The Eagles loomed huge and cast a long shadow on popular music from the mid-70s onwards with “Hotel California” being one of the most requested songs of cover bands. But for me, Eagle Don Henley’s The End of the Innocence (1989) remains one of the most important albums ever produced.
Since that time, Henley has only released one solo LP (Inside Job in 2000) before Cass County, of course. What is surprising is that Henley has gone back to the early Eagles country-rock to underpin his latest rumination on life and politics. For that reason, Cass County is probably his best work since The End of the Innocence. But just in case, you needed convincing, Henley managed to rope in a couple of stellar guest stars viz. Mick Jagger (“Bramble Rose”), Merle Haggard (“The Cost of Living”) and Dolly Parton (“When I Stop Dreaming”).
But more than that, the contribution of ex-Tom Petty & the Heartbreakers drummer Stan Lynch to the songs and production does make a significant difference.
Considering the country-folk thrust of Cass County, perhaps it is ironic that the most satisfying track here is the new single, “Take A Picture Of This” which is not country at all. Instead it is a wistful pop-rock ballad that the likes of John Lennon and Jeff Lynne (ELO) would probably have written – one that reflects on a baby boomer marriage gone sour. Thematically (if not musically), it hearkens back to one of Henley’s finest moments, “The Heart of the Matter”, and for that reason, Cass Country is one new album that will be closely treasured by yours truly.
Just when I began to despair about whether any one out there in the modern pop wasteland is making authentic pop-rock still… I discover that there are flickering embers of hope. If you know where to look.
Well, Drug Cabin viz. Nathan Thelen (ex Pretty Girls Make Graves) and Marcus Congleton (ex Ambulance LTD), probably feel the same way as I do cuz the band released TWO LPs earlier this year which demonstrate that there is potentially timeless pop-rock being produced even in 2015! The 2 albums are Yard Work and Wiggle Room and there’s not much to distinguish between the two. My guess is that duo had so much music that they needed to put it all out at the same time. But I am sure that true blue pop-rock lovers will not have any complaints about this move.
On Yard Work, songs like the mid tempo breezy “California”, the country-folky “Dogs”, the laid back syncopated “Hollywood” & the disco-rock channeling “Jesus” stake their claim on 60s/70s rock, with a shimmering pedal steel bringing it home.
On Wiggle Room, songs like the tongue-in-cheek “Steely Dad”, the earthy “Ruby”, the sophisticated “Wonderful” and the easy-going title track, sound like a continuation of Yard Work – or is it the other way round?
Fact is, at a total of 56 minutes, both albums could have been released as one monster of a 22-track instant classic and to be honest in this digital age, it does not really matter too much.
Not only that but if you add the eponymous 6-track mini-album from 2012, what you get is a bumper crop of tracks that are wondrously inspired by the classic pop-rock music of the best rock decade of all time (see Spotify playlist below). In all probability, Drug Cabin and their sterling work will go under the radar somewhat but if like me, you don’t give a shit about trends and only want to listen to great music, then Drug Cabin is the place for you!
I have been in love with The Jam (viz. Paul Weller, Bruce Foxton & Rich Buckler) for so long that sometimes I take them for granted. Yeah, you know what’s that like, right? I can still remember the exact moment I first encountered the band.
It was at the old Funan Centre Department Store sometime in 1980 and I was fishing through the record bargain bins and I found the In The City and This is the Modern World LPs on cheap sale! (Aside – that’s where I got hold of Elvis Costello & the Attractions’ Armed Forces as well)
And that was that. Truth be told, I was that enamoured with the first wave of punk, when it happened and it did not help that The Sex Pistols was banned in Singapore. But from the moment I heard “In the City”, it did not sound so much like punk as a revival of Sixties pop i.e. The Beatles, The Who, The Small Faces, The Kinks etc. So I scoured record stores to find more albums but only got hold of the then newly released Sound Affects. Only then I took an interest in finding out more about the trio in the music magazines.
And boy did I! Since much of the albums & singles were not available here, I had to mail order quite a bunch – mind you, those were the days, when bands did not necessarily release single tracks on albums and by the time, The Jam released its swan song – The Gift (1982) – I had more or less completed my collection.
In the 33 years since Weller broke up The Jam, I have been kept up to date with all the re-issues and compilations, with the Direction Reaction Creation boxset, the pick of the lot. However, this new compilation – About the Young Idea (a quote from “In The City”) – somewhat slipped under my radar.
Listening to this compilation, I must say it’s serviceable if you are a newbie and apart from an unreleased demo of “Takin’ My Love”, there’s no surprises here for diehards. Sound-wise again, nothing revealing from these particular remasters. As expected, all the singles are here (classics like “Going Underground/The Dreams of Children”, “When You’re Young”, “Strange Town”, “Town Called Malice”) and deep cuts like “English Rose”, “Away From the Numbers” and “To Be Someone”.
Like I have mentioned before, that 1997 boxset is all you need is you are an obsessed fan like me. But this compilation works if you have just begun your journey of discovery of one of the finest rock bands of all time.
A literary reference as a title. A verse melody that sounds like it should have been on the Juno soundtrack. A rather functional chorus tune that borders on being dangerously infectious. All with a charming lofi production that makes it painfully obvious where the source of inspiration comes from.
So yes, this Anti-folk/Pop-rock hybrid ditty is clearly aimed at a particular audience (misfit nerdy teens?) and the cutesy video (with Brocollini the dog!) rather seals the deal as well.
If all this is making sense, then you are going to like Mal Blum and her new album – You Look A Lot Like Me – what’s not to like about music made on its own terms?
Although English quintet Supertramp had somewhat been erroneously classified as a prog rock band – thanks mainly to the success of Crime of the Century (1974) – in fact, their style was a sophisticated blend of blues, folk and jazz pop-rock elements with an emphasis on keyboards (at which both singer-songwriters Roger Hodgson and Rick Davies were adept) and in John Helliwell (saxophone and other woodwinds), they had a secret weapon that made their sound even more distinctive. Allied to the steady work of Dougie Thomson (bass) and Bob Sienbenberg (drums), Supertramp were a force in the mid to late 70s.
Their status as one of the biggest rock bands on the planet was confirmed by the Breakfast in America LP, which would become the #1 best-selling album in 1979. The ten songs on view were brilliantly crafted to maximise the melodic impact and minimise any esoteric elements that tended to drag down some of their previous albums.
In that respect, the first half of this LP was almost perfect with five memorable songs that have stood the test of time. The rocking “Gone Hollywood”, the quirky hit “The Logical Song”, the paean of philandering “Goodbye Stranger”, the infectious Mediterranean romp “Breakfast in America” and the wanton soulful love ballad “Oh Darling”.
Add to these, the opening songs of Side Two i.e. the intense human study “Take the Long Way Home” and the prayerful “Lord, Is It Mine?” and what you get is seven of the finest music ever made in the 70s rock era.
Over 35 years later, these gems still shine through with a timelessness that will never ever fade.
Now this is what I call rock ’n’ roll! Colorway’s sophomore effort finds the trio once again burning their way through 10 tracks of 100% pure shots of classic pop-rock songwriting brilliance.
Singer-songwriter-guitarist F. Alex Johnson and the steady rhythm section of Dave Hayes (Bass/Vocals) &
J.J. O’Connell (Drums/Percussion/Vocals) have delivered the perfect antidote to those who believe that good old fashioned pop-rock music is somehow irrelevant in 2015.
If you think 5 Seconds of Summer is guitar rock, then you might want to keep sucking your pacifier – this is music for adults – where a penchant for smart lyrics & sophisticated songwriting are married with an honest application of rock instrumentation.
From the opening driving “Gen Exit” to the closing epic “Telephone”, it’s all tight as a drum without any flab whatsoever. No mean feat. Highly recommended!
What the fuck is ‘sparkle punk’? It’s probably an ironic made-up genre but that and the fact that there’s a song called “Cock” is what caught my attention.
Welcome to the world of Glasgow ‘glitter trash’ trio Breakfast MUFF. The Feels is the very anti-thesis of everything is ‘proper’ about popular music in 2015. Y’know lofi, shambolic, amateurish, three chords, low grade fuzzed guitars, disturbing lyrics, songs that never hit 3 minutes and singers who sound like they don’t give a fuck!
Musically it reminds me of edgy, post-punk guitar pop-rock of 1979-era XTC, The Slits, The Raincoats and Wire – which never hurts.
I’m just a bit concerned that The Feels might be a novelty record. I fucking hope not!
I am so sick and tired of defending ‘classic’ pop songwriting – why should the age of a genre ever come into the assessment of good music.
Anyways, thankfully I have a musical representation of this argument in the form of Pop4’s brilliant album Summer. Comprising of Scott McPherson, KC Bowman, Kirk Adams and Andrea Perry – a power pop brain trust, for those in the know – Pop4 exploits the diverse strengths of its members to provide one of the finer pop albums of 2015.
Highlights include the droll putdown “You’re No Aimee Mann” (which Mann herself approves of, it seems!), the delightfully ELO-channelling “Einstein and Sunshine” and the warm pastoral “Beautiful”.
There’s no doubt that we need more sophisticated melodic albums like Summer – no irony, no pretension, no pastiche – I am glad to declare that this is the real deal.
Does life have to make sense? Does music need to feel complete? Or is it the inherent contradictions that make music the life-affirming force it can be?
Did anyone expect a new New Order album? Hooky out, Gillian back? In case you are not keeping score, Hooky (bassist Peter Hook) announced in 2007 that New Order was over and that he was leaving. Eight years later, Barney Summer and the rest of the gang (Stephen Morris, Gillian Gilbert, Phil Cunningham & Tom Chapman) has somewhat taken up the challenge to prove Hooky wrong.
And whilst the end product is a sublime dance-rock album of the kind that the original New Order are considered the pioneers of, Music Complete is not really New Order, any more than Electronic or Bad Lieutenant were New Order. The name itself is meaningless – without Hooky’s bass, this is most definitely not New Order.
However, in the final analysis, it makes no fucking difference, does it? With all the electro-pop acts vying for attention in the modern rock wasteland, the old masters have come back from the dead to show the young upstarts how it’s done.
There’s no doubting Summer’s way with a melody (and dodgy lyrics) but it is in the rhythm and the beats that Music Complete excels – big beats, techno, house, disco all mashed up into a heady mixture. “Restless”, “Tutti Frutti” and “Stray Dog” (with Iggy Pop on vocals) all rise like cream to the top but it is in the final number “Superheated” that Music Complete well and truly soars with one of the finest New Order tracks since the glory days of the 80s. “Superheated” is five minutes of sheer electro-pop bliss. Close your eyes and it’s the mid-eighties again.
With all the festivals springing up all over the place in Singapore, I thought I’d indulge myself with the fantasy of organising a Power of Pop Indie Rock Festival! My only criterion would be that my acts would have to have been formed no earlier than year 2000 (with one or two exceptions of course).
Here you go!
Besnard Lakes / Free Energy / Joywave / JPNSGRLS / Kevin Tihista
LOVE X STEREO / Max Jury / Pugwash / The Courteeners / The Decemberists
The Disappointed / The Paranoid Style / The Whigs / TOY / White Denim
Ex-Pink Floyd singer-guitarist returns with a new solo LP that follows last year’s pointless Pink Floyd release – The Endless River – and Gilmour’s previous solo work, the magnificent On An Island (2006).
Sadly, Rattle That Lock – despite the promise of the excellent title track – is not a patch on On An Island and finds Gilmour trying out (rather unconvincingly) different musical styles that are far removed from his solo and Floyd work.
All of which is frustrating because on tracks like the instrumentals “5 A.M.”, “Beauty” and “… And Then”, Gilmour’s trademark guitar stylings shine through and all is well. Elsewhere, the choppy dance rhythms of “Today”, the anti-war balladry of “In Any Tongue” and the sprightly blues-romp of the title track remain the highlights.
Sadly, there are at least four tracks – “Faces of Stone”, “A Boat Lies Waiting”, “Dancing Right In Front Of Me” and “The Girl in the Yellow Dress” – where Gilmour’s attempts at eclecticism somewhat fall flat. Especially on that last named track where Gilmour fancies himself to deliver a pseudo-jazz standard with appalling results.
Presumably, Gilmour wanted to demonstrate his songwriting versatility but only emphasised his paucity in this department. Sobering to realise that it took Gilmour almost a decade to come up with enough songs to produce a new album. Floyd fans will enjoyed the highlights previously mentioned, which makes Rattle That Lock somewhat half-baked overall.
Not sure what describing your band as ‘romance rockers’ does for your profile but there you go. Lady Low are not 80s ‘new romantics’ in case you are wondering. In fact, if nothing else this new single with its insistent beat and heavy strings is somewhat reminiscent of The Verve’s “Bittersweet Symphony”. Which might be a good comparison to have actually. In the final analysis, that beat and string hook is quite infectious and it will get stuck in your head, after one listen. Personally, I am thrilled that it’s a pop-rock track that has all the right influences – if that isn’t a recommendation, I don’t know what the hell is!
MUSICComments Off on ANOTHER COLLECTION OF PERFECT POP GEMS FROM PUGWASH
There is a dream-like quality about the opening songs on Irish pop-rock evangelists Pugwash’s new album, Play This Intimately (As If Among Friends). The first six tracks have a pleasing and enveloping mellifluence that functions as an effective panacea for the ills of the modern (pop) world. Mid-tempo numbers like “Kicking and Screaming” and “Lucky In Every Way” will bear the familiar hallmarks of the Pugwah oeuvre – a comfortable rhythm, note-perfect harmonies, sympathetic guitar patterns and memorable singalong tunes. “Feed His Heart With Coal” has a clever train motif running through the track which recalls the work of XTC whilst “Just So You Know” is a brilliant ballad laced with spy movie themes.
The rockabilly ditty “You Could Always Cry” is the one concession to a heightened tempo and “Hung Myself Out To Dry” possesses a feisty McCartney-esque music hall jaunt (with a chorus melody Macca himself would be proud to call his own!).
But when “Silly Love” slows down the pace once more, it feels… right. There is a sense of ease that is hypnotic and mesmerising.“All the Way From Love” will no doubt entrance Roy Orbison lovers with its wondrous channeling of the Big O and “We Are Everywhere” is a slow burning Beatlesque psychedelic pop ballad that delivers an appropriate ending.
Recorded at The Kink’s Konk studios, this new album is everything Pugwash fans would expect from their heroes and much more. With the band’s own heroes Ray Davies (The Kinks), Andy Partridge (XTC) and ELO’s Jeff Lynne guesting on a couple tracks — not to mention The Divine Comedy’s Neil Hannon on keyboards — there is a genuine feeling that all is right with the world.
It all makes sense – this is as close as you can get to pop perfection in 2015.
Will we ever see a band like Nirvana again? It’s hard to believe that the Nevermind album – which changed the face of the music industry in the early 90s – is now 24 years old! And since the decline of rock ‘n’ roll music in the late 90s, no other rock band has come remotely close to replicating the impact of Nirvana. Yes, we have had successful rock bands since viz. Nickelback, The Strokes, The Killers, Arctic Monkeys, Coldplay et al BUT relatively speaking, these have been minor successes when compared to the seismic pop culture impact of Lady Gaga, Katy Perry, Beyonce and the like. Artistically as well, most of these aforementioned bands have failed to deliver.
Curiously enough, the last time critics declared the demise of rock ‘n’ roll was in the late 80s, when Michael Jackson, Mariah Carey and Whitney Houston ruled the roost, but as the wheel turned rock bands like R.E.M., Nirvana and the Seattle grunge scene ascended to the top of the charts. Well, it’s almost 25 years now and there appears to be no sign of rock ‘n’ roll ever returning to those levels of influence in the mainstream pop industry.
Still, that does not mean that good rock ‘n’ roll music (whether in the guise of pop-rock, indie pop, hard rock, electro-pop, blues rock, garage or punk) wasn’t being made in the last 15 odd years, it’s just that the environment of the music industry has been altered so drastically that it is virtually impossible for what happened in the early 90s to occur once again. The decline in record sales, the rise of singing contests (American Idol, X-Factor etc) and the ubiquity of Youtube, has meant that the major labels have had to hedge their bets and cynically control the musical output and fan appreciation thereof.
This has resulted in the most basic pop formulas viz. hip-hop/R&B accounting for the lion’s share of the chart action. These are 3 of the top 5 singles on Billboard’s Hot 100 right now.
The one main thing connecting all three singles is a highly designed discipline to present the melody/rhythms as simplistically and repetitively as possible so that the hooks are very easy to remember. A deliberate lack of musical sophistication that dumbs down to the lowest common denominator creating an audience that is not able to appreciate anything that does not sound like what it hears on a non-stop basis on the radio. The perfect marketing tactic.
In fact, guitar rock is totally absent for the Top 20, with the nearest example being Maroon 5, and even though the music video for “Sugar” shows the band with guitars, it does not sound like there are any guitars on the song itself! In fact, it adheres greatly to the hip-hop/R&B formula with Adam Levine’s vocals heavily auto-tuned. Talk about soul-less! Going down the rest of the chart will depress any fan of rock ‘n’ roll with the genre’s utter lack of representation.
So, are the rumours true? Is rock ‘n’ roll dead? Well, not at the grass roots level of course, as both in the USA and the UK, there continues to be scores of bands who create great rock ‘n’ roll music, it’s just that even with the oft assumed ability of the internet to connect bands and fans, it’s the major labels leveraging on radio stations, streaming services and Youtube (again!) who will have the attention of mainstream music fans.
There’s the rub. If the major labels feel that the new rock ‘n’ roll have the fan base to make them sit up and notice, then they might feel the need to throw money that way. The question is — will the youth of today ever get tired of the formulaic pop stars being paraded before them? Will they ever hunger for something different enough to alter their listening habits? The signs have not been encouraging. The irony is that whilst the internet is always being trumpeted as the champion of free and alternative choices, the harsh reality is that the internet is still ultimately the tool of our corporate masters to dictate what food we should eat, what clothes we should wear and of course, what music we should listen to.
However, for those of us who are able to think critically for ourselves, the internet provides a means of escaping these corporate shackles and we can only do this by supporting the bands that do not conform to the grand masterplan of our overlords. Then, these bands might have the opportunity and liberty to create the kind of music we desire and love. So, is rock ‘n’ roll in a crisis? Not if rock ‘n’ roll fans continue to support the right bands and be evangelistic about the music they love.
Yes, PoP visitors, the ball is in YOUR court…
In the meantime, check out the Power of Pop playlist at Spotify highlighting 30-odd British guitar rock bands you should be supporting! Please FOLLOW!
MUSICComments Off on TEXTING FROM THE EDGE: GIN WIGMORE PULLED ON MY LEG!
Being on the periphery of the Singapore music industry is at once a privileged and awkward position to occupy. At worst a ‘failed musician’ and best a ‘conscientious objector’, I am the ‘cool uncle’ infamously derided in that pointlessly ageist Other Sounds review from years back, and the ‘influencer’ music peeps want on their side until my usefulness has run its course, and then I am kicked to the curb. But still I plod on – texting from the edge…
Gin Wigmore is a 29 year old singer-songwriter hailing from New Zealand and now based in Los Angeles. Thanks to Rdio Asia (hey Elvin, Kurt & Robin!) and Universal Music Singapore (Yo! Kheng, Sarah & Danny!), I was invited to a special showcase at Rdio’s cozy office at Ann Siang Hill yesterday (Saturday, 11th July). Gin is a wiry, hyperactive, tattooed, Slayer-tee wearing singing dynamo and having her (and wonderful backing band) deliver three highly jacked acoustic songs an arm’s length away was certainly memorable (the free flow Sailor Jerry’s did not hurt either).
Not only that but Gin also needed to come forward and pull on my leg (probably cuz she felt that this old fart was not appropriately moving to the beat) – which was a cheap thrill to be added to the collection. Definitely three songs was too short but a tasty teaser of what Gin and band could deliver. Later on, she mingled (No, Gin, Food Republic is NOT representative of Singapore food!) and I got a chance to speak to some of her band members – a mixture of folks from NZ and USA – and as usual, the music provided a means to connect.
The morning after, I am reading up more about Gin, listening to her music and realising that until the exact moment I stepped into Rdio, I was quite ignorant of her and her music. And I am wondering now whether there was more that could have been done with the time spent with Gin and her band, that the Singapore music scene could benefit from. Or maybe not. But at a bare minimum to be better prepared the next time – sorry but this is not a Seinfeld episode – I need my learning points and key takeaways!
Bottomline? Gin Wigmore is an old soul – producing music that crosses genres without apology and compromise and the kind of rock ‘n’ roll that Power of Pop believes in and champions. Listen to Gin’s new album Blood to Bone and appreciate everything I am saying…
MUSICComments Off on KID WAVE – THE 90S ROCK REVIVAL IS TAKING ITS OWN SWEET TIME BUT GOOD MUSIC IS WORTH WAITING FOR…
I don’t really give a shit too much right now about the personal dynamics of Kid Wave – what their collective history or politics is and what not. Right now, all I care is that this is new music that fires my imagination and energises in a manner that so much new music is unable to do and that’s all I fucking care about.
Yeah, so the fact that NME wants so much to shag Kid Wave is alarming but going beyond that hype bullshit, there is the music that recalls the wonder of the 90s, where melodic rock of the 60s – 80s was gloriously regurgitated to grant us a shimmering amalgam of 60s psych-blues, 70s rock and 80s indie pop.
So Wonderlust – what a great album title – is yet another brick in the wall of keeping out all the mediocre pap that flood our airwaves on a daily basis as songs like “Honey”, “Baby Tiger”, “Walk On Fire”, “I’m Trying To Break Your Heart” and the title track raise the hopes of this melodic rock geek that pop salvation is upon us.
Fuck real music – this is genuine, authentic, bona fide rockin’ pop & roll!!!
MUSICComments Off on NEIL YOUNG CONTINUES TO RUN AND RUN WITH NEW ALBUM THE MONSANTO YEARS
On new album The Monsanto Years, Neil Young seems re-invigorated with new backing band Promise of The Real, to deliver one of his feistiest works in recent memory. Rather like Living With War (2006), the politics might be a little too obvious but there’s no faulting the songs that Young and gang have come up with – full of vim and vigour.
Full of country-folk inflected rock ‘n’ roll, songs like “A New Day For Love”, “People Want to Hear the Love”, “Workin’ Man” and the title track come across like vintage Young, except with very modern references (highly anti-corporation rhetoric against Monsanto, Starbucks etc) – which I suspect will endear the evergreen Young to a new generation of music lovers. But of course, for Young, the album reflects the continuation of the hippie dream, which has been part of Young’s raison d’être since the 1960s.
“Old soul” is probably an apt description of singer-songwriter Theodora’s muse.
This 18 year old has a perceptive creativity beyond her tender years with an artistic sensibility that reflects a subtle maturity. This is already painfully obvious when listening to her debut single “Lines”, written about the loss about a loved one – “I sit in silence in the memory of you”.
Now here’s a thoughtful video – lovingly crafted by director Leonard Soosay – that represents visually the emotions that “Lines” evokes, with style and finesse.
Theodora’s debut EP is planned for the end of the year – keep a close watch on that, dear readers.
In the meantime, check out the gorgeous video for “Lines”.
Here are six new releases – spread across the three streaming services (based in Singapore) – that get the Power of Pop Recommendation!
YOUNG BUFFALO – HOUSE
The album opens with a deceptive synth-pop motif before morphing into a Vampire Weekend cliche before the gorgeous melodic power pop channeling chorus kicks in! Inventive chord progressions, bouncy energy and stack o’ tunes marked this as a winner! https://www.facebook.com/youngbuffalo
MUSICComments Off on JAKE AND THE COWBOYS SET TO CORRAL SINGAPORE MUSIC LOVERS AT BEERFEST ASIA 2015
These pop-rockers have just the right vibe for Power of Pop! Jake and the Cowboys are the 2nd band to be featured in PoP’s SWAM coverage. Words by Jarred Wall.
Why is it important for you to play in Singapore?
Beerfest Asia 2015 will mark our first international gig, so we are extremely excited to share our music to a market that we feel are going to really enjoy our sound. Jake and the Cowboys are fresh and exciting and provide a live performance which rivals that of the best.
It also proves timely for us as we have just finished completing a successful crowd funding campaign to record our next single ‘She Said’. The response we received from our fans was fantastic and the project itself has really provided us with a new platform to engage our fans and make them feel a part of the band. It also provided us with a chance to give something back to the fans for all their support. For example, fairly soon we will be heading to one of our fans houses to do some gardening and wash their car and then after that, we will be providing an exclusive performance to a group of fans, on top of cooking them a meal! We wanted to give the fans something different and put a personal touch to it. Of course these rewards were some of the more unusual ones, fans also had the opportunity to receive signed CD’s and digital downloads of the new track. It’s now closed but feel free to check out the project at http://www.pozible.com/project/195487
After spending a few days in the studio with Joel Quartermain of well known Australian Act Eskimo Joe, we were extremely happy and proud of the final product. We see the networking opportunities that we will be exposed to in Singapore as a great opportunity to source airplay in the region and ultimately future performances down the track. We will be armed in hand with ‘She Said’ Single’s!
What do you hope to take away from the experience?
We hope to learn a few things about the Singaporean market and what the people like. Eventually our aim would be to have our music receive airplay in the region as we feel our music will be quite well suited to the people and well received.
The networking opportunities are also a great chance for us to make some crucial contacts in the region which we hope will lead to future exposure for Jake and the Cowboys. We want to make the most of the opportunity and what the city has to offer, particularly in the way of music.