Amelia’s Magazine | Valentines Day: Gifts and Ideas


Illustration by Matilde Sazio

“This song is about fucking up against the wall, unhealthyJoan Wasser announces to introduce “Hard white wall”, a track from her second album To Survive at her Barbican gig. Never the shrinking violet, Joan is standing in an all-in-one fitted black leather number, slashed at the back, as the spotlights converge on her small frame. Last Sunday was the seventh time I have seen Joan As Police Woman in London.

The first time I saw Joan play was on a balmy summer’s evening in 2006 at now defunct The Spitz in Spitalfields, which in my opinion, used to put on some of the best gigs in London. The venue was at capacity that night and the air inside was clammy to the point where every surface I touched, whether it was a table or wall, seemed to be coated with a film of sweat. Fresh from a tour supporting Guillemots, Joan took the stage in a silver metallic floor length gown and wowed the audience with her electric solo set. No big stage productions, no fancy costume changes, not even a band; just Joan with her powerful, soulful vocals, Korg keyboard and guitar. I am certain that she gained some lifelong fans that night, of which I am one.

The truth is my enthusiasm for Joan extends beyond just liking her records and appreciating her live performances. There’s something about her music – in the same vein as Antony and the Johnsons, Rufus Wainwright, Cat Power and Regina Spektor – which deeply resonates with me. Her sound is raw, honest, pure and sung from the heart in a way which isn’t bland, overdone or contrived. The combination of her emotive vocals, attention to detail in the form of a subtle stroke of cymbal here and an echo of string instruments there, has had the power to reduce me to tears in the past (although I have been known to cry at most things!).

Over the years, Joan has seen me through the best and worst of times: she’s been the soundtrack to exciting train and coach journeys across South East Asia and South America as I have admired the ever-changing landscapes, accompanied me as I have trudged miserably into work on an overheated tube wedged up against some hairy obese man’s armpit, and comforted me through the pain of a relationship break-up where I often found myself lying kidney-bean shaped, feeling sorry for myself (on this last point, what I have learned is that boyfriends may come and go, but if you discover a good artist, they have an unparalleled reliance. Joan has consistently delivered the goods since her first album and that Spitz gig in 2006, which is far more than what can be said of any of my recent relationships).

A multi-instrumentalist who flits effortlessly from piano to guitar to violin, Joan has worked and performed with the likes of Antony and the Johnsons, Rufus Wainwright, Lou Reed, Nick Cave and Elton John to name but a few. Much is made of the fact that she was the girlfriend of the luminous late-Jeff Buckley when he died, whose “Everybody Here Wants You” track is rumoured to be inspired by her, but for Joan to be defined by this alone is grossly unfair. The recognition that she deserves should be based purely on her own talent of epic proportions.

In the same vein as Antony and Rufus, much of Joan’s charm lies in her musical arrangements and unique which can be spine-tingling, served tender or harsh. Her new album, The Deep Field unfurls her lust for life and presents to us a more positive and upbeat individual compared to her earlier offerings, Real Life (2006) and To Survive (2008). In her own words, it is her “most open, joyous record” to date. Although the record is a departure from her more typical sombre sound, its essence is consistent with her previous work where she continues to demonstrate mood, depth, authenticity and sophisticated musical arrangements, which is a rare gem amongst some of the generic, non-memorable cack that passes for music today.

When I meet Joan for tea at the K-West Hotel in Shepherd’s Bush for our interview, she is friendly and upbeat, but appears visibly tired after having spent two days trekking across the UK to do promo work. I try to act cool and calm, but I am sweating like hell and on my way to the hotel, I slip over and land on my bottom to the amusement of two young teenage boys who break out into hysterics, which makes for a nice ice-breaker as I re-tell my story.

Wearing a brown leather jacket, a matching pair of trousers and a bright yellow t-shirt with “Strut ‘n’ Stuff” emblazoned across the front that she picked up from a thrift store, with her thick unkempt dark brown hair and flawless skin, Joan looks much younger than her years – much closer to 30 than 40.

As we sit on a comfy sofa in the library area of the hotel, Joan is oblivious to the two men in suits sitting behind us having a business meeting, who shoot a few disapproving glances in our direction as her voice gets progressively louder over the course of the interview. Speaking animatedly with a cup of herbal tea (she is trying to cut back on the coffee) in one hand and some neatly cut slices of apple in the other, Joan and I discuss life before Joan As Police Woman, the inspiration behind her new record, being in a better place and who’s house she’d most like to be a fly on the wall at, all in the good company of some soft-porn inspired saxophone music, playing softly in the background…

You trained as a classical musician and spent some time performing as one. What was the catalyst for you to explore being an alternative musician?
I always listened to different kinds of music as I was growing up and throughout my classical training. Classical music and non-classical music is all music so for me; it wasn’t all that big of a stretch making other music. I loved studying classical music, but I wasn’t really interested in making it my life’s work because I really wanted to make new music. There were also plenty of people who were better equipped at bringing new insight to the Beethoven violin concerto and I was not one of them. I loved learning the discipline behind that but pursuing a career in it didn’t interest me so when I moved to Boston to go to school I started playing in bands then because all my friends were in bands and the rest, I guess they say, is history.

You’ve been in several bands since you started out as a musician, including playing violin with Rufus Wainwright and Antony and the Johnsons, yet it as only in 2004 that you decided to front your own band. Why was there this delay?
Well I played violin exclusively for some time so I was mostly contributing to other peoples’ bands which I loved doing. I was playing an instrument that is like a voice in itself. You don’t write songs on the violin so I had no way of writing. I picked up a guitar in 1997 to see what it was like; I wanted to figure out if I could write songs and started writing. I put a band together called Black Beetle and wrote a few songs with them and I joined Antony’s band. At this stage, I was still playing with lots of people doing string arranging, but I also wanted to try out my voice which sounded horrible to me at the time. In the beginning you’re not used to what it sounds like and it doesn’t feel natural.

But surely you must have had reassurance from your friends that your voice is anything but horrible…
Well no one heard it. I started playing but I didn’t tell many people. I did get a lot of support from my friends which helped a lot, even if you think they’re lying because they love you.

So it was all very much about stepping slowly out of your comfort zone…
Yes, very much so. Antony had me open with one of his songs solo sometimes. It was a very anxious experience, especially as I was around a lot of astounding vocal performers. It was really scary, but I’m that kind of person where I jump into the deep end. It’s the only way to do things. I was making a record with Black Beetle that never got released, which was part of the learning process and then that band broke up in 2002 but I kept going; playing on my own and then I got a drummer to play with me and then Rufus asked me to go on tour and open for him and it just all went from there.

The first time I saw you perform was at The Spitz in 2006, and even back then you seemed to be a very natural performer. Has performing always been second nature to you?
At that point I felt a lot better. Opening for Rufus (Wainwright) was a good experience – you can’t really be opening for a crowd of total music lovers without getting your act together. Also, the fact that I come to a city that isn’t mine and tonnes of people show up. It makes you feel great; it makes you think: “OK – well at least I’m doing something right”.

When did you start recording the new album and what were your inspirations for the record?
I started by making a covers record which was fun for me to do. I wanted to get out of my head; my own songwriting. I think it really helped me to direct my songwriting on this record. I’m in a great place these days so I feel really open and joyful and I really wanted to get this across in the record. I first recorded seven songs that I had been writing since my last record; some of which I had been playing live, some I hadn’t been. I did that in March and completed those songs and surveyed the scene and decided what the record needed and then spent a few months writing five more songs to fill out the record the way I saw it in June and then mixed the whole thing at the end of last summer. It was really fun because I really had never done that before. Before I would record what I had and decide what it needed and then wrote that kind of song to fit the record so this time, the new approach was a fun exercise for me. I recorded at the same studio with the same producer and I feel very comfortable there; it makes me feel like I’m coming home. And then I just got all of my favourite musicians to contribute to the record. It was just an absolute glorious experience.

How do you think your sound has evolved since Real Life and To Survive?
It’s interesting because when I listen to my songs, I think all the time: “Where did that come from?” It’s beyond me. But I feel like I’m in a different place now…much more relaxed with myself in general. This is one of the treasures of spending more time alive because you get more comfortable with yourself and your surroundings.

You reached a milestone age last summer (Joan turned 40) – were there any anxieties?
I was really excited about it because I felt like it was a demarcation point of where I really didn’t have to give a shit about anything anymore. I never had to before, but I could just actually free myself of all the youth stuff because I have experienced a lot of stuff and it’s really been worth it even though things were very difficult at times. I feel really lucky that everyday feels a bit better than the last day because I’m determined to live a full life.

How did you celebrate?
I had a big party on my roof at home (just outside New York). It was really nice because I was there for the first time on my birthday and I really embraced it.

What advice would you give a 20 year old Joan and 30 year old Joan?
I would just reassure the 20 year old Joan that things are definitely going to get better – I did not think that then. At 30…I don’t know…the thing is I wouldn’t ever do anything differently. You have to learn everything the way you learn them, unfortunately sometimes.

What do you do to switch off?
I definitely have to exercise or I go crazy. I need that in my life so I do that a lot. I spend a certain amount of time with my friends being ridiculous and making jokes as terrible as possible. Oh and drinking way too much coffee.

Who’s house would you most like to be a fly on the wall at?
Prince…definitely! He’s the only person who I think: “What is he doing right now?”. Because you know it’s something weird…or fascinating. He’s just incredible; amazing.

Joan’s new album The Deep Field is out now on PIAS records and she is playing across the UK until 13 February.


Illustration by Matilde Sazio

“This song is about fucking up against the wall, discountJoan Wasser announces to introduce “Hard white wall”, adiposity a track from her second album To Survive at her Barbican gig. Never the shrinking violet, recipe Joan is standing in an all-in-one fitted black leather number, slashed at the back, as the spotlights converge on her small frame. Last Sunday was the seventh time I have seen Joan As Police Woman in London.

The first time I saw Joan play was on a balmy summer’s evening in 2006 at now defunct The Spitz in Spitalfields, which in my opinion, used to put on some of the best gigs in London. The venue was at capacity that night and the air inside was clammy to the point where every surface I touched, whether it was a table or wall, seemed to be coated with a film of sweat. Fresh from a tour supporting Guillemots, Joan took the stage in a silver metallic floor length gown and wowed the audience with her electric solo set. No big stage productions, no fancy costume changes, not even a band; just Joan with her powerful, soulful vocals, Korg keyboard and guitar. I am certain that she gained some lifelong fans that night, of which I am one.


Illustration by Darren Fletcher

The truth is my enthusiasm for Joan extends beyond just liking her records and appreciating her live performances. There’s something about her music – in the same vein as Antony and the Johnsons, Rufus Wainwright, Cat Power and Regina Spektor – which deeply resonates with me. Her sound is raw, honest, pure and sung from the heart in a way which isn’t bland, overdone or contrived. The combination of her emotive vocals, attention to detail in the form of a subtle stroke of cymbal here and an echo of string instruments there, has had the power to reduce me to tears in the past (although I have been known to cry at most things!).

Over the years, Joan has seen me through the best and worst of times: she’s been the soundtrack to exciting train and coach journeys across South East Asia and South America as I have admired the ever-changing landscapes, accompanied me as I have trudged miserably into work on an overheated tube wedged up against some hairy obese man’s armpit, and comforted me through the pain of a relationship break-up where I often found myself lying kidney-bean shaped, feeling sorry for myself (on this last point, what I have learned is that boyfriends may come and go, but if you discover a good artist, they have an unparalleled reliance. Joan has consistently delivered the goods since her first album and that Spitz gig in 2006, which is far more than what can be said of any of my recent relationships).


Illustration by Darren Fletcher

A multi-instrumentalist who flits effortlessly from piano to guitar to violin, Joan has worked and performed with the likes of Antony and the Johnsons, Rufus Wainwright, Lou Reed, Nick Cave and Elton John to name but a few. Much is made of the fact that she was the girlfriend of the luminous late-Jeff Buckley when he died, whose “Everybody Here Wants You” track is rumoured to be inspired by her, but for Joan to be defined by this alone is grossly unfair. The recognition that she deserves should be based purely on her own talent of epic proportions.

In the same vein as Antony and Rufus, much of Joan’s charm lies in her musical arrangements and unique which can be spine-tingling, served tender or harsh. Her new album, The Deep Field unfurls her lust for life and presents to us a more positive and upbeat individual compared to her earlier offerings, Real Life (2006) and To Survive (2008). In her own words, it is her “most open, joyous record” to date. Although the record is a departure from her more typical sombre sound, its essence is consistent with her previous work where she continues to demonstrate mood, depth, authenticity and sophisticated musical arrangements, which is a rare gem amongst some of the generic, non-memorable cack that passes for music today.


Illustration by Matilde Sazio

When I meet Joan for tea at the K-West Hotel in Shepherd’s Bush for our interview, she is friendly and upbeat, but appears visibly tired after having spent two days trekking across the UK to do promo work. I try to act cool and calm, but I am sweating like hell and on my way to the hotel, I slip over and land on my bottom to the amusement of two young teenage boys who break out into hysterics, which makes for a nice ice-breaker as I re-tell my story.

Wearing a brown leather jacket, a matching pair of trousers and a bright yellow t-shirt with “Strut ‘n’ Stuff” emblazoned across the front that she picked up from a thrift store, with her thick unkempt dark brown hair and flawless skin, Joan looks much younger than her years – much closer to 30 than 40.

As we sit on a comfy sofa in the library area of the hotel, Joan is oblivious to the two men in suits sitting behind us having a business meeting, who shoot a few disapproving glances in our direction as her voice gets progressively louder over the course of the interview. Speaking animatedly with a cup of herbal tea (she is trying to cut back on the coffee) in one hand and some neatly cut slices of apple in the other, Joan and I discuss life before Joan As Police Woman, the inspiration behind her new record, being in a better place and who’s house she’d most like to be a fly on the wall at, all in the good company of some soft-porn inspired saxophone music, playing softly in the background…

You trained as a classical musician and spent some time performing as one. What was the catalyst for you to explore being an alternative musician?
I always listened to different kinds of music as I was growing up and throughout my classical training. Classical music and non-classical music is all music so for me; it wasn’t all that big of a stretch making other music. I loved studying classical music, but I wasn’t really interested in making it my life’s work because I really wanted to make new music. There were also plenty of people who were better equipped at bringing new insight to the Beethoven violin concerto and I was not one of them. I loved learning the discipline behind that but pursuing a career in it didn’t interest me so when I moved to Boston to go to school I started playing in bands then because all my friends were in bands and the rest, I guess they say, is history.

You’ve been in several bands since you started out as a musician, including playing violin with Rufus Wainwright and Antony and the Johnsons, yet it as only in 2004 that you decided to front your own band. Why was there this delay?
Well I played violin exclusively for some time so I was mostly contributing to other peoples’ bands which I loved doing. I was playing an instrument that is like a voice in itself. You don’t write songs on the violin so I had no way of writing. I picked up a guitar in 1997 to see what it was like; I wanted to figure out if I could write songs and started writing. I put a band together called Black Beetle and wrote a few songs with them and I joined Antony’s band. At this stage, I was still playing with lots of people doing string arranging, but I also wanted to try out my voice which sounded horrible to me at the time. In the beginning you’re not used to what it sounds like and it doesn’t feel natural.


But surely you must have had reassurance from your friends that your voice is anything but horrible…
Well no one heard it. I started playing but I didn’t tell many people. I did get a lot of support from my friends which helped a lot, even if you think they’re lying because they love you.

So it was all very much about stepping slowly out of your comfort zone…
Yes, very much so. Antony had me open with one of his songs solo sometimes. It was a very anxious experience, especially as I was around a lot of astounding vocal performers. It was really scary, but I’m that kind of person where I jump into the deep end. It’s the only way to do things. I was making a record with Black Beetle that never got released, which was part of the learning process and then that band broke up in 2002 but I kept going; playing on my own and then I got a drummer to play with me and then Rufus asked me to go on tour and open for him and it just all went from there.

The first time I saw you perform was at The Spitz in 2006, and even back then you seemed to be a very natural performer. Has performing always been second nature to you?
At that point I felt a lot better. Opening for Rufus (Wainwright) was a good experience – you can’t really be opening for a crowd of total music lovers without getting your act together. Also, the fact that I come to a city that isn’t mine and tonnes of people show up. It makes you feel great; it makes you think: “OK – well at least I’m doing something right”.

When did you start recording the new album and what were your inspirations for the record?
I started by making a covers record which was fun for me to do. I wanted to get out of my head; my own songwriting. I think it really helped me to direct my songwriting on this record. I’m in a great place these days so I feel really open and joyful and I really wanted to get this across in the record. I first recorded seven songs that I had been writing since my last record; some of which I had been playing live, some I hadn’t been. I did that in March and completed those songs and surveyed the scene and decided what the record needed and then spent a few months writing five more songs to fill out the record the way I saw it in June and then mixed the whole thing at the end of last summer. It was really fun because I really had never done that before. Before I would record what I had and decide what it needed and then wrote that kind of song to fit the record so this time, the new approach was a fun exercise for me. I recorded at the same studio with the same producer and I feel very comfortable there; it makes me feel like I’m coming home. And then I just got all of my favourite musicians to contribute to the record. It was just an absolute glorious experience.

How do you think your sound has evolved since Real Life and To Survive?
It’s interesting because when I listen to my songs, I think all the time: “Where did that come from?” It’s beyond me. But I feel like I’m in a different place now…much more relaxed with myself in general. This is one of the treasures of spending more time alive because you get more comfortable with yourself and your surroundings.

You reached a milestone age last summer (Joan turned 40) – were there any anxieties?
I was really excited about it because I felt like it was a demarcation point of where I really didn’t have to give a shit about anything anymore. I never had to before, but I could just actually free myself of all the youth stuff because I have experienced a lot of stuff and it’s really been worth it even though things were very difficult at times. I feel really lucky that everyday feels a bit better than the last day because I’m determined to live a full life.

How did you celebrate?
I had a big party on my roof at home (just outside New York). It was really nice because I was there for the first time on my birthday and I really embraced it.

What advice would you give a 20 year old Joan and 30 year old Joan?
I would just reassure the 20 year old Joan that things are definitely going to get better – I did not think that then. At 30…I don’t know…the thing is I wouldn’t ever do anything differently. You have to learn everything the way you learn them, unfortunately sometimes.

What do you do to switch off?
I definitely have to exercise or I go crazy. I need that in my life so I do that a lot. I spend a certain amount of time with my friends being ridiculous and making jokes as terrible as possible. Oh and drinking way too much coffee.

Who’s house would you most like to be a fly on the wall at?
Prince…definitely! He’s the only person who I think: “What is he doing right now?”. Because you know it’s something weird…or fascinating. He’s just incredible; amazing.

Joan’s new album The Deep Field is out now on PIAS records and she is playing across the UK until 13 February.


Illustration by Matilde Sazio

“This song is about fucking up against the wall, viagra ” announces Joan Wasser to introduce “Hard white wall”, a track from her second album To Survive at her Barbican gig. Never the shrinking violet, Joan is standing in an all-in-one fitted black leather number, slashed at the back, as the spotlights converge on her small frame. Last Sunday was the seventh time I have seen Joan As Police Woman in London.

The first time I saw Joan play was on a balmy summer’s evening in 2006 at now defunct The Spitz in Spitalfields, which in my opinion, used to put on some of the best gigs in London. The venue was at capacity that night and the air inside was clammy to the point where every surface I touched, whether it was a table or wall, seemed to be coated with a film of sweat. Fresh from a tour supporting Guillemots, Joan took the stage in a silver metallic floor length gown and wowed the audience with her electric solo set. No big stage productions, no fancy costume changes, not even a band; just Joan with her powerful, soulful vocals, Korg keyboard and guitar. I am certain that she gained some lifelong fans that night, of which I am one.


Illustration by Darren Fletcher

The truth is my enthusiasm for Joan extends beyond just liking her records and appreciating her live performances. There’s something about her music – in the same vein as Antony and the Johnsons, Rufus Wainwright, Cat Power and Regina Spektor – which deeply resonates with me. Her sound is raw, honest, pure and sung from the heart in a way which isn’t bland, overdone or contrived. The combination of her emotive vocals, attention to detail in the form of a subtle stroke of cymbal here and an echo of string instruments there, has had the power to reduce me to tears in the past (although I have been known to cry at most things!).

Over the years, Joan has seen me through the best and worst of times: she’s been the soundtrack to exciting train and coach journeys across South East Asia and South America as I have admired the ever-changing landscapes, accompanied me as I have trudged miserably into work on an overheated tube wedged up against some hairy obese man’s armpit, and comforted me through the pain of a relationship break-up where I often found myself lying kidney-bean shaped, feeling sorry for myself (on this last point, what I have learned is that boyfriends may come and go, but if you discover a good artist, they have an unparalleled reliance. Joan has consistently delivered the goods since her first album and that Spitz gig in 2006, which is far more than what can be said of any of my recent relationships).


Illustration by Darren Fletcher

A multi-instrumentalist who flits effortlessly from piano to guitar to violin, Joan has worked and performed with the likes of Antony and the Johnsons, Rufus Wainwright, Lou Reed, Nick Cave and Elton John to name but a few. Much is made of the fact that she was the girlfriend of the luminous late-Jeff Buckley when he died, whose “Everybody Here Wants You” track is rumoured to be inspired by her, but for Joan to be defined by this alone is grossly unfair. The recognition that she deserves should be based purely on her own talent of epic proportions.

In the same vein as Antony and Rufus, much of Joan’s charm lies in her musical arrangements and unique which can be spine-tingling, served tender or harsh. Her new album, The Deep Field unfurls her lust for life and presents to us a more positive and upbeat individual compared to her earlier offerings, Real Life (2006) and To Survive (2008). In her own words, it is her “most open, joyous record” to date. Although the record is a departure from her more typical sombre sound, its essence is consistent with her previous work where she continues to demonstrate mood, depth, authenticity and sophisticated musical arrangements, which is a rare gem amongst some of the generic, non-memorable cack that passes for music today.


Illustration by Matilde Sazio

When I meet Joan for tea at the K-West Hotel in Shepherd’s Bush for our interview, she is friendly and upbeat, but appears visibly tired after having spent two days trekking across the UK to do promo work. I try to act cool and calm, but I am sweating like hell and on my way to the hotel, I slip over and land on my bottom to the amusement of two young teenage boys who break out into hysterics, which makes for a nice ice-breaker as I re-tell my story.

Wearing a brown leather jacket, a matching pair of trousers and a bright yellow t-shirt with “Strut ‘n’ Stuff” emblazoned across the front that she picked up from a thrift store, with her thick unkempt dark brown hair and flawless skin, Joan looks much younger than her years – much closer to 30 than 40.

As we sit on a comfy sofa in the library area of the hotel, Joan is oblivious to the two men in suits sitting behind us having a business meeting, who shoot a few disapproving glances in our direction as her voice gets progressively louder over the course of the interview. Speaking animatedly with a cup of herbal tea (she is trying to cut back on the coffee) in one hand and some neatly cut slices of apple in the other, Joan and I discuss life before Joan As Police Woman, the inspiration behind her new record, being in a better place and who’s house she’d most like to be a fly on the wall at, all in the good company of some soft-porn inspired saxophone music, playing softly in the background…

You trained as a classical musician and spent some time performing as one. What was the catalyst for you to explore being an alternative musician?
I always listened to different kinds of music as I was growing up and throughout my classical training. Classical music and non-classical music is all music so for me; it wasn’t all that big of a stretch making other music. I loved studying classical music, but I wasn’t really interested in making it my life’s work because I really wanted to make new music. There were also plenty of people who were better equipped at bringing new insight to the Beethoven violin concerto and I was not one of them. I loved learning the discipline behind that but pursuing a career in it didn’t interest me so when I moved to Boston to go to school I started playing in bands then because all my friends were in bands and the rest, I guess they say, is history.

You’ve been in several bands since you started out as a musician, including playing violin with Rufus Wainwright and Antony and the Johnsons, yet it as only in 2004 that you decided to front your own band. Why was there this delay?
Well I played violin exclusively for some time so I was mostly contributing to other peoples’ bands which I loved doing. I was playing an instrument that is like a voice in itself. You don’t write songs on the violin so I had no way of writing. I picked up a guitar in 1997 to see what it was like; I wanted to figure out if I could write songs and started writing. I put a band together called Black Beetle and wrote a few songs with them and I joined Antony’s band. At this stage, I was still playing with lots of people doing string arranging, but I also wanted to try out my voice which sounded horrible to me at the time. In the beginning you’re not used to what it sounds like and it doesn’t feel natural.


But surely you must have had reassurance from your friends that your voice is anything but horrible…
Well no one heard it. I started playing but I didn’t tell many people. I did get a lot of support from my friends which helped a lot, even if you think they’re lying because they love you.

So it was all very much about stepping slowly out of your comfort zone…
Yes, very much so. Antony had me open with one of his songs solo sometimes. It was a very anxious experience, especially as I was around a lot of astounding vocal performers. It was really scary, but I’m that kind of person where I jump into the deep end. It’s the only way to do things. I was making a record with Black Beetle that never got released, which was part of the learning process and then that band broke up in 2002 but I kept going; playing on my own and then I got a drummer to play with me and then Rufus asked me to go on tour and open for him and it just all went from there.

The first time I saw you perform was at The Spitz in 2006, and even back then you seemed to be a very natural performer. Has performing always been second nature to you?
At that point I felt a lot better. Opening for Rufus (Wainwright) was a good experience – you can’t really be opening for a crowd of total music lovers without getting your act together. Also, the fact that I come to a city that isn’t mine and tonnes of people show up. It makes you feel great; it makes you think: “OK – well at least I’m doing something right”.

When did you start recording the new album and what were your inspirations for the record?
I started by making a covers record which was fun for me to do. I wanted to get out of my head; my own songwriting. I think it really helped me to direct my songwriting on this record. I’m in a great place these days so I feel really open and joyful and I really wanted to get this across in the record. I first recorded seven songs that I had been writing since my last record; some of which I had been playing live, some I hadn’t been. I did that in March and completed those songs and surveyed the scene and decided what the record needed and then spent a few months writing five more songs to fill out the record the way I saw it in June and then mixed the whole thing at the end of last summer. It was really fun because I really had never done that before. Before I would record what I had and decide what it needed and then wrote that kind of song to fit the record so this time, the new approach was a fun exercise for me. I recorded at the same studio with the same producer and I feel very comfortable there; it makes me feel like I’m coming home. And then I just got all of my favourite musicians to contribute to the record. It was just an absolute glorious experience.

How do you think your sound has evolved since Real Life and To Survive?
It’s interesting because when I listen to my songs, I think all the time: “Where did that come from?” It’s beyond me. But I feel like I’m in a different place now…much more relaxed with myself in general. This is one of the treasures of spending more time alive because you get more comfortable with yourself and your surroundings.

You reached a milestone age last summer (Joan turned 40) – were there any anxieties?
I was really excited about it because I felt like it was a demarcation point of where I really didn’t have to give a shit about anything anymore. I never had to before, but I could just actually free myself of all the youth stuff because I have experienced a lot of stuff and it’s really been worth it even though things were very difficult at times. I feel really lucky that everyday feels a bit better than the last day because I’m determined to live a full life.

How did you celebrate?
I had a big party on my roof at home (just outside New York). It was really nice because I was there for the first time on my birthday and I really embraced it.

What advice would you give a 20 year old Joan and 30 year old Joan?
I would just reassure the 20 year old Joan that things are definitely going to get better – I did not think that then. At 30…I don’t know…the thing is I wouldn’t ever do anything differently. You have to learn everything the way you learn them, unfortunately sometimes.

What do you do to switch off?
I definitely have to exercise or I go crazy. I need that in my life so I do that a lot. I spend a certain amount of time with my friends being ridiculous and making jokes as terrible as possible. Oh and drinking way too much coffee.

Who’s house would you most like to be a fly on the wall at?
Prince…definitely! He’s the only person who I think: “What is he doing right now?”. Because you know it’s something weird…or fascinating. He’s just incredible; amazing.

Joan’s new album The Deep Field is out now on PIAS records and she is playing across the UK until 13 February.

valentines foxes by bex glover
Valentines Foxes by Bex Glover.

By now if you have any interest in the upcoming consumer fest that is Valentines Day you will probably already have read Hannah’s slightly bah humbug Valentines blog post, recipe which nevertheless gave some great tips on how to best celebrate this festival of luuuurve.

Peacock Heart by Jenny Lloyd
Peacock Heart by Jenny Lloyd. Available to buy as a print over on Society 6.

Last year I detailed how Valentines has been for me in the past – in almost every instance a non event unless I went to the trouble of sending friends and family something special.

jenny robins - red valentine
Red Valentine by Jenny Robins. You can buy her Book of Love here on Etsy.

But I’ve been in my current relationship for quite awhile now and this year Valentines Day throws up all sorts of new worries for me… Will he feel pressurised to take me out? Do I even want to go out and join the masses, here now that the option may in fact be available? What do I feel about how I should be treated and what, at the end of the day, is the best expression of love? Don’t laugh, I’ve seriously never had to think about these things before: my love life has been that rubbish for so long.

valentine's day by Natsuki-Otani
LSD Love by Natsuki Otani – available to buy online at Society 6.

Well, unsurprisingly I have to say that my views remain pretty much the same as they did last year. For me the best way to show that you care about someone is to put a bit of thought into whatever you decide to do on Valentines Day, whether you are showing that kindness to friends and family or a special partner – something that it goes without saying should really be an ongoing year-round state of affairs.

youmakemetick by Adam Smith
youmakemetick by Adam Smith.

Whatever you do steer clear of the crazed demands to BUY BUY BUY, and instead think of what your loved one truly appreciates – which is most likely to be your time and your energy. For me receiving something hand made is always the most appreciated gift there is – time having become such a precious resource in itself. There are some really sweet ideas that cost barely a penny over on Hannah’s blog.

Valentines Icecream by Gemma Smith
Valentines Icecream by Gemma Smith.

Failing that a gift hand made by someone else is definitely a close second best. So in the spirit of collaboration I asked people to send me their hand made Valentines gift ideas via twitter – here’s my pick of the best:

Anko Fairy Steps pendant
Ankolie has contributed to Amelia’s Magazine as an illustrator – here’s her lovely little Fairy Steps necklace which features really cute heart links and a central cabochon that features one of her paintings, available on Etsy.

lovebirds-becca thorne
Becca Thorne offers this adorable love birds linoprint on Etsy.

stay over toothbrush pendant by plastic seconds
On the recycled jewellery front how about this jokey Stay Over toothbrush necklace from Plastic Seconds? Also seen in the ICA shop.

Prick Your Finger hearts
Prick Your Finger offer these lovely knitted wool hearts that were knitted by Mary in the Shetlands: a steal at £4.50

Rob Ryan Valentines
He’s the king of romantic whimsy so I felt duty bound to include the now obligatory Rob Ryan laser cut piece Can We Shall We – miraculously there appear to still be some of these in stock at Soma Gallery. Grab em whilst you can.

Valentines fisheye camera by Gemma Smith
Valentines fisheye camera by Gemma Smith.

Lomography have brought out a special edition Diana F+ camera encrusted in naked people and a Fisheye 2 in syrupy sweet pink. If your lover is not yet a hipstamatic aficionado now may might be a good time for them to try analogue again.

I Heart Music by Liz Lewis
I Heart Music by Liz Lewis.

Flowers would never ever go amiss… so long as they haven’t been flown in from some beleaguered country far away.

LOVE by Lou Cloud
LOVE by Lou Cloud.

And I like jewellery. Don’t know why. I just do. I think it’s something about the fact that a treasured piece can be worn almost all the time as a reminder of someone’s devotion, which is why I respond very well to delicate pieces… particularly in gold.

Laura Gravestock
Love these rose gold pieces by Laura Gravestock, and quite reasonably priced too.

Peppermint Patty. An oil painting by Artist Andrea
Peppermint Patty. An oil painting by Artist Andrea.

Speaking of which, the much anticipated UK Fairtrade ethical gold standard came into force only yesterday, so here’s hoping that it will soon become very much easier to buy luxury jewellery that is made without harm to people or planet. Because, after all, where’s the love in that?

Oria-blossom-bird
Over at EC One ethical jewellery brand Oria (featured in Amelia’s Compendium of Fashion Illustration) offer their lovely lovebird earrings – as illustrated in my book. Purrrrfect, and they come with a totally clear conscience.

Finally, if you’re looking for something to do that’s a bit out of the ordinary, how about a trip to the Museum of Everything to see the current Peter Blake curated exhibition for the last time? There will be things to watch all over the weekend, including live music, and a film showing.

Je t'aime by Anieszka Banks
Je t’aime by Anieszka Banks.

The School for Life is well known for hosting some ever so intriguing seminars. On February 14th they ask:
Who’d be in a relationship?
At its best, love can make us deliriously happy. At worst, it makes us more miserable than anything on earth. It robs us of our autonomy, freedom and financial independence. It can bring disillusion, heartbreak and betrayal.
Who’d be single?
We’re confined to the prison of our established and frequently very boring selves. At best, singleness allows us to be free agents, able to fulfill our desires. At worst, it drags us down to the depths of loneliness. It robs us of intimacy, personal engagement, and an understanding that true happiness is about giving oneself away. 

Paris by Joanna Faria
Paris by Joana Faria.

So why not book an evening with author Simon Critchley? He’ll be talking at The School for Life which is located at 70 Marchmont Street, London WC1N 1AB.

Elliott_Quince_Linocut_illustration Quinky Art
And if you’re still feeling a bit grumpy about the whole affair how about this free downloadable Zombie Valentines lino cut from Quinky Art?

No pressure on the boyfriend at all then. But between this lot there’s a little something for everyone don’t you think? Especially the ladies amongst us…

emma_block_Oria_jewellery
Oria Lovebird necklace as featured in Amelia’s Compendium of Fashion Illustration. Illustration by Emma Block.

You can read more about my abysmal love life in my Valentines blog post from 2010.

Categories ,ACOFI, ,Adam Smith, ,Amelia’s Compendium of Fashion Illustration, ,Andrea Peterson, ,Anieszka Banks, ,Ankolie, ,Artist Andrea, ,Becca Thorne, ,Bex Glover, ,Can We Shall We, ,Diana F+, ,EC One, ,Emma Block, ,Ethical Gold, ,etsy, ,fairtrade, ,Fisheye 2, ,Flowers, ,Gemma Smith, ,gifts, ,Gold, ,hearts, ,ica, ,Je t’aime, ,Jenny Lloyd, ,Jenny Robins, ,jewellery, ,Joana Faria, ,Laura Gravestock, ,Liz Lewis, ,Lou Cloud, ,Museum of Everything, ,Natsuki Otani, ,Oria, ,Peacock Heart, ,Peter Blake, ,Plastic Seconds, ,Prick your Finger, ,Quinky Art, ,rob ryan, ,Simon Critchley, ,Society 6, ,Soma Gallery, ,The School of Life, ,Valentine’s Day

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Amelia’s Magazine | The ACOFI Book Tour closes at Tatty Devine in Brick Lane

ACOFI Tour Tatty Devine Brick Lane Biscuiteers

Okay, hospital I admit it, more about it’s taken me over three weeks to get around to writing about my final date on the ACOFI Book Tour… but it was all part of my cunning plan to let you all forget about it and then bring it up all over again! Plus, let’s be honest, I had some pretty darn great coverage around the time of the event. For example this beautiful blog by Alia Gargum, who describes how the process for working for me as a contributor to Amelia’s Magazine has helped her to develop as an illustrator. It’s really nice to get this kind of feedback as I work devilishly hard to promote up and coming creatives and it doesn’t exactly earn me much of a living.

Tatty Devine Brick Lane ACOFI 2011
Tatty Devine Brick Lane ACOFI 2011
All photography by Amelia Gregory.

A few ACOFI contributors also came along for the night – read lovely blogs by Emma Block (who has just graduated from Middlesex University with a first) and Gareth A Hopkins. Emily of Tatty Devine also did a round up, as did Mistry of Habs, Ickleson and Katie of The Young Creatives. Spoilt really! And they wrote theirs a lot faster than me… In the intervening weeks time just seems to have flown past and as the graduate shows have piled up I’ve let it slip and slip…

ACOFI Tour Tatty Devine Brick Lane 2011-Emma Block
Emma Block.

Tatty Devine Brick Lane ACOFI 2011-Alia Gargum
Alia Gargum.

ACOFI Tour Tatty Devine Brick Lane 2011-Gareth A Hopkins
Gareth A Hopkins – pretending that the camera is not really there. I’m not fooled.

ACOFI Tour Tatty Devine Brick Lane 2011-Emily
Emily Prichard of Tatty Devine helping out on the door.

Plus I just knew that this blog would become a bit of biscuit porn fest (in a good way). You have been warned.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers cassieTatty Devine Brick Lane ACOFI 2011-Biscuiteers cassieTatty Devine Brick Lane ACOFI 2011-Biscuiteers

The last date on my ACOFI Book Tour was held on Tuesday 7th June at the Brick Lane branch of Tatty Devine and it was a homecoming of sorts… mere minutes from my house. I had expected it to be a busy night but I was really quite overwhelmed by the amount of people who turned up: creatives of every age, stage of career and creative discipline, not just illustrators – although it was wonderful to meet so many contributors to Amelia’s Magazine who I speak to regularly by email.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers
Colourful icing ready to pipe onto biscuits.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers cassie
Cassie Merrick of the Biscuiteers with her assistant Lou Newton.

Cassie and Lou had laid out a wonderful Biscuiteers display on the counter by the time of my (as usual) frantic arrival: a delightful carpet of pretty biscuits – tiny iced gem tasters in a rainbow of colours and plenty of half iced biscuits on which guests were invited to pipe their own designs. It took awhile for people to warm to the idea, but once we got going there was no stopping us. Even my boyfriend had a go! (and he wasn’t the only boy who stepped up to the mark)

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers Tatty Devine Brick Lane ACOFI 2011-Biscuiteers

Biscuiteers biscuits come in yummy vanilla and chocolate flavours but it is the handmade decoration that makes them so special. They have a rotating team of trained icers, and Emma Block (having met them at my event) will be joining them as a freelancer this summer. What a great part time job – where can I sign up?! In the meantime Biscuiteers will be helping out with the Letter Lounge event at Tatty Devine Covent Garden on Wednesday 6th July, a result of meeting up on the ACOFI Book Tour.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers Tatty Devine Brick Lane ACOFI 2011-Biscuiteers

Tatty Devine Brick Lane ACOFI 2011-Sonja
Sonja from Tatty Devine welcomes a visitor to the shop.

It was also lovely to meet Richard Watson, who is the maestro behind Juiceology, the new juice brand that has been supporting all ACOFI Book Tour dates. He’d brought along some updated flavours for us to try in slightly bigger bottles of the type preferred by bars. I really couldn’t have hoped for a better sponsor, and it’s nice to know that the ACOFI Book Tour has enabled yet more introductions – Juiceology recently sponsored the Andy Smith solo show at Soma Gallery, which I visited a month ago.

Tatty Devine Brick Lane ACOFI 2011-Richard Watson Juiceology
Richard Watson of Juiceology.

I’ve started to see Juiceology for sale in boutique sandwich shops, so make sure you check them out next time you see them on the shelf – I can’t recommend them highly enough. Richard has some other flavours in the pipeline and I’m looking forward to trying his next flavour soon.

ACOFI Tour Tatty Devine Brick Lane 2011-Lahloo TeaACOFI Tour Tatty Devine Brick Lane 2011-Lahloo Tea
Lahloo Tea once again provided some delicious peppermint and earl grey tea for the event, which was served to guests in dainty china cups.

Tatty Devine Brick Lane ACOFI 2011-Heather Stanton
And of course no event would be complete without some samples of Dr. Hauschka products. This time Heather Stanton of Dr.Hauschka was actually able to make it along and join in the fun with her hubby Will. It was lovely to catch up with her.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers
Tatty Devine Brick Lane ACOFI 2011
ACOFI Tour Tatty Devine Brick Lane 2011
Tatty Devine Brick Lane ACOFI 2011
Tatty Devine Brick Lane ACOFI 2011
ACOFI Tour Tatty Devine Brick Lane 2011

Once everyone had had ample time to meet, mingle, share work and decorate a Biscuiteers biscuit I invited everyone to gather around and stood with my computer held aloft on my shoulder to give the talk. Having done the spiel five times already I raced through it even faster than I have done in the past – mostly because I was aware that everyone was squished into the shop, all standing, and I felt pretty bad about that. I think everyone enjoyed it though.

Tatty Devine Brick Lane ACOFI 2011-Amelia Gregory

Amongst the many Amelia’s Magazine contributors who came along to the event were these lovely illustrators:

ACOFI Tour Tatty Devine Brick Lane 2011-Kristina Vasiljeva
Kristina Vasiljeva has just finished her FdA illustration course at Camberwell. She has been contributing some wonderful fashion illustrations to the magazine.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers
Hannah Simpson was recently awarded a prize at the V&A illustration awards. Here she is icing biscuits with Kristina.

Tatty Devine Brick Lane ACOFI 2011-Helena Maratheftis
Illustrator Helena Maratheftis also posted some photos of the event.

Tatty Devine Brick Lane ACOFI 2011-Naomi Law and Matt Bramford
Naomi Law is of course featured in ACOFI, here with her old chum, my ex fashion editor Matt Bramford.

ACOFI Tour Tatty Devine Brick Lane 2011-Soni Speight, aka IcklesonACOFI Tour Tatty Devine Brick Lane 2011-Soni Speight, aka Ickleson
Soni Speight, aka Ickleson showed us her wonderful business cards.

Tatty Devine Brick Lane ACOFI 2011-Lou Cloud
Lou Cloud and her boyfriend.

Tatty Devine Brick Lane ACOFI 2011-Katie Byrne Emma Block
Other guests included Katie Byrne of The Young Creatives with her friend Emma Block, who showed us through some loose collage bits in her portfolio.

ACOFI Tour Tatty Devine Brick Lane 2011-Emma BlockACOFI Tour Tatty Devine Brick Lane 2011-Emma Block
Emma Block’s delicate collage work.

Tatty Devine Brick Lane ACOFI 2011-Alia Gargum
Alia Gargum and a friend enjoy a nice cup of Lahloo tea.

ACOFI Tour Tatty Devine Brick Lane 2011-plastic seconds
Tatty Devine Brick Lane ACOFI 2011-Maria Gareth and Alia
Maria Papadimitriou of Slowly the Eggs came along again (she also came to the first Tatty Devine event) this time sporting yet another amazing Plastic Seconds necklace (here with Gareth and Alia). Maria even went to the trouble of doing another write up on her blog. What a star!

Tatty Devine Brick Lane ACOFI 2011-Gareth a Hopkins
Tatty Devine Brick Lane ACOFI 2011-The Intercorstal: Valentine
New work by Gareth A Hopkins – The Intercorstal: Valentine.

Tatty Devine Brick Lane ACOFI 2011-Karen
I first met Karen from Stepney City Farm on my twitter feed. Since meeting Gareth and Alia at my event they have helped to create artwork for the Paul Foot Farm Favourite Jigsaw Puzzle East End Weekend which is taking place at the farm on the 9th-10th July to raise much needed funds. You can see their wonderful artwork on Paul Foot’s website.

Tatty Devine Brick Lane ACOFI 2011-Agnes Bataclan Melinda Barbi
Tatty Devine Brick Lane ACOFI 2011- Melinda Barbi Sara Lofwander
Other attendees included Melinda Barbi, an LCF Fashion Photography student who came along with Sara Lofwander and Agnes Bataclan in advance of my lecturing visit to the London College of Fashion. Inspired by the ACOFI event they made me cookies and cake for my visit, which was MUCH appreciated.

Tatty Devine Brick Lane ACOFI 2011-Siobhan of Flamingo Magazine
It was nice to see Siobhan Leddy of Flamingo Magazine – with whom I did an interview awhile back.

Tatty Devine Brick Lane ACOFI 2011-Susannah Cartwright
Susannah Cartwright is a textile designer who is taking part in The Stinging Netil Art Mart on Sunday 10th July in the Netil House car park. Why not check it out?

Tatty Devine Brick Lane ACOFI 2011-Harriet Vine
Tatty Devine’s Harriet Vine.

ACOFI Tour Tatty Devine Brick Lane 2011-Cari Steel Emma Crosby
My former music editor Cari Steel popped in briefly and I made her pose with sales agent Emma Crosby like they’ve known each other forever. Convincing no?

Tatty Devine Brick Lane ACOFI 2011

Don’t forget that you can buy Amelia’s Compendium of Fashion Illustration on my website or from all good retailers (including Amazon) – please do buy the book and support the wealth of talent within. And that, my friends, is the ACOFI Book Tour done and dusted…

Categories ,ACOFI, ,ACOFI Book Tour, ,Agnes Bataclan, ,Alia Gargum, ,Amelia’s Compendium of Fashion Illustration, ,Andy Smith, ,Biscuiteers, ,Book Tour, ,Cari Steel, ,Cassie Merrick, ,Dr.Hauschka, ,Emma Block, ,Emma Crosby, ,Fashion Illustration, ,Flamingo Magazine, ,Gareth A Hopkins, ,Hannah Simpson, ,Harriet Vine, ,Heather Stanton, ,Helena Maratheftis, ,Ickleson, ,Juiceology, ,Katie Byrne, ,Kristina Vasiljeva, ,Lahloo Tea, ,Letter Lounge, ,London College of Fashion, ,Lou Cloud, ,Lou Newton, ,Maria Papadimitriou, ,Matt Bramford, ,Melinda Barbi, ,Naomi Law, ,Netil House, ,Paul Foot, ,Plastic Seconds, ,Richard Watson, ,Sara Lofwander, ,Siobhan Leddy, ,Slowly the Eggs, ,Soma Gallery, ,Soni Speight, ,Stepney City Farm, ,Susannah Cartwright, ,Tatty Devine, ,The Stinging Netil Art Mart, ,The Young Creatives

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Amelia’s Magazine | The ACOFI Book Tour closes at Tatty Devine in Brick Lane

ACOFI Tour Tatty Devine Brick Lane Biscuiteers

Okay, I admit it, it’s taken me over three weeks to get around to writing about my final date on the ACOFI Book Tour… but it was all part of my cunning plan to let you all forget about it and then bring it up all over again! Plus, let’s be honest, I had some pretty darn great coverage around the time of the event. For example this beautiful blog by Alia Gargum, who describes how the process for working for me as a contributor to Amelia’s Magazine has helped her to develop as an illustrator. It’s really nice to get this kind of feedback as I work devilishly hard to promote up and coming creatives and it doesn’t exactly earn me much of a living.

Tatty Devine Brick Lane ACOFI 2011
Tatty Devine Brick Lane ACOFI 2011
All photography by Amelia Gregory.

A few ACOFI contributors also came along for the night – read lovely blogs by Emma Block (who has just graduated from Middlesex University with a first) and Gareth A Hopkins. Emily of Tatty Devine also did a round up, as did Mistry of Habs, Ickleson and Katie of The Young Creatives. Spoilt really! And they wrote theirs a lot faster than me… In the intervening weeks time just seems to have flown past and as the graduate shows have piled up I’ve let it slip and slip…

ACOFI Tour Tatty Devine Brick Lane 2011-Emma Block
Emma Block.

Tatty Devine Brick Lane ACOFI 2011-Alia Gargum
Alia Gargum.

ACOFI Tour Tatty Devine Brick Lane 2011-Gareth A Hopkins
Gareth A Hopkins – pretending that the camera is not really there. I’m not fooled.

ACOFI Tour Tatty Devine Brick Lane 2011-Emily
Emily Prichard of Tatty Devine helping out on the door.

Plus I just knew that this blog would become a bit of biscuit porn fest (in a good way). You have been warned.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers cassieTatty Devine Brick Lane ACOFI 2011-Biscuiteers cassieTatty Devine Brick Lane ACOFI 2011-Biscuiteers

The last date on my ACOFI Book Tour was held on Tuesday 7th June at the Brick Lane branch of Tatty Devine and it was a homecoming of sorts… mere minutes from my house. I had expected it to be a busy night but I was really quite overwhelmed by the amount of people who turned up: creatives of every age, stage of career and creative discipline, not just illustrators – although it was wonderful to meet so many contributors to Amelia’s Magazine who I speak to regularly by email.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers
Colourful icing ready to pipe onto biscuits.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers cassie
Cassie Merrick of the Biscuiteers with her assistant Lou Newton.

Cassie and Lou had laid out a wonderful Biscuiteers display on the counter by the time of my (as usual) frantic arrival: a delightful carpet of pretty biscuits – tiny iced gem tasters in a rainbow of colours and plenty of half iced biscuits on which guests were invited to pipe their own designs. It took awhile for people to warm to the idea, but once we got going there was no stopping us. Even my boyfriend had a go! (and he wasn’t the only boy who stepped up to the mark)

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers Tatty Devine Brick Lane ACOFI 2011-Biscuiteers

Biscuiteers biscuits come in yummy vanilla and chocolate flavours but it is the handmade decoration that makes them so special. They have a rotating team of trained icers, and Emma Block (having met them at my event) will be joining them as a freelancer this summer. What a great part time job – where can I sign up?! In the meantime Biscuiteers will be helping out with the Letter Lounge event at Tatty Devine Covent Garden on Wednesday 6th July, a result of meeting up on the ACOFI Book Tour.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers Tatty Devine Brick Lane ACOFI 2011-Biscuiteers

Tatty Devine Brick Lane ACOFI 2011-Sonja
Sonja from Tatty Devine welcomes a visitor to the shop.

It was also lovely to meet Richard Watson, who is the maestro behind Juiceology, the new juice brand that has been supporting all ACOFI Book Tour dates. He’d brought along some updated flavours for us to try in slightly bigger bottles of the type preferred by bars. I really couldn’t have hoped for a better sponsor, and it’s nice to know that the ACOFI Book Tour has enabled yet more introductions – Juiceology recently sponsored the Andy Smith solo show at Soma Gallery, which I visited a month ago.

Tatty Devine Brick Lane ACOFI 2011-Richard Watson Juiceology
Richard Watson of Juiceology.

I’ve started to see Juiceology for sale in boutique sandwich shops, so make sure you check them out next time you see them on the shelf – I can’t recommend them highly enough. Richard has some other flavours in the pipeline and I’m looking forward to trying his next flavour soon.

ACOFI Tour Tatty Devine Brick Lane 2011-Lahloo TeaACOFI Tour Tatty Devine Brick Lane 2011-Lahloo Tea
Lahloo Tea once again provided some delicious peppermint and earl grey tea for the event, which was served to guests in dainty china cups.

Tatty Devine Brick Lane ACOFI 2011-Heather Stanton
And of course no event would be complete without some samples of Dr. Hauschka products. This time Heather Stanton of Dr.Hauschka was actually able to make it along and join in the fun with her hubby Will. It was lovely to catch up with her.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers
Tatty Devine Brick Lane ACOFI 2011
ACOFI Tour Tatty Devine Brick Lane 2011
Tatty Devine Brick Lane ACOFI 2011
Tatty Devine Brick Lane ACOFI 2011
ACOFI Tour Tatty Devine Brick Lane 2011

Once everyone had had ample time to meet, mingle, share work and decorate a Biscuiteers biscuit I invited everyone to gather around and stood with my computer held aloft on my shoulder to give the talk. Having done the spiel five times already I raced through it even faster than I have done in the past – mostly because I was aware that everyone was squished into the shop, all standing, and I felt pretty bad about that. I think everyone enjoyed it though.

Tatty Devine Brick Lane ACOFI 2011-Amelia Gregory

Amongst the many Amelia’s Magazine contributors who came along to the event were these lovely illustrators:

ACOFI Tour Tatty Devine Brick Lane 2011-Kristina Vasiljeva
Kristina Vasiljeva has just finished her FdA illustration course at Camberwell. She has been contributing some wonderful fashion illustrations to the magazine.

Tatty Devine Brick Lane ACOFI 2011-Biscuiteers
Hannah Simpson was recently awarded a prize at the V&A illustration awards. Here she is icing biscuits with Kristina.

Tatty Devine Brick Lane ACOFI 2011-Helena Maratheftis
Illustrator Helena Maratheftis also posted some photos of the event.

Tatty Devine Brick Lane ACOFI 2011-Naomi Law and Matt Bramford
Naomi Law is of course featured in ACOFI, here with her old chum, my ex fashion editor Matt Bramford.

ACOFI Tour Tatty Devine Brick Lane 2011-Soni Speight, aka IcklesonACOFI Tour Tatty Devine Brick Lane 2011-Soni Speight, aka Ickleson
Soni Speight, aka Ickleson showed us her wonderful business cards.

Tatty Devine Brick Lane ACOFI 2011-Lou Cloud
Lou Cloud and her boyfriend.

Tatty Devine Brick Lane ACOFI 2011-Katie Byrne Emma Block
Other guests included Katie Byrne of The Young Creatives with her friend Emma Block, who showed us through some loose collage bits in her portfolio.

ACOFI Tour Tatty Devine Brick Lane 2011-Emma BlockACOFI Tour Tatty Devine Brick Lane 2011-Emma Block
Emma Block’s delicate collage work.

Tatty Devine Brick Lane ACOFI 2011-Alia Gargum
Alia Gargum and a friend enjoy a nice cup of Lahloo tea.

ACOFI Tour Tatty Devine Brick Lane 2011-plastic seconds
Tatty Devine Brick Lane ACOFI 2011-Maria Gareth and Alia
Maria Papadimitriou of Slowly the Eggs came along again (she also came to the first Tatty Devine event) this time sporting yet another amazing Plastic Seconds necklace (here with Gareth and Alia). Maria even went to the trouble of doing another write up on her blog. What a star!

Tatty Devine Brick Lane ACOFI 2011-Gareth a Hopkins
Tatty Devine Brick Lane ACOFI 2011-The Intercorstal: Valentine
New work by Gareth A Hopkins – The Intercorstal: Valentine.

Tatty Devine Brick Lane ACOFI 2011-Karen
I first met Karen from Stepney City Farm on my twitter feed. Since meeting Gareth and Alia at my event they have helped to create artwork for the Paul Foot Farm Favourite Jigsaw Puzzle East End Weekend which is taking place at the farm on the 9th-10th July to raise much needed funds. You can see their wonderful artwork on Paul Foot’s website.

Tatty Devine Brick Lane ACOFI 2011-Agnes Bataclan Melinda Barbi
Tatty Devine Brick Lane ACOFI 2011- Melinda Barbi Sara Lofwander
Other attendees included Melinda Barbi, an LCF Fashion Photography student who came along with Sara Lofwander and Agnes Bataclan in advance of my lecturing visit to the London College of Fashion. Inspired by the ACOFI event they made me cookies and cake for my visit, which was MUCH appreciated.

Tatty Devine Brick Lane ACOFI 2011-Siobhan of Flamingo Magazine
It was nice to see Siobhan Leddy of Flamingo Magazine – with whom I did an interview awhile back.

Tatty Devine Brick Lane ACOFI 2011-Susannah Cartwright
Susannah Cartwright is a textile designer who is taking part in The Stinging Netil Art Mart on Sunday 10th July in the Netil House car park. Why not check it out?

Tatty Devine Brick Lane ACOFI 2011-Harriet Vine
Tatty Devine’s Harriet Vine.

ACOFI Tour Tatty Devine Brick Lane 2011-Cari Steel Emma Crosby
My former music editor Cari Steel popped in briefly and I made her pose with sales agent Emma Crosby like they’ve known each other forever. Convincing no?

Tatty Devine Brick Lane ACOFI 2011

Don’t forget that you can buy Amelia’s Compendium of Fashion Illustration on my website or from all good retailers (including Amazon) – please do buy the book and support the wealth of talent within. And that, my friends, is the ACOFI Book Tour done and dusted…

Categories ,ACOFI, ,ACOFI Book Tour, ,Agnes Bataclan, ,Alia Gargum, ,Amelia’s Compendium of Fashion Illustration, ,Andy Smith, ,Biscuiteers, ,Book Tour, ,Cari Steel, ,Cassie Merrick, ,Dr.Hauschka, ,Emma Block, ,Emma Crosby, ,Fashion Illustration, ,Flamingo Magazine, ,Gareth A Hopkins, ,Hannah Simpson, ,Harriet Vine, ,Heather Stanton, ,Helena Maratheftis, ,Ickleson, ,Juiceology, ,Katie Byrne, ,Kristina Vasiljeva, ,Lahloo Tea, ,Letter Lounge, ,London College of Fashion, ,Lou Cloud, ,Lou Newton, ,Maria Papadimitriou, ,Matt Bramford, ,Melinda Barbi, ,Naomi Law, ,Netil House, ,Paul Foot, ,Plastic Seconds, ,Richard Watson, ,Sara Lofwander, ,Siobhan Leddy, ,Slowly the Eggs, ,Soma Gallery, ,Soni Speight, ,Stepney City Farm, ,Susannah Cartwright, ,Tatty Devine, ,The Stinging Netil Art Mart, ,The Young Creatives

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Amelia’s Magazine | More Soup and Tart at the Barbican: a review

More Soup & Tart by Ben Jensen
More Soup and Tart by Ben Jensen.

It was always going to be a tall order to recreate the seminal work of underground performance artists, viagra but the Barbican programmers clearly like a challenge: to accompany the current exhibition Pioneers of the Downtown Scene, more about New York 1970s (read my review here) More Soup and Tart was staged as a topical update of Jean Dupuy‘s legendary 1974 Soup and Tart. The premise was simple, order the audience was served with leek and potato soup on arrival, then treated to performances from over 30 artists who were each given a two minute window of opportunity to showcase new work. During the interval we were served (slightly dry and greasy) apple tart.

7. Ryan Styles. MST, Barbican 2011
Ryan_Styles_MST_Barbican_2011_by_Lou_Cloud
Ryan Styles by Lou Cloud.

What ensued was a very mixed bag of work, featuring short pieces from established names such as Martin Creed, Ryan Styles and Simon Bookish alongside some lesser known artists. Quality was variable and there were a couple of instantly forgettable performances (particularly film) but those that did work were punchy and engaging, creating a long lasting impression. The giggly Friday night audience were prone to outbursts of chuckling at the slightest suggestion of humour, which was just as well since there was much to be had. Here’s my pick of the best…

11. Simon Bookish. MST, Barbican 2011
Simon Bookish. He appeared in Amelia’s Magazine some time ago!

Edwina Ashton,  MST, Barbican 2011
Edwina Ashton – Lobster Song/Lobster Singing.

In the first half Edwina Ashton entertained with Lobster Song/Lobster Singing, featuring two creatures with lobster features who plucked at upturned guitars in a vaguely depressive manner before shuffling offstage. The success of this piece lay in the offbeat juxtaposition of crazy costume and very ordinary stage set up, a pretty girl in undefinable traditional dress at hand to turn the sheets of music. We are currently listing her exhibition at the Jerwood Space.

Stewart Home Barbican
Stewart Home – Spam Turned Upside Down.

Stewart Home then highly entertained with Spam Turned Upside Down, whereby he stood on his head and recited cock enlargement offers for celebrities. It was short, memorable and again, crucially, amusing.

Nicoletta Tiberini led a Sounding Poem of carefully placed harmonies from her choir, which were dotted around the auditorium.

Mothball Marcia Faquhar by Ashley Fauguel
Mothball performed by Marcia Faquhar. Illustration by Ashley Fauguel.

For Mothball Marcia Faquhar removed a giant fake fur coat from a vacuum bag and proceeded to dance around underneath it, flinging her heels off in several directions before being forcibly removed from the stage. This was, I imagine, the closest to the spirit of performance art in the 1970s, which is maybe why it worked so well.

2. Andrew and Eden Kotting, MST, Barbican 2011
Andrew and Eden Kotting.

Andrew & Eden Kotting performed the most poignant piece titled Hiding From the Big Guns (Can I Kick It? Yes I Can) which consisted of a man leading a shrouded figure as it kicked a can across the stage against a backdrop of slides that showed the same camouflaged figure in different locations. On reaching a record player the figure was encouraged to kick at the turntable until the shroud was removed to reveal Andrew’s daughter Eden, who suffers from a rare genetic disorder called Joubert Syndrome. It was a profoundly strange and awkward moment that served to enhance the preceding piece.

13. Frauke Requardt. MST, Barbican 2011
Clowns_Barbican_MST_2011_by_Lou_Cloud
Frauke Requardt by Lou Cloud.

Frauke Requardt‘s Episode consisted of two androgynous leotard clad clowns who danced in acrobatic synchronicity against an eery backlight… this was presumably a preview for the new show starting at The Place in June. It was a very effective taster because I now wish I was going to the full performance.

Holly_Slingsby_MST_Barbican_2011_by_Lou_Cloud
Holly Slingsby by Lou Cloud.

The first half ended with Holly Slingsby performing Minotaur in a China Shop (Golden Calf Version) which entailed a lady in bull mask and gold dress chucking plates against the floor.

Lucy Beech and Edward Thompson, MST, Barbican 2011
Lucy Beech and Edward Thompson.

Into the second half: for Lucy Beech and Edward Thomasson‘s 7 Year Itch a group of amateur dancers took to the stage in costumes reminiscent of childhood gym classes. They then created a sport inspired sequence which broke down into its component parts to reveal the thrashing, groaning, sighing sounds of the act of sex – very clever indeed.

Tom Woolner by sanna dyker
Tom Woolner by Sanna Dyker.

Tom Woolner donned a huge blow up head to perform An Early Episode from the Life of Archimboldo, wherein he proceeded to pick his nose in slow motion until a vast green goblet descended to the floor.

Penny Arcade. MST, Barbican 2011
Penny Arcade.

Bad girl performance artist Penny Arcade had flown in from America to give her acerbic take on the Vagina Monologues: this was in effect a short comedy skit.

Dog Kennel Hill Project, MST, Barbican 2011
Dog Kennel Hill Project.

Dog Kennel Hill Project performed Death Scene 347 with the aid of random objects to create the sound effects: concrete blocks, sacks of potatoes and a belt. It was delicately beautiful but I have a burning question… why was it necessary for one of the performers to appear in her pants?

Sam Lee, folk singer and old friend of mine, then stood to perform from the middle of the audience. It was the perfect musical interlude and rightly received a great round of applause.

Tai Shani 2, MST, Barbican 2011
Tai Shani.

In the second half of Tai Shani‘s To Dream and Die in America a group of extras appeared, I think to represent various Hollywood icons. Apparently it is de rigour for every piece of performance art to feature a random naked lady, and this was the piece to do the honours in More Soup or Tart.

Potentially the most absurd performance came courtesy of Tim Etchells, whose And Counting purely relied on members of the audience to shout Now at random intervals. Cue much cackling.

Christian Marclay‘s Smash Hits 1991 upset me greatly: for his two minutes he proceeded to smash a large heap of records and through it all I kept thinking: but what if there’s something good in there? This kind of wanton destruction pains me greatly.

33. William Cobbing, MST, Barbican 2011
William Cobbing – Mobile Home.

We finished on William Cobbing‘s surreal Mobile Home… a globular slab of clay tugged across the stage as the inhabitant pushed it’s arms out of holes to smear and slap the wet clay around in a nosily seductive manner. Like all the best performances of the night it was simple, surreal and instantly engaging.

I hope there is More More Soup and Tart soon.

Categories ,1974, ,7 Year Itch, ,An Early Episode from the Life of Archimboldo, ,And Counting, ,Andrew & Eden Kotting, ,Ashley Fauguel, ,barbican, ,Ben Jensen, ,Christian Marclay, ,comedy, ,dance, ,Death Scene 347, ,Dog Kennel Hill Project, ,edwina ashton, ,Episode, ,film, ,folk singer, ,Frauke Requardt, ,Hiding From the Big Guns (Can I Kick It? Yes I Can), ,Holly Slingsby, ,Jean Dupuy, ,jerwood space, ,Joubert Syndrome, ,Lobster Song/Lobster Singing, ,Lou Cloud, ,Lucy Beech and Edward Thomasson, ,Marcia Faquhar, ,Martin Creed, ,Minotaur in a China Shop (Golden Calf Version), ,Mobile Home, ,More Soup and Tart, ,Mothball, ,New York 1970s, ,Nicoletta Tiberini, ,Penny Arcade, ,Performance Art, ,Pioneers of the Downtown Scene, ,Ryan Styles, ,Sam Lee, ,Sanna Dyker, ,Simon Bookish, ,Smash Hits 1991, ,Sounding Poem, ,Soup and Tart, ,Spam Turned Upside Down, ,Stewart Home, ,surrealism, ,Tai Shani, ,The Place, ,Tim Etchells, ,To Dream and Die in America, ,Tom Woolner, ,Vagina Monologues, ,William Cobbing

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Amelia’s Magazine | Wood Festival 2011 Review: Sarabeth Tucek, Khaira Arby, Willy Mason, The Epstein and more!

Willy Mason at Wood Festival by Sam Parr
Willy Mason at Wood Festival by Sam Parr.

I woke to a parent discussing the merits of dressing up as a crocodile with her child, viagra buy and when I peeked my head out of the tent a man was relaxing across the way with a book emblazoned with the immortal phrase Do More Faster. Perhaps not at Wood, medications eh?

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011. All photography by Amelia Gregory.

Wood Festival on Saturday was like those days you dream of… breezy sunshine, children running through the grass, plenty of good music. And no trouble in deciding what bands to listen to – for the very simple reason that nothing ever clashed at Wood. From the workshops to the music acts everything was timed to fit together and allow for maximum participation without boredom.

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory

And so in the morning I was able to take my boyfriend on a mini tour of Braziers Park – a place that I have often visited with FSC camps, but which I have never really seen inside of. It’s an inspiring community founded on principles of sharing for a better world that was formed in the wake of two disastrous world wars. And it has some truly wonderful gardens, not to mention an ancient listed barn house that I am lucky enough to have called ceilidhs in.

Wood Festival 2011 Braziers Park-photography by Amelia Gregory
Wood Festival 2011 Braziers Park-photography by Amelia Gregory
Wood Festival 2011 Braziers Park-photography by Amelia Gregory
Trevor Moss and Hannah Lou at Braziers Park.

Acupuncture is something I’ve wanted to try out for ages so for a tenner I decided that Wood would be the perfect place to experience acupuncture in the ear and in the feet. It was meant to help my sore back but I think that my lifestyle, sat in front of the computer for hours every day, is going to be hard to cure in one session. Despite my boyfriend’s disparaging opinion of alternative therapies I definitely felt a bit soozed once I had the tiny pins in my ear from Abingdon based Ana at Acuabi and I’d like to try it out again.

Wood Festival 2011 Acupuncture-photography by Amelia Gregory
Acupuncture for a teddy at Acuabi.

Our first musical stop of the day was the dulcet alt country tones of Owen Tromans, joined on stage by Joe Bennett in what was to prove a bit of a common theme – one or other (or both) of the Bennett brothers taking their place on the stage with a band.

Owen Tromans Wood Festival 2011 -photography by Amelia Gregory
Owen Tromans Wood Festival 2011 -photography by Amelia Gregory
Owen Tromans Wood Festival 2011 -photography by Amelia Gregory
Joe Bennett on keys and vocals with Owen Tromans.

In the afternoon we went on a sound tour with Dan Mayfield of Enderby’s Room, who encouraged us to listen to all the sounds around us, not just the background music. He started to explore alternative sounds after moving from rural Lincolnshire to London, and he referred us to his well battered copy of Wild Soundscapes: Discovering the Voice of the Natural World, which I am very tempted to hunt down and read.

Wood Festival 2011 good Biscuits-photography by Amelia Gregory
Wood Festival 2011 good Biscuits-photography by Amelia Gregory
Good Biscuits, who helped out at Comma Shop the next week on the ACOFI Book Tour.

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Workshops are announced.

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory

And then we headed into the afternoon’s entertainment. In typical multi-tasking Wood Festival style the keyboardist with Co-Pilgrim was the girl who sorted out my press pass. Police Dog Hogan offered more soothing British Bluegrass sounds under canvas.

Co-Pilgrim Wood Festival 2011 photography by Amelia Gregory
Co-Pilgrim.

Police Dog Hogan Wood Festival 2011 - photography by Amelia Gregory
Police Dog Hogan Wood Festival 2011 - photography by Amelia Gregory
Police Dog Hogan. And children skipping.

Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory
Wood Festival 2011 -photography by Amelia Gregory

Then it was time for Sarabeth Tucek, much championed in these very pages. She sat beside her partner (apparently a very well known music producer) head bowed, slightly nervy, apparently a bit uncomfortable with performing. But as on record it was her voice and songwriting that shone through, a wonderful mix of languid folk and bittersweet lyrics.

Sarabeth Tucek Wood Festival 2011 -All photography by Amelia Gregory.
Sarabeth Tucek at Wood Festival by Sam Parr
Sarabeth Tucek at Wood Festival by Sam Parr.

Uiscedwr, pronounced Ish-Ca-Door, were at pains to explain their strange name, which means water in both Welsh and Irish. Badges bearing the explanation ensured a pint sized riot as the younger members of the crowd deluged the stage. The bouncy lead singer was very engaging and a brilliant fiddler who soon got the sleepy afternoon crowd bouncing along.

Uiscedwr Wood Festival 2011 -All photography by Amelia Gregory.
Uiscedwr.

Wood Festival 2011 -Truck Monster
Wood Festival 2011 Cari Steel Robin Bennett -All photography by Amelia Gregory.
The Truck Monster proves a great distraction to everyone, including former Amelia’s Magazine music editor Cari Steel.

Wood Festival 2011 Cari Steel Robin Bennett -All photography by Amelia Gregory.
Cari Steel chatting with festival organiser Robin Bennett.

Khaira Arby is not exactly a sprightly young thing but in her gold medallion encrusted headdress she was certainly giving it some as she shook to the Afrobeat sounds. One of the festival highlights for many if the party mood of the Saturday night crowd was anything to go by. Impressive!

Khaira Arby Wood Festival 2011 -All photography by Amelia Gregory.
Khaira Arby Wood Festival 2011 -All photography by Amelia Gregory.
Khaira Arby Wood Festival 2011 -All photography by Amelia Gregory.
Khaira Arby at Wood Festival 2011 by Sam Parr
Khaira Arby at Wood Festival 2011 by Sam Parr.

Then it was straight on over to the Tree Tent to hear Amelia’s Magazine favourite Trevor Moss and Hannah Lou, who gave us an assured set of new songs from their new album Quality First, Last & Forever! Their harmonies may be deceptively simple but the way that Hannah’s voice occasionally curls over the top of Trevor’s falsetto is really quite special.

Trevor Moss Hannah Lou Wood Festival 2011

Headliner Willy Mason then took to the stage in his jeans and braces, dusky orange shirt tucked in. Despite his laid back demeanour this was a crowd pleasing set from a very confident young man, who is clearly happy with his lot as underground folk festival pleasing favourite. You can read a great write up of Wood Festival on Green Wedge, which features a soundcloud interview with Willy Mason about offshore wind turbines in New England. Love it.

Willy Mason Wood Festival 2011 -Willy Mason Wood Festival 2011 All photography by Amelia Gregory.
Willy Mason Wood Festival 2011 -Willy Mason Wood Festival 2011 All photography by Amelia Gregory.
Willy Mason Wood Festival 2011 Robin Bennett-All photography by Amelia Gregory.
Robin Bennett playing with Willy Mason.

Back on over at Tree we finished off Saturday with The Epstein, whose keyboardist managed to freak every single member of my group out with his somewhat spooky stare. Granted this might have been because we were all lounging around on the ground in a rather sleepy way when he might have preferred us to be hopping to the beat, but no matter what, it was a lovely way to end a lovely day at Wood.

The Epstein Wood Festival 2011 All photography by Amelia Gregory.
The Epstein Wood Festival 2011 All photography by Amelia Gregory.
The Epstein.

Make sure you also read my review of Friday’s bands at Wood Festival here. I’ll leave you with a great video from The Epstein:

YouTube Preview Image

Categories ,Acuabi, ,Acupuncture, ,afrobeat, ,Bluegrass, ,Brazier’s Park, ,Cari Steel, ,Dan Mayfield, ,Do More Faster, ,Enderby’s Room, ,festival, ,folk, ,FSC, ,Green Wedge, ,Harmonies, ,Ish-Ca-Door, ,Joe Bennett, ,Khaira Arby, ,Last & Forever!, ,Lincolnshire, ,New England, ,Offshore, ,Owen Tromans, ,Police Dog Hogan, ,Quality First, ,Robin Bennett, ,Sam Parr, ,Sarabeth Tucek, ,Saturday, ,sustainable, ,The Epstein, ,Tree Tent, ,Trevor Moss and Hannah-Lou, ,Truck Monster, ,Uiscedwr, ,Wild Soundscapes: Discovering the Voice of the Natural World, ,Willy Mason, ,Wind Turbines, ,Wood Festival, ,Wood Stage

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