Explore every episode of the podcast Matters

For someone who had pop success, in the sense that his music was topping the charts in the late 1970s, 80s and 90s, Midge Ure has enjoyed an impressive audience long after his greatest hits left the charts.  

“That’s probably because a series of events made that possible,” Midge says. “You must rewind to when people bought albums and things like that. A [commercially successful] piece of music would have a shelf life of six weeks if everyone did their job and you were incredibly, incredibly lucky getting your song on the radio or television; it would hang around for a couple of weeks and then drop, probably never to be heard again, except to hardcore fans of course.

“We only had radio as a medium [back in the 70s, 80s, and early 90s],” he explains. “Even television offered minimal opportunities for live music performances. We didn’t have the internet. We didn’t have smartphones. We didn’t have 24/7 television or social media – none existed.”

So, 30 years into a career, no different to Steve Louw or Cindy Alter, suddenly technology flips, and there’s a plethora of possibilities. “That said, how people listen and consume music at that turning point, and now, is radically different,” Midge points out.

“Today, people buy very little; instead, they find and stream content online through games and similar platforms. For example, I recorded a version of David Bowie’s “The Man Who Sold The World” in the early 80s for a pretty dodgy British movie, and a game used it more recently, leading an entire wealth of young people to discover this piece of music. To them, it’s new. They can’t tell whether someone recorded it yesterday or 40 years ago.

Milky Chance recently announced their long-awaited return to South Africa with their “Living In A Haze” tour in February 2024 which will see them perform in Cape Town, Johannesburg and Durban. I chatted to the German duo in December to talk about their rise to fame ahead of their South African return. Their 2019 single “Life Without Fantasies” reached the top of the South African viral charts amassing millions of streams in 2021 during Lockdown. The band connected with tens of thousands of fans online which led to their first sold out headline tour. They have continued to cement themselves in the industry here, having toured the country a number of times over the past few years and return in February 2024 to share the stage with Milky Chance in Cape Town, Johannesburg and Durban. Sean Koch is one of SA’s most-loved indie-folk artists who brings a mixed bag of African and western, influence alongside messages of home, a connection to nature, the ocean and the people around him; to his storytelling, feel-good music. While rooted in his flowing-folk style, his music is diverse. From dance infused songs like ‘Lift You Up’ the standout single from his collection (including the Double MZK & G DOM remix) to the dreamier songs like ‘Feel the Energy’ that carry deeper messages of connection to the natural world and the people that surround us. There is something for everyone in Sean’s catalogue. Tickets are on sale from https://breakoutevents.co.za/ and are selling fast, so get yours now! Milky Chance “Living In A Haze” South African Tour Dates: 15 February 2024 – Green Point A-Track, Cape Town (supported by Neon Dreams and Sean Koch) 17 February 2024 – Marks Park in Emmarentia, Johannesburg (supported by Neon Dreams and Sean Koch + final opening act to be announced) 18 February 2024 – Durban Botanic Gardens uMphafa Field, Durban (supported by Neon Dreams + final opening act to be announced) Milky Chance “Living In A Haze” South African Tour 2024 details: For more info, go to: Ticketing link: https://breakoutevents.co.za/ Facebook: https://www.facebook.com/abreakoutevent Instagram: https://www.instagram.com/abreakoutevent Twitter: https://twitter.com/abreakoutevent

Australian singer, songwriter, musician, and multi-instrumentalist Xavier Rudd returns to South Africa in February 2024.
Before launching his solo career, Rudd began playing music as part of the band 'Xavier and the Hum'. He drew inspiration from artists such as Leo Kottke, Ben Harper, Natalie Merchant and multi-instrumentalist David Lindley, as well as music from diverse sources such as Hawaiian and Native American music.
Rudd's songs incorporate socially conscious themes, such as spirituality, humanity, environmentalism, and the rights of Indigenous Australians.

It's not every day you get to chat to someone who defined your professional life. In my case and a music journalist when "Drops of Jupiter" was the biggest pop song in the world.

Fast forward a good two decades and Pat and Co. remain as relevant today as they did back then.

As they embark on the biggest world tour in what seems like an age, ‘I Know, It’s Been A Long Time Coming Tour’, I got to spend 12 precious minutes with the man who has carved out a space in music that could not, should not be ignored.

Having just released their latest studio album, Bauhaus Staircase, I was gifted a rare opportunity to speak to both Andy McCluskey and Paul Humphreys of Orchestral Manoeuvres In The Dark (OMD) on the eve of the most extensive world tour in 45 years.

The best part is the synth pioneers will be heading to South Africa in April 2024, the third time we get to welcome them back, eager to hear new music and a wall of evergreen classics, too.

While we wait, give this two-part interview a whirl, dust off those seminal records and prepare to be blown away. Thursday, 18 April 2024 - Green Point A-Track, Green Point, Cape Town Saturday, 20 April 2024 – Marks Park Sports Club in Emmarentia, Johannesburg For all the details, head to Breakout Events for tickets and more information.

Having just released their latest studio album, Bauhaus Staircase, I was gifted a rare opportunity to speak to both Andy McCluskey and Paul Humphreys of Orchestral Manoeuvres In The Dark (OMD) on the eve of the most extensive world tour in 45 years.

The best part is the synth pioneers will be heading to South Africa in April 2024, the third time we get to welcome them back, eager to hear new music and a wall of evergreen classics, too.

While we wait, give this two-part interview a whirl, dust off those seminal records and prepare to be blown away.

Thursday, 18 April 2024 - Green Point A-Track, Green Point, Cape Town

Saturday, 20 April 2024 – Marks Park Sports Club in Emmarentia, Johannesburg

For all the details, head to Breakout Events for tickets and more information. 

In a world dictated to by AI and bots, how refreshing is it that Universal Music and Deezer are investing in the fans, super fans, to take back the power from the algorithm to generate real income and sustainable outcomes.

Meet Meng Ru Kuok - I had the privilege of spending 40 minutes with the digital disruptor as part of Music Exchange 2023 (#MEX23) in Cape Town this week. There is a lot to take in here, so you may want to listen to this talk at least twice ;-)

Meng Ru Kuok is a Singaporean entrepreneur and the Group CEO & Founder of Caldecott Music Group (CMG), a global music industry investor and innovator that spans multiple sectors, including digital (BandLab Technologies), media (NME Networks), and manufacturing and retail (Vista Musical Instruments). 
He sets the overall direction and leads the product strategy for the group. Meng's first major venture was the acquisition of Swee Lee in 2012, which he transformed into South East Asia's largest retailer of musical instruments and the region’s most trusted house of music expression. 

He then co-founded BandLab in 2015, a next-generation social music creation platform that now boasts over 60 million users. BandLab’s vision is simple: A future where there are no boundaries to making and sharing music. BandLab is the next-generation social music creation platform on a mission to break down the technical, geographic, and creative barriers for musicians and fans. 

Free-to-use, the mobile-first cross-platform DAW and social network unites the entire creator journey into one place, boasting a suite of features and tools for creators to make music, share their music with fans, earn a living, and even top the charts.

 
Today, Meng continues to build brands for musicians and fans through CMG's portfolio of brands, which includes BandLab, Airbit, Cakewalk, ReverbNation, MONO, Harmony, Heritage Guitars, Teisco, Swee Lee, NME, Guitar.com, and MusicTech. By integrating the physical, digital, and social supply chain around music, CMG brings together brands and people who are passionate about music, allowing them to deliver authentic content, products, and experiences for all music lovers. 
#music #musicindustry #entrepreneur #manufacturing #network #supplychain #strategy #content #people #ceo #media#creative #retail #share #musicians #future #digital

I captured this interview with Afro Celt Sound System’s Simon Emmerson on the eve of Volume 2 ‘s release in April 1999.

Sadly, Simon passed away in March of this year, one day after his 67th birthday, but this interview keeps his memory alive and the music he made thankfully lives on in his absence.

Afro Celt Sound System, Afro Cult Sound System, Simon Emmerson, Simon Booth, Real World, Real World Studios, Peter Gabriel, Real World Festival, Glastonbury 1997

Meet Charl Kruger, the design mastermind behind some of the last 30-odd years of creative genius to come out of ZA. In this candid interview, I poke and prod to better understand his motivation and obvious passion behind his iconic work, most recently with the reimagining of The Gathering's only ever, soon-to-be released debut album, In The End.

This interview, captured nine months before the group landed in ZA (circa 2004), saw me chatting with the founder member of Basement Jaxx, Felix Buxton. 

Kish Kash was the group’s third delivery, a significant album for them, as much as it was for their fans. Listen and enjoy how this album came together.

Basement Jaxx, Basement Jacks, Felix Buxton, Independiente, Simon Ratcliffe, Goldie, LTK Bukem, XL, Interscope, PIAS, Daft Punk, OMG, Kish Kash, Oh My Gosh, Crazy Itch Radio, Scars, Glastonbury, Glastonbury Festival Basement Jaxx, Glastonbury Festival, Glastonbury Festival Kylie Minogue, Yoko Ono, Santigold, Hush Boy, JC Chasez, Lisa Kekaula, Me’shell Ndegeocello, Dizzee Rascal

This interview with the one-time member of Savage Garden and celebrated solo artist in his own right, Darren Hayes, was captured in December 2001 and focused on the release of his debut solo album, Spin.

Fast forward some 22-odd years later, and he’s back with a new album, his fifth, titled Homosexual, validated by longstanding fans, the LGBTQIA+ community and everyone in between.

Give this interview the time, if only to get a sense of this man’s complete professionalism and absolute commitment to his craft, and perhaps you’ll understand his 2023 intent even better. 

Darren Hayes, Savage Garden, Homosexual, Darren Hayes Homosexual, Insatiable, Sony Music, Sony Music Entertainment, Roadshow Music Pty Ltd, To the Moon and Back, I Want You, Truly Madly Deeply, Affirmation, The Animal Song

Formed in 1990 by singer, songwriter, and guitarist Jason Pierce, the British band Spiritualized quickly gained a reputation for their unique sound, blending gospel, blues, and psychedelic rock elements. 

By 2001, when I was fortunate enough to meet up with my namesake in Cape Town, the band had already released four critically acclaimed albums, including their breakthrough album Ladies and Gentlemen We Are Floating in Space.  

In our time together, Jason spoke about the journey up to the point of Let It Come Down and being suspended from a helicopter while flying over the West Coast dressed up in a space suit 😉

With a dedicated following and a reputation as one of their generation's most innovative and daring bands, Spiritualized continues to push musical boundaries and captivate audiences with their electrifying live performances.

Enjoy!

Spritualised, Spiritualized, Jason Pierce, We Are Floating in Space, Let It Come Down, Arista, BMG, SONYBMG

In a near attempt at getting William Orbit to Cape Town, South Africa, just before the pandemic hit, this is our conversation around a road well-travelled and adventures ahead, some of which are still to be realised.

But just who is William?

William Orbit is an English musician, composer, and record producer who has been active in the music industry since the 1980s. He has had a successful career, working with a range of high-profile artists, and producing innovative and influential music in electronic, dance, and pop music.

In 2023, William Orbit continues to be a respected and influential figure in the music industry. He is known for his unique and experimental approach to music production, influencing many other artists in the electronic and dance genres.

Over the years, Orbit has collaborated with various musicians, including Madonna, All Saints, Britney Spears, and Blur. He is particularly well-known for his work with Madonna, producing some of her most iconic albums, including Ray of Light and Music.

In recent years, Orbit has continued to produce music, collaborate with other artists, and release his solo work. He has also embraced new technologies and trends in the music industry, experimenting with virtual reality and incorporating new digital tools into his production process.

Overall, William Orbit remains a significant and influential figure in the music industry, whose legacy and contributions to electronic and dance music inspire new generations of musicians and producers.

William Orbit, Ray of Light, Blur, electronica, dance, pop, Britney Spears, All Saints, Blur, Ray of Light, The Painter, Music

With 2023 now in full flight, multi-award-winning pop singer-songwriter, actor and philanthropist Jann Klose releases his seventh studio album, a 12-track collection of arguably his most considered and commanding work yet.

Filled with no less than ten original tracks, along with an arresting acoustic version of "Love You the Most" featuring Alicia Madison and an equally intoxicating, passion-filled Spanish rendition ("Te Amaré Más"), Surrender is steeped in pop brilliance.

Stream/listen to ‘Surrender’ Album HERE

Musically, Surrender is filled with everything from infectious topical Top 40 familiarity, all while teasing the fringes of Americana, flirting with rock, and getting up close and personal with heartfelt ballads. In essence, there's something on Surrender we all will want to submit to, repeatedly.

As the next exciting chapter, post-2018's In Tandem stellar success, the bridge to Surrender was littered with cataclysmic encounters. Death, rebirth, collaboration, positivity, and partnerships that, out of the ashes of global adversity, was born and not a moment too soon if only to heal and inject positivity the world so critically needs.

With five singles already successfully landed, including “Flesh and Blood”, Surrender has five more ripe and ready tracks to be plucked and played on high rotation well into 2024.

"Each song, each album is, if nothing else, an offering," Jann concludes. "That's how I feel about it. This is what I do, this is what I love, and I am offering it. The rest is out of my control."

Fin de Siècle is the sixth studio album by the Northern Irish band, The Divine Comedy, released in 1998. Before its release, someone thought it a good idea that frontman Neil Hannon got to tell me all about it, and this is that analogue, 1998, recording, warts, and all (apologies), but do enjoy it.

The album received critical acclaim and was a commercial success, reaching the Top Ten in the UK album charts.

The album features lush orchestral arrangements and witty lyrics, typical of The Divine Comedy's style. It includes the hit single "National Express," a humorous song about a coach trip around the UK. Other standout tracks include "Generation Sex," which satirizes modern society's obsession with sex and youth, and "The Certainty of Chance," a melancholy ballad about the fleeting nature of life.

Fin de Siècle showcases Neil Hannon's songwriting skills and unique vocal style, often compared to that of Scott Walker and Jacques Brel. The orchestral arrangements by Joby Talbot complement the songs perfectly, adding to the album's lush, cinematic sound.

This remains a highly regarded album by The Divine Comedy, showcasing the band's signature sound and Hannon's songwriting talent.

In early August 2004, a wonderful time in my life and music in general, I got to chat with Badly Drawn Boy for a second time. This interview caught him on the release of his fourth, highly anticipated release, One Plus One Is One.

Badly Drawn Boy, whose real name is Damon Michael Gough, is a British singer-songwriter and musician who gained popularity in the early 2000s for his unique blend of indie rock, folk, and electronic music.

For context

In August 2004, Badly Drawn Boy had just released his fourth studio album, One Plus One Is One, which received generally positive reviews from critics. The album departed from his previous works with a more polished and cohesive sound and featured tracks such as "Year of the Rat" and "Nothing's Going to Change Your Mind".

Around this time, Badly Drawn Boy was known for his quirky personality and eccentric fashion sense, often sporting a distinctive beanie hat and unkempt hair. He had recently completed a successful tour of the United Kingdom and was gearing up for a tour of the United States in the autumn of 2004.

Overall, August 2004 was a busy and exciting time for Badly Drawn Boy as he continued to make a name for himself in the music industry with his unique style and sound.

The Prodigy’s fourth studio album, Always Outnumbered, Never Outgunned, was released on August 23rd 2004, and I was lucky enough to chat with Liam Howlett on July 13th of that year. This is that brief encounter.

Always Outnumbered, Never Outgunned marked a significant departure from the group’s earlier work. It featured no live vocals from frontman Keith Flint or other guest vocalists, instead relying solely on samples and instrumentals.

The album was primarily the work of Liam Howlett, who produced, arranged, and played most of the instruments on the record. He was joined by guest musicians such as guitarist Jim Davies, Oasis guitarist Noel Gallagher, and actress Juliette Lewis, who provided vocals on the track “Hotride”.

Musically, Always Outnumbered, Never Outgunned continued to push the boundaries of electronic music, incorporating elements of rock, hip-hop, and even country into the mix. The album’s opening track, “Spitfire”, featured a guitar riff reminiscent of the Rolling Stones, while the track “Girls” used a sample from the Beastie Boys’ “It’s the New Style”.

Overall, the album received mixed reviews from critics and fans, with some praising its experimental approach and others criticising its lack of live vocals. Nevertheless, Always Outnumbered, Never Outgunned remains an important and influential work in The Prodigy’s discography, showcasing Liam Howlett’s versatility as a producer and willingness to take risks and try new things.

In 2004, I had the privilege of speaking to Rykodisc co-founder Arthur Mann. Sadly, he’s been written out of critical modern music history today. What’s tragic is that his role was pivotal and needed tremendous respect.

If you want to commit to this VERY analogue recording of that interview, captured in a busy office (apologies for the ambient noise), there is sage wisdom shared to take away here.

For context - Arthur Mann was a record producer and executive who worked at Rykodisc, an independent record label founded in 1983. He joined the label in the mid-1990s and became its president in 1999. While at Rykodisc, Mann signed and released diverse music, including jazz, world music, and classic rock.

Mann was known for his passion for music and ability to identify and promote talented artists. He was instrumental in helping Rykodisc establish itself as a leading independent label, earning a reputation for quality releases and innovative marketing strategies.

Under Mann’s leadership, Rykodisc released albums by many notable artists, including Frank Zappa, David Bowie, Elvis Costello, and Robert Wyatt. Mann also oversaw the acquisition of Hannibal Records, a world music label, and worked to expand Rykodisc’s presence in the digital music market.

Mann left Rykodisc in 2006 to pursue other opportunities in the music industry. However, his legacy at the label continues to be felt, and he is celebrated as a passionate and visionary leader who helped shape the independent music scene.

This interview, captured in early 2023, has taken 30 years to realise.

For context, Frederick Botha, AKA Drikkie to those who know and love him, formed a band in the late 1980s called The Gathering in Pretoria, South Africa, a country coming out of the State of Emergency brought on by the then Nationalist Party and government of the day. So, not a convenient time to be unconventional; everything The Gathering was, in the very best way. This is that untold back story.

I will hand it over to Drikkie to explain best. “Recording the first versions of “Perfect Souls” and “Wooden Walls” was not a nice experience. Out-of-step engineers and a shitty record company typical of the time. “Lamb Stricken” was, however, more pleasant.

“We could play the song how we wanted, without the producer trying to change it. They probably didn’t understand what we were doing in the first place, which was funny. Recording the final single was great. We could do exactly what we wanted, and it was fun.

“The fifth band member will always be Charl; he ensured the image was always taken care of, designed all the posters, and even helped with the live shows. I think he was sadder when the band broke up than I was 😉”

thegathering, thegatheringsa, perfectsouls, woodenwalls, drikkiebotha, frederickbotha, theoutsiders, lambstricken

In 1998, Culture Club was all things reunited, something that became somewhat of a theme from then on out.

This interview, captured in 1998, at the start of the band’s first official re-start after disbanding, is something special and a snapshot worthy of capturing for posterity.

Culture Club made up and informed our pop culture and music landscape right through the 1980s, 90s and comfortably into the nulls – a fact no one can or should deny.

If you want to get a sense of who these creatives were back then and where their original motivations lay all those years ago, this is one for you. Enjoy.

Culture Club, Boy George, Karma Chameleon, I Just Wanna be Loved, Church of the Poison Mind, Virgin, Virgin Records

My relationship with The Smashing Pumpkins goes back to their debut Gish, but this interview was recorded a good few years later when, in mid-1998, Adore landed. Not by me, sadly, but captured nonetheless, thanks to my working at EMI and an advance CDR recording of the interview landing on my desk, and I was ready to tell anyone who cared.

I shared the interview on The Cutting Edge, a weekly show I hosted at the time, along with the inimitable Tiene van den Berg, back in May 1998. Yes, it’s all mono and analogue horrible, but it remains a slice of modern rock history worthy of resharing.

Yes, there are poorly captured mono recordings on this session, which copyright oddly allows, but which make my heart gratefully happy for past and future generations to appreciate, so enjoy and, more importantly, go dig out or purchase the rich catalogue that exists. If this band doesn’t move you, consider yourself already dead.

Smashing Pumpkins, Adore, Billy Corgan, Gish, Melancholy and the Infinite Sadness, Mellon Collie and the Infinite Sadness, The Cutting Edge, Tuksfm, Tuks FM, Virgin, Flood, Ava Adore, James Iha, D’arcy Wretzky, Virgin Records

This is the second Sugardrive interview I conducted with lead singer Paul E. Flynn. Of the five albums this seminal band released, I somehow managed to convince the band to head out to Pretoria and perform, ‘unplugged’ on a little show I did each week on @tuksfm back when Noah imagined his ark.

Here we joked a lot and didn’t get much work done, but it was a glorious one-of-a-kind night, huddled in a small studio, one I will treasure forever.

My relationship with the band began in 1994, and over the years, I would like to think that, in some small way, I was pushing the needle in trying to get the world to pay attention. I miss their gigs and their self-deprecating humour.

Sugardrive was a band always a year ahead of their peers, a lot like The Outsiders, which, if you know anything about this business, is entirely unhelpful when it comes to being in the right place at the right time.

·  Disclaimer – there is music played that’s not cleared for broadcast. Still, due to the nature of my mono-captured cassette sessions, the Universe will allow us all to rekindle a memory and perhaps cajole Paul to reform the band sans the sadly departed and much-loved and missed Garth McLeod.

Three months into the new millennium, I got offered an interview with Jude Abbott, one-eighth of the English rock band Chumbawamba. Of course, I jumped at the opportunity to discover how they intended to replicate or surpass the success of their previous album, Tubthumper.

Their eighth album, WYSIWYG (an abbreviation of What You See Is What You Get), and its 22 tracks, sadly did not chart anywhere in the world. Still, they did get to land their multi-layered, overtly politically driven messages. A year after capturing this recording, the band left EMI and headed off to blaze new trails for the rest of the decade.

It’s an interview that contextualises their sudden global appeal after having been around for some 15 years before that. Enjoy.

On the 18th of March 1998, I got to speak to one part of the critical twosome, Gert Bettens, known as K’s Choice, Belgium’s duo who turned the world on its head with the 1995 debut single “Not an Addict”.

From there, the world welcomed them, and the band spent the next two years touring the better part of the US and Europe.

On the eve of their third album’s release, Cocoon Crash, this humble, wonderful man opened up and shared the story to then. If you followed the band then, or simply enjoyed their musical delivery, give this interview a listen and get a better sense of who these two siblings were some 24-odd years ago.

This was the second of many interviews I was privileged to host throughout Faithless’ lifespan. 

Having first spoken to Maxi Jazz while he was ordering a pint in a busy London pub on the eve of Reverence’s release in 1996, two years later, a few million albums sold subsequently and tours aplenty, Maxi and I reconnected again.  

It was hard to listen back to this while converting it from its original cassette recording, if only because the great oral disseminator recently and unexpectedly left us. The world has lost a true gentleman, a humble soul, a respected producer, and a spoken word lyrical genius.   

Enjoy and keep their music alive with multiple replays of “God is a DJ” and all that Sunday 8pm and the rest of their glorious emotional rollercoaster ride offers that will forever be faith-filled, Faithless.

Each week, give or take, I post an interview I have conducted, either legacy or current. This week’s contribution comes kind courtesy and hot-off-the-press (as it were) from creative agitator, initiator, serial entrepreneur, and extraordinary all-around human being David Chislett. I count him as a dear, dear friend and equal inspiration.

What David has not poked, questioned, or contributed to in the arts, corporate business, training, workshops, or keynote addressing over decades is extraordinary.

Finding his ‘voice’ and realising his contribution has seen him go down many a rabbit hole to where he finds himself successfully installed today. As we close out 2022, this is where David’s at.

It’s apparent, upon listening, why his contribution to the world at large is so significant and his role invaluable in unlocking what each of us carries, known or otherwise. As a Change Pilot, he holds the key.

To find out more and engage, plug in here:

https://davidchislett.com

https://www.patreon.com/davidchislett

YouTube: @DavidChislett or https://www.youtube.com/c/DavidChislett

LinkedIn: https://www.linkedin.com/in/davidchislettcreativity/

Disclaimer: My journey with this band does not extend back to their humble beginnings, but when I reported on their first three albums, catching them live in 2018 fundamentally changed my life. The Lumineers remain trailblazers, be that now or 17 years ago when they first arrived.

I dodged dodgy Wi-Fi and multiple repeat calls to capture this 30-minute session with co-founder, songwriter, and all-around lovely human Wesley Schultz. If you are a fan, please endure; what he delivers is fundamental to understanding his journey here. It’s a beautiful thing, but you decide, right?

Thank you, @roshika and @sam at Universal Music, for your committed investment. I love you guys.

In 2006 I had the privilege of sitting with the late great Chris Cornell in Cape Town at the height of Audioslave’s global modern rock domination. What I was not able to do, however, was capture a voice recording, I was a print journalist at the time, after all, and the record label scoffed at my request. 😉

Rewind four years earlier, November 2002, the month Audioslave released their seminal self-titled debut album. The phone rang, and their label offered me an interview with Chris, the caveat being it had to be in person in Los Angeles. What to do? Call a friend, which I did, the founding member of The Outsiders, Drikkie Botha, who just so happened to live in California. I told him of the golden opportunity, and he graciously recommended fellow musician and scribe Sander Verlaan. He agreed and recorded the interview, sharing it with me for publication in South Africa. I wrote up his interview and published it for the long-defunct Pulse magazine for Musica.

Then, life happened, and the voice recording he did was lost, saved on some stiffy or CDROM, not retrievable by me. What to do? Call a friend, which I did once again. Drikkie again delivered, connecting me to Sander some 20 years later.

Here’s his reply to my recent Messager request: “Drikkie has told me about you over the years. I have a recording from the Chris Cornell interview I did in your place for the first Audioslave record. Drikkie told me about your podcast, and I immediately said I had an interview I did for you. I know I was a bit of a fanboy interviewing him but let me know if you want the file, and I will be more than happy to look for it.”

Sander was a massive fan of Chris’ work and set off to meet with him at Sony Music’s LA offices in late 2002. Here’s some context from Sander to what you’re about to hear.

“Disclaimer: I was a bit of a fanboy of CC, ha-ha!” wrote Sander. “I was the first one of the day to interview him, super nervous and had arrived in Santa Monica early, having missed the listening session the night before. That said, the Sony contact at the time was a fellow Dutch guy, and because we met early, he drove me to the Sony office and put me in a fancy listening room so I could listen to the record before meeting Chris. They know how to pack you in with a high-quality system like that, so I remember walking into this room feeling impressed with the record, ha-ha! Anyway, some background info.”

Thank you, Drikkie Botha, as always. Sander, you are a gentleman and a man of many talents. Thank you for taking the time to help me resurrect this critical piece of legacy footage – much love and respect to you both.

It may have taken more than 42 years to get Mike Scott and his motley crew of genius talent to our shores. Still, thanks to Breakout Events, The Waterboys will finally be setting sail to play live at Kirstenbosch National Botanical Gardens on Friday, 25 November, and in Johannesburg at Casalinga on Sunday, 27 November.

If you happened upon the British-Irish indie folk rock back in the early to mid- 1980s, you’re probably old enough to have heard them on the then Radio 5, courtesy of the DJ who championed their genius, one Chris Prior – the self-proclaimed ‘Rock Professor’.

How he first stumbled upon their unique blend of Celtic, gospel and country music remains a mystery to this writer. Still, South African fans were no less grateful for his single-handed obsession to have their music heard. Their This is the Sea; A Pagan Place and Fisherman’s Blues albums sold out upon release and continue to sell to this very day.

Over the years, seminal tracks, the likes of “The Whole of The Moon” and “How Long Will I Love You”, have found their way onto TV shows the likes of Ray Donovan and The Affair, while the late-great Prince, U2, War On Drugs and Ellie Goulding have performed their music live too.

In 2020, the music that Mike Scott (vocals, guitar, piano), Steve Wickham (electric fiddle), Memphis keyboard great “Brother” Paul Brown, British ace drummer Ralph Salmins and funky Irish bass player Aongus Ralston performed around the world, continues to resonate with audiences right across the globe.

While fluffing and folding his live performance wardrobe, lead singer Mike Scott reveals a little of what four generations of fans can look forward to when the collective finally hits African terra firma.

You’ve been making beautiful music since 1983 and have performed everywhere except South Africa. What took you so long?

“It’s something we’ve always wondered about. We almost came several years ago, but it’s expensive when you want the musicians to get paid well. We do things properly, with a good crew, and now we’re able to do that, so we’re happily on our way now.”

It’s coming up 42 years since The Waterboys first formed, and you’re the one constant in the band throughout that time. What, in your mind, do you think it is that has carried these songs for as long as they have?

“[Laughing] I don’t carry our entire work with me. I want to have a great time when we get up on stage and play songs that get my rocks off, as it were. Our sets in South Africa will be rather special, if only because we have never performed live there. So, the classics will certainly be in there, as will be a few rare treats.”

To what do you owe your longevity and relevance?

“Most likely due to many players that have come through The Waterboys over the years. Each permutation and combination had me working hard to explore all the possible surprising changes and keep it fresh. Each new player that has come in, you feed off them, and they feed off of you. The chemistry remains quite electric.”

So, what can South Africa expect from The Waterboys’ sets?

“Well, I like to improvise, but it will be a magical mix of old and new, of that fans can rest assured. Playing to new audiences is always exciting, so we’ll bring our A game. If only because it’s long overdue.”

Welcome back to the story behind Marc Marot, ex-Island Records Managing Director and today an artist in his own right.   

This is the second part of a two part interview that unpacks a journey that saw him promoted to the youngest Managing Director of a major record label at 29.   

Amongst the artists signed and developed by his team while at Island Records were Pulp, PJ Harvey, The Stereo MCs, P.M. Dawn, The Cranberries, Elbow, Chaka Demus and Pliers, NWA, The Orb, Ice Cube, Talvin Singh, Tricky and Nine Inch Nails.  

Marc also guided U2’s career throughout the 1990s, from the release of Achtung Baby to just before the release of All you Can’t Leave Behind, selling close to 60 million albums in the process.   To date, acts discovered or managed by him have notched up 38 Top Ten singles, including 18 Number One singles in the UK charts alone.  

In one form or another, Marc has been responsible for more than 100,000,000 album sales, including his ten years of direct international responsibility for U2’s marketing and sales. Listen, learn, and most importantly, enjoy 😊   

@ISLAND RECORDS   @Island Records UK   @U2   @Nine Inch Nails   @Jarvis Cocker   @elbow   @Guy Garvey

Meet Marc Marot, ex-Island Records Managing Director and today an artist in his own right.  

This is a two-part interview that unpacks a journey that saw him promoted to the youngest Managing Director of a major record label at 29.  

Amongst the artists signed and developed by his team while at Island Records were Pulp, PJ Harvey, The Stereo MCs, P.M. Dawn, The Cranberries, Elbow, Chaka Demus and Pliers, NWA, The Orb, Ice Cube, Talvin Singh, Tricky and Nine Inch Nails. 

Marc also guided U2’s career throughout the 1990s, from the release of Achtung Baby to just before the release of All you Can’t Leave Behind, selling close to 60 million albums in the process.  

To date, acts discovered or managed by him have notched up 38 Top Ten singles, including 18 Number One singles in the UK charts alone.  In one form or another, Marc has been responsible for more than 100,000,000 album sales, including his ten years of direct international responsibility for U2’s marketing and sales. Listen, learn, and most importantly, enjoy 😊   @ISLAND RECORDS   @Island Records UK   @U2   @Nine Inch Nails   @Jarvis Cocker   @elbow   @Guy Garvey

On any given Friday, I tend to celebrate the promise of the week by it all resolving well. This one did that when I got the rare chance to chat with X Ambassador’s lead singer, Samuel Harris.

If you’re new to their music, they’re anything but an overnight sensation, having plied their trade for the better part of 15 years!

This 14-minute snapshot should give you a glimpse into what’s possible when commitment, self-belief and indifference meet circa 2022.

X Ambassador, Sam Harris, Casey Harris, Adam Levin, Jungle, Renegades, Unsteady, VHS, Orion, The Beautiful Liar, Interscope, X Ambassadors Interscope

While the world was catastrophising over Y2K, Supergrass, made up of Mickey, Danny and Gaz, smartly busied themselves with producing their ‘mature’ third, self-titled album.

This is another CD-interview disc for ‘Promotional Use Only’, which this is, so please enjoy the band unpacking all the hoopla around the attention they richly attracted at the time.

Ollie Jacobs and James Barnett formed an electronic/ rock act that punched a hole in the sky with their Reprise debut, Fresh Meat, an album that came out of a journey that began at the tender age of 16.

This interview is a slice in time when the band was coming into their own, circa 1997, when I got to spend time with James.

·  Yes, the quality of it all is less than great (Mother Nature wants it back), for the best part, but I dare you to stay faithful, and you’ll be rewarded towards the end, promise.

In late 1997 I had the rare opportunity to speak with the lead singer and guitarist of The Nixons after the success of the hit singles "Sister" and "Wire" from their debut MCA album, Foma.

We spoke about the journey that took six years to get the accurate recognition they richly deserved and what lay ahead with the release of their self-titled 1997 album.

Like so many of my interviews, this is another snapshot in time. Enjoy.

Doing what he was always programmed to do, in April 1998, I got to spend time with Steve Newman, one part of Tanana’s and equally critically acclaimed solo artist.

When we hooked up between SAMA run-ins and new album releases, this time round, we were talking all things retrospectively, Tananas, The Collection, their greatest hits collection. A great giving, humble, gifted human being, listen and learn a little more about the magic-maker behind the music.

Steve has gifted the world with so much fantastic music; some 24-odd years later, it’s our turn to reciprocate in support and love.

In late 1999, I got to chat with John Stevens, the lead singer of Neve, a long-since defunct band, but their story is a wonderful listen to the level that took them from zero to hero in precious little time.

Their breakout single, “It’s All Over”, appeared on the soundtrack to The Faculty, after which they were away.

They lasted two albums before faltering, but their debut, Identify Yourself was fundamental in how they did all the heavy lifting upfront to inform their success for the album under discussion here. Enjoy.

The year was 1997 when I got on the phone with Amersham lead singer Adam Lomas on the eve of their first official full-length album, Wearing Thin.

It was a time of extraordinary possibility and promise; Adam took me through the journey of its creation after the success of their BMG first reveal EP, Pickled.

Enjoy this trip down memory lane about an album filled with clever artwork, phenomenal production, and plenty of happy mistakes.

The best part is that Amersham is still alive and well, some 25 years from when this was first captured. Check out their new music on all good streaming platforms, and you’ll be blown away as we all were when we first heard these wonderful Wombles dropping their genius on us for the first time.

Disclaimer: Excuse the quality of the recording; as with almost all my legacy interviews, I rip them from my ageing analogue cassettes.

Three-and-a-half years into their career, Sugardrive were ready to release their second, high anticipated album, Sand Man Sky.

In September 1997, I had the chance to speak with the band’s lead singer, Paul Flynn, to talk through their journey at a time when South African modern rock was coming into its own.

When we spoke, the band was suffering huge frustration due to their label at the time missing a massive beat.

I loved this interview and am still in love with this band today.

Music that makes people happy in every sense of the word; on 1 October 1997, I had the chance to speak to A Reminiscent Drive’s creator Jay Alanski at the time his Mercy Street album dropped.

Reminiscent Drive was born on the F Communications label, and between 1995 and 2001, four EPs, two albums and remixes were born.

If you are a fan of ambient, electronic music and don’t know Jay’s work, give this interview a listen, and you’ll get to understand how this soundscape artist built an album with not a single computer in sight.

Going through my trunk filled with legacy interviews I captured, I found a few interview CDs for promotional purposes that I thought needed to be heard and not lost in time.

This one is with Robert Plant and Jimmy Page, recorded in 1998 on the eve of the two music icons releasing, Walking into Clarksdale.

Again, this is not my interview to claim; I used it to craft a printed editorial at the time, courtesy of Universal Music. I just thought you’d like to hear it before Mother Nature reclaims it.

In October 1997, I had the opportunity to talk to violin prodigy Vanessa-Mae. 1995’s The Violin Player sold more than two million copies by the time Storm arrived. In-between, she released The Classical Album 1 in 1996 and China Girl: The Classical Album 2 just before she delivered Storm, collectively showcasing all the colours of her musical rainbow.  

Her talent and ability to bridge the gap between classical and pop turned her into a worldwide phenomenon. With that, an entirely new audience embraced the violin in a whole new way. Crossover or classical, Vanessa remains curious and keen to push boundaries to this very day.

In June 1998, ten years into a successful career, I got to chat with British singer-songwriter Tanita Tikaram. Her debut folk-infused album, Ancient Heart, remained a global classic, thanks to the success of the singles “Twist in My Sobriety” and “Good Tradition”, and five albums later, she poured out The Cappuccino Songs.

Throwing caution to the wind, Tanita wanted to be playful without another restrictive major record company deal. The ten tracks on the record confirm positivity and a fiery pop sensibility and independence fans relish to this day.

Before the turn of the new millennium, I was fortunate enough to spend a few precious minutes with one of dance music’s true pioneers, Carl Cox.

House and techno are where he continues to confirm his mark as a name worthy of attention. In this interview, captured 22-plus years ago, much has changed, but so much remains the same. Deep listen and take the learnings.

We are all time poor, but we’re rich in expertise and compelling service offerings, so why not use your time smartly by installing your voice where your market plays?

Yes, podcasts are anything but new, but they are a mature content type every business should consider as part of their overall marketing and PR strategy.

Why? Well, for one thing, today, the barrier to entry, cost-wise, makes podcast production affordable if carefully managed.

Where to start

Seek out a trustworthy full-service podcast agency to create successful programming based on a concept that’s steered by a content plan and podcast strategy.

The amount of information (products, services, topical industry-related themes etc.) you wish to share over time will determine the frequency at which you post. What’s a non-negotiable, however, is frequency consistency.

Whether that’s once a week, twice a month, once a month or once a quarter, stay true to your content calendar. If content is king, then consistency is right alongside it as queen. Do that, and you have a perfect podcast marriage.

Next, decide on what content you are comfortable with (interview-based, narrative or story-driven, or a mixture of the two). I can even take existing written case studies and white papers and turn them into synthetic voice narratives.

Having worked in the content marketing space for over two decades, I have acquired the expertise and experience to create, host and help amplify your work and interrogate, improve and evolve it.

My bottom line is that I love nothing more than helping unlock and promote people, products, businesses and innovation. What I love equally is producing and publishing podcasts.

Besides offering data-rich feedback, podcasts are a content type that, at minimal cost, can deliver impressive engagement.

With little or no exposure and the opportunity to start building a legacy archive that can be shared across all of your owned media platforms, why not run a short trial with me? Nothing ventured, nothing gained, right?

One size does not fit all

Diving in and establishing a profile can be daunting and expensive, but it needn’t be.

If you already have a hosting platform, great. If not, I can help set these up for you.

These are the hosting platforms I use:

YouTube Studio account set-up cost to you: R1 500 – once-off
YouTube Studio hosting – monthly cost to you – none

Spotify and Apple Music account set-up  cost to you: R1 500– once-off
Spotify hosting – Monthly cost to you – none

Base fee per podcast recording, pre and post-production (including capturing, editing, 2 x reverts and uploading to YouTube Studio, Spotify and Apple Music – R2 500 per episode *

*This fee may change once the scope of work has been assessed, and based on frequency, tiered discounts may apply.

If you’d like to know more and chat through the options available, drop me an email: jason@matters.co.za

Jeremy Loops has been Trading Change since 2014, and along with his commitment and obvious talent, he’s attracted an army of followers.

In this, my first ever interview with the roving raconteur, recorded on the eve of his highly anticipated third album, Hear You Got Love, Jeremy waxes lyrical about his journey to here and his ongoing investment in paying it forward.

2018’s Critical as Water album cemented his reputation as an artist worthy of international acclaim with sold-out shows in the US, UK, and Europe.

Four years in the making, Jeremy’s done anything but rest on his laurels to deliver a stellar set of new songs, all a further notch up or three from where his last album left off.

Yes, it took a while to make, but Jeremy’s third album is well worth the wait. Featuring collaborations with Ladysmith Black Mambazo (“This Town”) and Ed Sheeran (“Better Together”) and heavyweight producers famous for their work with the likes of Adele, Lewis Capaldi and George Ezra, expect to hear pure sunshine in song.

On the 12th of July 2000, I had the honour of sitting with Tanana’s, Wired to the Floor and a plethora of other collaborations’ pianist and composer Paul Hanmer.  

Playola was the album we were aiming to unpack in our time together. Apologies as always for the ambient distraction. This cassette recording is raw and entirely unedited if only to give you a sense of the moment we shared.  

A critical thread in the rich jazz fabric of South Africa, this album, and everything else Paul's recorded before and since, each captures a space in time. His gift remains to create a place to claim as your own.  #playola #Paulhanmer #tananas #wiredtothefloor #abrandnewworld

Yes, Matters caters to a broad church, yet this one is a little different from what I usually share.

In going through my many cassette interviews, many incorrectly labelled, I stumbled upon an interview I hold very dearly.

In mid-2007, after two years of negotiating, I was finally afforded an audience with the late great Archbishop Emeritus Desmond Tutu. This is it, an unedited insight into a man who shaped modern-day South Africa for the better.

In December 1999, I had the privilege to chat to Steve Louw on the eve of his first Greatest Hits album, highlighting his first decade as Big Sky and a solo artist.

Fast forward 22-odd years and Steve continues to record brilliant records with his lifelong legendary South African producer, Kevin Shirley.

On the eve of his 2021 album, Headlight Dreams’ 2022 South African Music Awards (SAMA) nomination and his soon-to-be-released follow-up Thunder and Rain.

If you don’t know his work, this interview will give insight into what made him tick and how his journey played out.