendra: But again, you found that voice and in the title track – Stephen…the soul! It gave me Garth Brooks when he did the influences box set and had the ‘Blue-Eyed Soul’ disc. Are there any soul and R&B artists from the past or even today that you draw inspiration from in your performances?

Stephen Sylvester: Thank you! Wow, that’s really flattering to be compared to Garth. My first experience listening to non-kids music was a Motown compilation CD I found in the clearance bin – classic songs by Otis Redding, Wilson Pickett, The Four Tops, Stevie Wonder, and my all-time favorite singer to this day: Sam Cooke. I owe a lot to those artists for helping me find a unique, soulful way of doing country music.

Kendra: We’re going back and forth here because I do want to talk about your way with words. You’re like the ‘This Is Us’ of songwriters right now with your ability to get the waterworks going in a crowd. Is there any secret formula to writing a song that’s guaranteed to make people cry?

Stephen Sylvester: Well shucks, I don’t know about that but I’ll take the compliment anyway! The first time I made an audience cry with an original song still feels like it happened last week. That was the moment I knew I wasn’t a local bar singer anymore. And as far as a songwriting secret I don’t think there’s one that works for everybody, but I find that the more vulnerable the story in the song is, the more the audience can connect with it. And you can feel it in the air when that happens – it’s like real, actual magic.

Kendra: Speaking of crying and TV, there are always a lot of tears when it comes to ‘American Idol.’ Whether as a viewer or someone who’s made it on the show, I’d love to know what was your initial thought when you heard the famous, “You’re going to Hollywood?” 

Stephen Sylvester: Oh my goodness it was INCREDIBLE. Although the moment is sort of a blur – that whole day still feels like it might have been a dream. My wife did all of the crying for both of us. I think she was more excited than I was when I got the golden ticket.

Kendra: Was this your first time trying out, and would you try again on maybe…’The Voice’ or ‘America’s Got Talent?’

Stephen Sylvester: I actually got invited to be on ‘The Voice’ as well, but I, unfortunately, couldn’t make the time commitment and keep my day job. And now I’m too old to go back to ‘American Idol’, believe it or not, but a bunch of folks who were on the show with me have gone back. I might have to see about ‘America’s Got Talent,’ but in all seriousness, I’ve always wanted to get roasted by Simon. Honesty is the best criticism!

Kendra: Okay, time for a side note – with this month being Easter…my favorite holiday only because the candy game is on point, I want to ask if you could have the perfect holiday basket filled with your favorite treat and an album that you cannot live without, what would be in your basket?

Stephen Sylvester: Oof that’s tough to pick just one, but I’ll have to go with Kinder Bueno Eggs. They’re just the perfect easter candy, in my opinion, 10 out of 10. As for an album, I can’t get enough of ‘Continuum’ by John Mayer. I know every word and I’m still not tired of it!

Kendra: Lastly, with ‘Let Me Be Strong’ out now, what’s next for you as spring continues to roll into summer?

Stephen Sylvester: For now it’s back to the regular grind of playing shows and writing songs – but Chris Keaton (my manager) and I are constantly pitching the songs to artists and labels. Hopefully, someone will be interested in the near future, and you might see me at some songwriting festivals in the Fall.

The post The Strong Side of Stephen Sylvester appeared first on ZO Magazine.

Kendra: What initially got you into music, an album, song, artist, family member?

Lee Davey: Not a single member of my family or extended family ever played music so I certainly wasn’t indoctrinated into the world but what I did have was parents that had a great taste in music. But money was very tight, so they only had a few albums. I grew up listening to Pink Floyd’s ‘The Wall’ and Alice Cooper’s ‘Welcome to My Nightmare.’ Although I was too young to understand either album lyrically, the music was extremely addictive, and I decided first that I would learn guitar. I never dreamed of writing songs at that time. I started playing when I was 13 on an old acoustic, learning Beatles’ songs from a book.

Kendra: All in all, you seem to have this very underdog spirit that I can relate to. Have you always been that way?

Lee Davey: My “day job” is that of a Trade Union Official, so I constantly deal with bullying and harassment, misconduct cases, rogue managers, etc. This is for a large telecommunications business. I protect over 1700 engineers’ welfare. 

Growing up, I always had this feeling there are three types of people; the sheep, the sheepdog, and the wolves. I always viewed it as the sheep were the ones to be protected and the wolves were the bullies. So, I was always a dog throughout my school and my work career.

Kendra: At least that’s the vibe from your latest, ‘Songs About Life.’ With you having this dystopian-like sound, I wanted to know what post-apocalyptic activity you feel this album would be the best soundtrack for?

Lee Davey: Oh, that’s a tough question. There is sadly so much activity in the world today that could easily make a post-apocalyptic society not the work of fiction. The East and the West are constantly testing one another and pushing forward small steps at a time to see who bows down. My album would be the setting for a Mad Max-type society, whereas all the material things the consumer is so avarice, for now, will mean nothing. It will come down to water, fuel, clothing, these will be the things of the future, not the latest iPhone upgrade.

Kendra: Speaking of soundtracks, you have your sights set on having your music in movies and on TV. What recent films and shows do you feel could use some Lee Davey?

Lee Davey: Netflix has some brilliant series running at present with fantastic soundtracks; ‘Snowpiercer,’ ‘Lucifer,’ ‘The Sinner,’ and ‘Ozark.’ Films that I have watched recently, again on Netflix, that have been very dark have been ‘Don’t Look Up,’ ‘Munich – The Edge of War’ ‘Wild Bill’ and Guy Ritchie’s ‘The Gentlemen.’

Kendra: On top of being a musician, you’re also a mental health advocate as you’ve dealt with depression for half your life. I found with my own struggles that writing helped me, so I wanted to know if music eased you at times?

Lee Davey: Absolutely. I find writing the lyrics the most therapeutic aspect of the process. I can literally sit there in the evening at my writing desk for hours and write maybe over 30 full songs, that I then usually strip back when it comes to the music. So, I may only end up with five songs out of the volume of 30 sets of lyrics. It’s harder to decide which lyric can be let go of.

Kendra: I do want to point out that you’re also a single parent because as someone raised by just their mother – I know it’s hard! Along with mental health advocacy, do you ever see yourself linking up with an organization that focuses on helping single parents and guardians?

Lee Davey: I would love to link up with any organization that is focused on single parenting or mental health. My marriage breakdown was very public (although I am not famous) but because my ex-wife was a headteacher who turned to drugs, the papers got hold of it, so I had to protect the children not only from her and her addict lover but also the media. I would love to be able to help other single parents that come up against such painful life experiences.

Kendra: With it being March, I’d love to know what song you feel lucky enough to have heard in your lifetime? Like, what’s a song you’re thankful has existed while you’ve been here?

Lee Davey: I could name hundreds but if I was put on an island with one album, it would be Roger Waters (originally of Pink Floyd) ‘Amused to Death.’ Any single track on that album is not only thought-provoking and emotional but sadly more relevant today than when he wrote it in 1992.

Kendra: Lastly, with ‘Songs About Life’ out – what can fans both new and old be on the lookout for from you in the coming months?

Lee Davey: My new single ‘Only Takes One’ came out on the 18th of February 2022 which focuses on the premise that despite how much with bitch and moan about the ills of this world, no one seems to actually want to unite and do something about it. Then I will be releasing three singles from the album come late March, which are called “Oh Lord,” “Orwell vs Milton,” and “New World Order.” 

The post Lee Davey: Voice of the Underdogs appeared first on ZO Magazine.

Kendra: When did you realize music was a path you wanted to take?

Ian Lake: It was in 2015 when I was performing in the Mirvish musical ‘Once’. I had played guitar and sung for my enjoyment for over a decade, but it wasn’t until I auditioned for that show, and got the job, that I realized I was something I wanted to approach more professionally. And call myself a “musician” not just someone who plays guitar. I recorded and released a single in 2015, called “This Isn’t My Day” and it gave me the confidence that I could pursue that path more seriously.

Kendra: Did that come before, after, or sort of around the same time as your acting because – you are out here being creative on multiple levels?

Ian Lake: I guess I am. Acting came before anything else. I’ve always used art and creativity to express myself, but acting was the first thing I took on as a career path. Though I did get my first guitar at the same time as my first professional acting gig, it was a long time before I ever tried playing music in front of anybody. I’ve recently started to treat my photography as more of a profession too, and my album artwork is all my photos. I just realized: why limit yourself to just one creative outlet? I am enjoying all different aspects of my creativity feeding each other.

Kendra: Musically speaking though, you dig deep into the emotional well. Both “This Isn’t My Day” and 2021’s “The Bottom” hit hard and listeners can hear you pouring every ounce of yourself into these songs. Have you always been someone who isn’t afraid of confronting their emotions, or did you turn to the arts to help with that?

Ian Lake: Yes, I’ve always been the type to talk about my emotions. I’ve always felt things very deeply, always been sensitive, and not afraid to show it. I found early on in my acting career that this was a powerful entry point to storytelling. To explore the more painful parts of life, and not to feel things on behalf of the audience, but to share vulnerable stories so the audience can relate to their struggles. With music it’s the same, and I’ve always gravitated to sad songs. Most of the music I write comes from a pretty deep well. It helps me process, and it’s cathartic to sing from that place, but I think it’s also a powerful tool of connection. When you share an emotional song and listeners respond to it, you realize we’re all struggling in our own way.

Kendra: “The Bottom” was your last release but you’ve been working on something new for 2022. What can you tell us about your new single that dropped on February 4th?

Ian Lake: Yes!! I’ve been working on lots of new things. My new single is called “Easier,” and it’s a really different vibe from “The Bottom,” even though it’s the song I wrote immediately after. It’s a song about forgiving yourself for the mistakes you’ve made, and living with yourself more lovingly, and giving yourself the grace and compassion that is so much easier to give to other people. It’s got a very soulful, almost R&B vibe, with some beautiful female back vocals, and a really nice groove. It’s more hopeful and encouraging than my last song, and I think people are gonna dig it.

Kendra: We’ve mentioned already that you’re also an actor. How do you feel acting and being a musician play off one another for you?

Ian Lake: Well, in my career as an actor I have always considered myself a storyteller above all things, and that has really fed into my approach to songwriting and also the production aspects of being a musician. That it’s not about me, it’s about making people feel a part of something bigger than themselves. That is valuable when you’re writing a song, or in the recording studio, and your ego is getting in your way, and you need to let go of that and let the song and the story be the point of focus. And I think making my own music has impacted my approach to acting, because it takes so much more courage and vulnerability to share something that’s your own words, your own creation. And that courage just gives me so much more confidence when I’m on a TV show. I don’t suffer from the same nerves I used to, and I just launch myself into it. I think once you make something of your own and see it through, you feel like you can do anything.

Kendra: Side note – since it’s February, I’m asking everyone to please share what they believe is the best love song and a bit of insight as to why they believe that song is it…

Ian Lake: Ugh that is such a tough one to narrow down! Especially since I tend to love sad love songs and my tastes are often changing. I’m going to choose two songs that have always spoken to me. “Something” by George Harrison has always been a song I’ve loved. Because it’s a love song that embraces the fact that someone can affect you strongly, but you don’t know where it might go from here. ‘You’re asking me will my love grow, I don’t know, I don’t know’. And I think that’s what love is about… sitting in the uncertainty of where it’s going and just being present in the feeling and joy of being with someone.

The other love song that I’ve always loved is “Reservations” by Wilco. Wilco is easily the band that has influenced me the most in my music, and this song has always touched me, because it’s a sad song, it’s a story of a relationship that’s clearly rocky, and someone who is struggling with fear and doubt, struggling with loving themselves, but wanting to commit to love. the main lyric: “I’ve got reservations about so many things, but not about you, not about you” has always been one of my favorite lyrics, and hits me right in the gut.

Kendra: Lastly, with your new single out at the start of February, what else can fans both new and old be on the lookout from you in the coming months?

Ian Lake: I’m very excited for the next few months, and finally getting to share the fruits of a lot of hard work by a lot of talented people. Not just the music but a lot of wonderful visual content to go with it: music videos and live sessions. I will be releasing more singles in March and in April, and then my full album “What It Is” will be coming out at the end of April. It’s eight songs, and it’s the culmination of a lot of time spent alone during 2020 and the early parts of last year. It’ll be streaming of course, but it’ll also be available on vinyl and CD for those that love to listen to music the old fashioned way. And my plan is to get back into the studio this spring/summer and start recording some of the new songs I’ve been writing lately. Which felt different from the ones I’m releasing now. It’s all very exciting, and I can’t wait for the album to be out in the world!

The post Taking Things Easy with Ian Lake appeared first on ZO Magazine.

Anyone who can play an instrument amazes me as I cannot comprehend how the human mind and body can do those magical things and create wonderful sounds, but there is something next-level about those who deliver on the saxophone. That is where my chat with Oan Kim started, but as we unraveled the layers we got cinematic, talked about family, got into his February 2022 release ‘Oan Kim & The Dirty Jazz,’ and got a bit romantic in this back and forth exchange. .

Kendra: I was excited to connect with you because you play what I believe is a top-tier instrument, the saxophone. When it came time to be in a band, that’s what I wanted – we couldn’t afford it. I got the flute and quit two weeks later. For me, it was about emulating Lisa Simpson, but what about you? What drew you to this instrument?

Oan Kim: There’s this french movie that I watched as a teenager called ‘Round Midnight’ starring Dexter Gordon more or less as himself. He was so cool and sounded so laid back, I instantly wanted to become an old saxophone player.

Kendra: With jazz not being the most mainstream of genres – what are some songs you feel could be a starting point for those who want to get into it but don’t know where to start? And don’t forget to drop some of yours!

Oan Kim: My first introduction to jazz was through a couple of CDs my cousin gave me for Christmas: Dave Brubeck’s ‘Time Out’ and ‘Louis and the Good Book’ by Louis Armstrong. That was a perfect introduction. The soundtrack for ‘Ascenceur pour l’échafaud’ by Miles Davis is 60’s jazz at its most cinematic. If you like romantic singers Chet Baker is a good entry point as well, let’s say “I fall in love too easily.” Keith Jarrett’s Köln concert is a good way to get into jazz if you’re coming from classical music. “On the Sunny Side of the Street” by Dizzy Gillespie with Sonny Stitt and Sonny Rollins will put a smile on your face, it’s as playful as jazz can get. You can also try “Wong Kar Why” from my album that blends an Elvis ballad with some Ben Webster suave.

Kendra: You spent time in other bands, making music as part of Film Noir and Chinese Army. How do you feel your creative process working on ‘Oan Kim & The Dirty Jazz’ differed from your days in those bands?

Oan Kim: When you collaborate with other people like in a band you more or less consciously make up rules as you start to establish some common ground. When you work alone you don’t have to compose with other people’s tastes and that gives you more freedom. It makes the process faster, it also allowed me to try many different things without sometimes knowing where I was going,

Kendra: Speaking of Film Noir, and you being a filmmaker – the video for “Mambo” and the overall sound is all very cinematic. With that, if you could place “Mambo” in a scene from a movie you hold dear, which would it be and why?

Oan Kim: Probably a Jim Jarmusch movie. Maybe ‘Down by Law,’ one of the first scenes at night, over the shady characters played by Tom Waits and John Lurie. It would be in good company.

Kendra: You were behind both that video and “Wong Kar Why?” That one featured shots of your wife over a handful of years. In hindsight, do you feel like this video was a perfect gift your son could look back on years down the road?

Oan Kim: I didn’t think of it but probably, yeah. He’ll probably say, “Mom looks so young!” He’ll understand how he came to be.

Kendra: A little side note, with it being February I’m asking everyone if they could please share what they believe is the best love song – and give us a quick reason as to why they believe it’s #1…

Oan Kim: It’s not exactly a love song but I’ll say “L’eau à la bouche” by Serge Gainsbourg. It captures perfectly the feeling of anticipation you feel before a date.

Kendr: Okay, so with ‘Oan Kim & The Dirty Jazz’ out this month, what else can fans both new and old be on the lookout from you in the coming months?

Oan Kim: Look out for new music videos made by yours truly, and festival dates over the summer. I also directed a feature length documentary called ‘the man who paints water drops’ about my father, that should be available in theaters or on some streaming service somewhere, sometime.

The post The Sax of Life with Oan Kim appeared first on ZO Magazine.

Kendra: Listening to songs like “Who I Am” and “Tomorrow,” it’s clear that you are someone with an anthemic approach to music, creating songs that people can sing for inspiration daily, but growing up – what songs or artist did you look to for that inspired connection?

Wyn Starks: Growing up, I always had music around me. My mom was always singing to us and we always had music playing throughout the house. I listened to everything from Motown, 80’s pop, rock, gospel, and R&B. I loved it all. Some of my favorite artists were Whitney Houston, Marvin Gaye, Prince, Mariah Carey, Brandy, and Stevie Wonder to name a few. These artists really inspired me. I would literally study their vocals for hours. They’re certainly responsible for me discovering my own sound and approach to music.

Kendra: Aside from musical connections, I wanted to touch on representation. Being a Black, queer artist now – there is more representation in pop culture but back in the day – we barely had fully realized Black representation. Can you remember the first time you watched a movie or show where you thought, omg that’s me!?

Wyn Starks: I grew up singing in church and always loved music so I knew I wanted to do this from a young age. However, I felt limited in what I could do because I lived in a bubble and spent most of my life trying to live up to everyone else’s expectations of me. I had to fight through lies and insecurity to get to a place where I believed I could do this. I had to discover who I was and embrace that. Truthfully, I’m still learning how to love myself. I’m definitely inspired by Black artists that challenged gender norms like Prince, Little Richard, Tracy Chapman, Frank Ocean, Billy Porter, and so many others.

Kendra: And how does it feel being someone younger kids can look to and see themselves?

Wyn Starks: I remember when I would disappear for hours listening to and studying some of my favorite artists. The thought that I could be that for someone else reminds me why I do this.

Kendra: Along with being anthemic on so many different levels, songs like “Tomorrow” also have what I call the choir magic. Meaning, I see this being a staple in middle school choir classes for years to come. Did you participate in any sort of choirs growing up?

Wyn Starks: Yes, I sang in a few choirs growing up: church choir, school choir, after-school choir, and community choir. So you’ll definitely hear some of that in my music. I like to take all the music that inspired me and incorporate it into what I do.

Kendra: “Tomorrow” is like a lot of songs coming out right now in that it seems to be a response to the state of the world since March 2020. We were tossed the wildest of curveballs and are still kind of in the thick of it. Other than creating music and performing, how have you managed to find ways to stay sane amidst the chaos of our current reality?

Wyn Starks: Yes, this year has been one of the hardest of my life. I’m sure that’s true for so many of us. I lost my twin brother this past November, which was the hardest thing I have ever gone through. Honestly, I don’t know how I was able to get out of bed most days, but I do it for him. He was one of my biggest supporters and he really believed in me. I do this music in his memory. The last song on the album is dedicated to him. It’s called “End of the River” and talks about being able to reunite with the people we’ve lost.

Kendra: On that track, you worked with Andreas Moss, and you also have a couple of other collabs on your September 2021 release, ‘Black is Golden.’ Are these old friends, new friends, how did you come to work with these amazing artists?

Wyn Starks: Yes, I was honored to have some of my favorite people on this album. I’ve been friends with these people for years and it felt great to have them a part of this journey. Andreas [Moss] and I have been friends for almost 20 years, so being able to do a song together meant the world to me.

Melanie Pfirrman is one of my favorite singers and an amazing person, so I was over the moon to have her on “Not A Waste”. Fred Williams is my brother from another mother [laughs], he actually produced most of the songs on the album along with a few other producers and writers.

Being able to collaborate with him on “Sparrow” was really special because we wrote that song in response to the killing of George Floyd and other black brothers and sisters [at the hands of systematic racism]. It was really special for me. Little did I know how much more it would impact me after losing my brother. Being able to do music with people I love and respect helped me process my emotions and get it out on paper.

Kendra: While there are a lot of beautiful ballads on ‘Black is Golden,’ you also showcase this vibrant, dance side as well on songs like the title track, “Dancing My Way,” and “Perfect.” Do you find yourself channeling different sides of yourself when you perform the more upbeat tracks?

Wyn Starks: Yes, absolutely. I never saw myself as a dancer. I mean I love to do it in my house or when I’m out with friends, but never would I have imagined I’d be dancing for one of my videos. That definitely got me outside of my comfort zone for a bit. I thought I was in over my head [laughs], but Johnny Nelson, who did the choreography for the video, was awesome and patient with me [smiles]. So now, when I perform that or any uptempo song I feel more comfortable on stage performing them because of that experience.

Kendra: With the album out at the end of September, what else can we be on the lookout for this fall from you?

Wyn Starks: I can’t tell you how excited I am to share this album with everyone. It’s been a long time in the making and I can’t believe it’s here. I’ll be going on tour in November opening up for the awesome Delta Rae, so I look forward to that. I’ll also be doing a few shows [here] in Nashville as well, so I’ll make sure to keep everyone posted on that.

The post Wyn Starks Proves to be Golden appeared first on ZO Magazine.

Kendra: You spent a lot of your earlier years out on the road taking in real-life lessons about music. What was one of the most important things you learned then that you still implement into your life today?

Field Guide: That time touring relentlessly really taught me how special it is to develop such a deep musical relationship with other people. For years, my bandmates (and best pals) and I would record all of our shows and then listen back in the van during the next day’s drive. We didn’t really care how few people were in the club, we were just set on developing our craft. So I guess what I’ve taken forward is the fact that there is no substitution for hours spent making music with people, you truly develop a new form of communication.

Kendra: Possibly how to pen a great song? Because you then went on to do this cool challenge last year with your friends where y’all wrote a song a week. How many of those wound up on ‘Make Peace With That?’

Field Guide: In my mind I didn’t really learn how to write songs until after my time spent in that former band. In the summer of 2018 I was beginning to daydream about starting my own solo thing and I wound up at a festival where I met an incredible songwriter named Taylor Ashton who is originally from Winnipeg but now lives in NYC.

I fell in love with his songs and somehow the way he used melodies and words led me in the direction of finding my own voice as a writer. Taylor also told me and some other pals about a “song-club” he does with friends in which everyone must write a song every week (or sometimes everyday), the songs are shared only within the group and if you miss a week (or day) then you no longer have the chance to be inspired by others as you lose access to the Dropbox folder. Taking part in a song club was a great push to just let things come out of you and not overthink, at this point I don’t have much of an issue doing that but I needed some help getting here.

I would say 2-3 songs on the record came to be thanks to the song club which I still participate in from time to time!

Kendra: You also worked a lot on this record during a move, a relationship ending, meeting someone new – a period you called a “sea of change.” Now, looking at ‘Make Peace With That’ as a whole, what type of boat do you think it most resembles in terms of getting you through that sea?

Field Guide: Making songs was one of the few constants through all of that change, and each song represents a pocket of time I suppose. I like having songs to document periods of my life with, it’s my form of journaling in a way.

Kendra: So one of my favorite things over the past decade of interviewing musicians is pressing play because an endless sea of possibilities awaits. With you, I was really surprised with how soulful you were on “Me & You.” Did you grow up listening to a lot of soul and R&B?

Field Guide: Cool! I’ve always been around a lot of Soul and R&B music. Tupperware is actually about going to a weekly soul/RnB night which has been going on in Winnipeg forever. I love the music but it’s never played a lead role in my life probably because I don’t have the voice for it, haha. So fun to play though.

Kendra: Sticking with “Me & You,” I mean…this could very well be the next must-have first dance wedding song. How would you feel if it reached that level of Whitney, Ed Sheeran, and Jason Mraz in terms of being a love song that pretty much will never cease to exist?

Field Guide: I mean, I suppose that would be cool, but also scary because then people will want to hear it long after I am excited about playing it, haha.

Kendra: Speaking of ceasing to exist…freaking COVID. What a time, right? I’ve been asking a lot of artists their opinions about this and I’d like your take as well. After that rat plague came the Renaissance and after the flu of 1918 came the Roaring 20s. So what do you think or expect will come from art, especially music, after we slowly crawl away from this pandemic?

Field Guide: Simply based on all of the incredible music and art my friends have made over the past year and a half I think we are in for a special time coming up! It’s tough to know how everything will feel but personally I am cautiously optimistic!

Kendra: Now you’re already hard at work on your 2022 release, but what can people expect from you as we head into the fall? Any shows planned?

Field Guide: Yeah I’m really excited to be playing a handful of US shows in the fall as well as a western Canadian tour…more on that really soon!

The post Making Peace with Field Guide appeared first on ZO Magazine.