​Katey Brooks is a clear-eyed rebel in an industry that demands consistency. A devastating songwriting talent that has drawn comparisons with Jeff Buckley (Supajam), Brooks has no shortage of famous admirers and yet she has resisted formula. Over a career spanning four continents, she’s journeyed from intimate living rooms to opulent concert halls, from dive bars to decorated studios with some of music’s biggest names. The wandering troubadour defies easy classification, with a back-catalogue incorporating soul, folk, blues and country. With her new album under construction, the mercurial songstress is more determined than ever to do things her own way. Applauded by the press, this ‘rising singer-songwriter has the crowd eating out of her hands’ (The Independent) and is simply ‘not to be missed’ (Time Out). To watch her sing live is to witness emotional exorcism, but when you know her backstory, it’s hardly a mystery why. 

Growing up inside a cult, as a child Brooks found refuge in song. "It was a very chaotic upbringing, full of some pretty colourful and sometimes unsavoury, characters. But when I sang, I felt free and connected. For as long as I can remember, it’s been my way of getting what I need to say out”, she reveals. When she was sixteen, she turned down a spot at the Brit School, the performing arts college where a lot of the UK’s biggest musical exports – Adele, Amy Winehouse, Katie Melua – hail from. "When I was 22 my mum got ill and she died. And then not long after that, my lifelong best friend went missing and she also died. That’s definitely had an effect on the course of my life and my writing. I guess I’m lucky that I have songs that I can write, as a means to deal with things”.

All of these hardships seem to have driven, rather than dragged Brooks under. "Pain just reminds me why I sing," she says. "And not just for me; for everybody. They say in a funny sort of way musicians are like therapists," she muses. "Because music is a universal language. Everybody has experienced some kind of heartache, especially in relationships, and music allows us to purge these feelings." Brooks has certainly had her share of romantic turbulence, not to mention the struggle to come to terms with her sexuality. “In my most recent work I’ve finally been able to sing directly about women instead of using the mysterious ‘you’. I’m a private person in a lot of ways and I never wanted to be a poster girl for anything. But a few years ago I just thought screw it; I want to sing completely honestly. It felt like a weight lifted.”

For Katey Brooks, singing is more about heart than head. It’s about reaching to the most authentic place within oneself and screaming from it, which is probably why her live performances are so affecting. From Bristol to Byron Bay, she has been approached on the street by fans with interesting stories about the impact her songs have had. A word often associated with her ‘hauntingly beautiful’ voice (Record of the Day) is ‘ethereal' and because of her incredible and effortless range, she has been likened to both Tracy Chapman and Florence (and the Machine). She plays a number of instruments but refuses to call herself a multi-instrumentalist (‘too much pressure’) and has produced several of her own records. 

Leading single ‘In Your Arms’ is a stunningly raw love song narrating the emotions of expressing your love for someone. Brooks confides, "Heart on sleeve, I wanted to tell the woman I love just how much I love her. This song is an expression of what she means to me and how much has transformed for me since I met her.  It's about that good love, that breaks you open, challenges you, drives you and I think ultimately, makes you a better you”. Sonically, the single highlights Brooks authentic musicianship, with soulful choral vocals, warm instrumentation and ethereal soundscapes, ‘In Your Arms’ evokes a sense of intimacy between both the artist and the listener. 

Brooks has found success recording with the likes of Brian May (Queen), Bill Wyman (Rolling Stones) and Paloma Faith at Abbey Road, for BBC Radio 2’s Children in Need single. She has played some of the world’s biggest festivals including Glastonbury, WOMAD, the 2012 Paralympics, and Australia’s National Folk Festival. The beautiful finger-picked, harmony-inflected sound of her 2016 I Fought Lovers EP received an enthusiastic reception from radio stations around the UK and internationally, including BBC Radio 2, BBC 6 Music and CBC Canada. Katey Brooks continues to deliver exceptional musicianship, with ‘In Your Arms’ currently available worldwide. 

Get Plugged In above and for more information visit:

https://www.facebook.com/kateybrooksmusic/
https://twitter.com/KateyBrooksOFCL
https://www.instagram.com/kateybrooks/?hl=en

​-Harriett

Reverend Horton Heat, fronted by Texas singer-songwriter and musical historian Jim Heath, will release their twelfth album, Whole New Life on November 30. They deliver their signature eclectic brand of rockabilly, swing and punk (think Roy Orison, meets Brian Setzer, meets The Ramones) on tracks that are uplifting, funky, and just plain fun to listen to.
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One of the many highlights comes on “Perfect”, a tribute to Orbison and a witty exploration of letting go of the unattainable expectations of perfection and embracing the flaws that make us beautifully human. It’s a refreshing message in the age of social media where our lives can be filtered to reflect an alternate reality.    

“Perfection is not in the cards, not by miles or a couple of yards. That may be real and it may be true, but that doesn’t mean I’m not perfect for you.”

For more information visit www.reverendhortonheat.com

​Haunting. Powerful. Uplifting. These are three words that describe Elise Hayes’ music. Combining infectious pop and r&b melodies with heartfelt and meaningful subject matter, Elise’s songs live in a unique space in the palate of today’s popular music. 

No stranger to the stage, Elise has been performing since she was 12 years old. She attended Berklee College of Music as a vocal major, and soon after graduating, relocated to Nashville to pursue a career as an artist and songwriter. “My journey in the music industry hasn’t been a straight line to success,” she says, “I have had to bend and mold and create my own opportunities.” She certainly has done just that. Elise has written songs that have been featured on numerous TV shows, such as ABC’s “Grey’s Anatomy”, Freeform’s “The Bold Type”, MTV’s “Siesta Key,” and many more. She has written songs for other prominent artists (Lucie Silvas “E.G.O”, Jill Andrews “Rust or Gold”), and most recently, toured the country as a background singer and keyboard player for country star, Carly Pearce, opening national tours for Blake Shelton, Luke Bryan, and Thomas Rhett. 

During this past year on the road, Elise felt inspired to find her way back to her own music and career as an artist. “I think I had been in Nashville too long, churning it out behind the scenes in the industry,” she says, “Having the opportunity to get out into the world and see how powerful music is and how it can bring people together in such a moving way made me fall back in love with performing. It lit me up again.” 

With that realization fresh in her mind, Elise decided to step away from her role in Pearce’s band in late spring of 2018. “I felt this really strong instinct to follow my own dreams and songs, and I wanted to be true to that and act on it.” “Float” documents that honest journey back to herself, all the while making you want to dance and turn the music up loud on your speakers. “In this next phase of my career as an artist, I’m focusing on making music that people can relate to and that they can find themselves in. I can’t wait to get it out there.”

www.elisehayes.com
www.instagram.com/elisehayes
www.facebook.com/elisehayesmusic
www.twitter.com/elisehaye

A favorite here at TDC, NYC's Emily Duff returns with her new single, "Mr. Dollar & A Dime." Penned by Duff, the tune leads with a retro-bluesy vibe featuring keys, driving percussion, and smooth harmonies as Duff laments being a fool in love. Relatable ladies? You bet.

"Call me up
Pay you no mind
I let that phone ring baby (yeah, yeah,yeah)
Dial my number
You Know I'm fine
I let that phone ring baby (yeah, yeah,yeah)"

Get Plugged In above and for more information visit HERE

Chicago's 10-piece Americana/Country/Rockabilly outfit Wild Earp & The Free For Alls' self-titled full-length blends old school country & western, rockabilly, and folk; breathing new energy into a classic sound. The project takes you on a road trip across Americana, borrowing from influences that span decades and miles, including Jerry Lee Lewis, June Carter Cash, Loretta Lynn, Dwight Yoakam, and Roger Miller, among others.

One of the album's many highlights is the dark and weighty "When I'm Old," a banjo, mandolin, and pedal steel led folk tune that features the stunning vocals of member Sweet Sassy Molassey which heighten the already impactful track. 

"When I’m old, and you’re long dead. 
I’ll speak the words that my grandma said, 
She said, “Pride is good, but it can’t buy bread.” 
When I’m old, and you’re long dead. 

When I’m old, and my singing voice is gone. 
I’ll stare in silence as the morning dawns. 
I’ll tell my story, but not in song. 
When I’m old, and my voice is gone." 

Andrew Yearick (Wild Earp) shares some insight into the track, "I was really pleased with how this song turned out. I wrote it specifically for our female singer, Kiley (aka Sweet Sassy Molassey), and I think it really shows off her range. It’s one of the two more serious songs on the record, and that darker, more gothic strain of American folk is something that shows up quite a bit in my music." 

Officially released on October 3rd, Wild Earp’s full album is now available on the band's website and all major music sites, including Spotify and iTunes.