Usually when people ask me who my influences are I prattle off a list that goes something like: Joni Mitchell, Ani DiFranco, Tori Amos...etc. and it's not a lie BUT a big part of the reason I list those names is also because I know they are names people will recognise and relate to. The names I don't mention but which probably have just as much influence on my music are my peers. Dublin has a great music scene but it's not exactly huge, we might all like to think we're unique little butterflies but the reality is more like we're a bunch of tightly packed molecules bouncing back and forth off each other (and I'm not just talking musically...I couldn't help it that sentence was too aptly rife with innuendo to ignore).

So today I thought I'd take a break from talking about myself and instead ask someone else some questions for a change. Edel Meade is a Dublin based genre-spanning jazz vocalist and composer who I've had the pleasure of seeing perform a few times with her group the Swoo-Beh Project. She's got absolute stellar song writing and arranging skills and her gigs are literally inspirational (the word literally is often misused to mean the exact opposite, I'm not doing that here, last time I saw her sing I was literally inspired to go home and start writing a new tune). So here we go:




How do you feel about singing very personal lyrics? 'Sideways' is like eavesdropping on a really intimate conversation.

For me, it’s got to be real. With 'Sideways”, I just wanted to capture a beautiful moment and this song kind-of wrote itself. The act of composing is intimate anyway so when I was writing this song, I wasn’t thinking about who would be listening to it.

Similarly with ‘Love Lost’, it comes from a very personal experience but I believe music and real life are intertwined.
For me, music is life. When I’m singing ‘Lush Life’ (by Billy Strayhorn), for example, I might substitute the word “mush” for “shit” because I don’t use the word “mush” ever in conversation.

I guess my lyrics reflect on my life as a twenty-something year old female growing up in Dublin today. I’m aware of the fact that my days are numbered so I don’t have time for dishonesty. The world is saturated with forgettable melodies and uninspired lyrics. It doesn’t need anymore from me or anyone else but there will always be a place for truth and honesty. That’s what will engage a listener and draw someone in.

But not all my lyrics are personal. ‘Blue Fantasia’ is part real, part fantasy. The lyrics for the hook in ‘Eleven Eleven (Dream Machine)’ AKA ‘the radio song’ are deliberately lacking in depth to reflect the vast majority of “hits” on the radio. “Our love is here to stay, it’s gonna last forever. Will never go away”. The next line- “We tell you what to do and you do what we tell you. No matter if it’s true”, is the same catchy melody as before but “we” refers to the mass media telling us what to do, what we should look like, what products we can’t live without, the events we should attend etc etc because I think it’s easy to forget that we have a choice in the matter.





The first time I heard you do 'Eleven Eleven (Dream Machine)', it sounded like the excerpts, or samples, you took from the radio were thematically chosen, but then last time I heard you sing it I realised the excerpts must have been updated that day (because there was mention of the census). So tell us a bit about it? How did you decide which excerpts to use?

At the start of the tune, we’ll hear snippets from what’s on the radio at that particular moment. It could be anything at all from traditional Irish music on Raidió na Gaeltachta, to an ad promoting Plenty kitchen roll to the public service announcements. This is followed by a distorted guitar melody and general chaos inspired by Jimi Hendrix’ rendition of Star Spangled Banner at Woodstock in 1969, to draw your attention to how the mass media, in this case, the radio presents such mixed messages to an impressionable audience. It’s a metaphorical warning!

I update the news bulletins and songs every time we play this tune which means on the day of a performance, I’ll turn on the radio and hear random snippets of news stories, “hits”, jingles etc which I’ll record on Garageband in order to accurately transcribe them later.

We hear serious news bulletins telling us about for example, the death of a 25-year-old who was killed when a bomb exploded under his car but then when you turn the dial, you could hear Travie McCoy singing “I wanna be a billionaire so fricking bad” or Rihanna’s ‘S&M’. Then you might hear some DJ with his phony radio voice telling you to text to win tickets to Westlife’s Croke Part concert with support from Jedward and JLS as if that’s important! And then you turn the dial to hear an ad aimed at women telling them they will wake up feeling young, fresh and fabulous if they use the Daily Energiser range from Clarins... Who is to say that they are not fabulous already and why is youth portrayed as being better than middle-age? While the exact content varies every time we play this song, the overall result is the same. Let the listener beware!


When I heard it first I thought the excerpts were chosen to illustrate a feminist statement because the subtext of it all was so sexist, but I guess the the fact that they're chosen at random just goes to show how prevalent sexism is in the media. I'm completely with you on this one, it really bothers me sometimes when I hear the poison people are fed through radio, like the song you mentioned 'Billionaire' or my other big bugbear is 'Cooler Than Me'. You're bombarded with it constantly to the point where you can find yourself mindlessly singing along with some of the most unethical sentiments. Ok moving from the bad to the good: Who's your favourite lyricist?

I don’t have a singular favourite but I love Bob Dylan, Joni Mitchell, Jill Scott and Erykah Badu.

It’s their honesty. Whether it’s related to matters of the heart or the hypocrisy of the times we live in, these lyricists stand out. Bob Dylan’s ‘Freewheelin’ album is a particular favourite and Joni’s got so many great songs. She just says it like it is. Jill Scott is a poet and her themes are pretty sexually explicit but it’s got to be like that if you’re talking about sex. We’ve come a long way since “I Want To Hold Your Hand”. Erykah Badu’s lyrics on her New Amerykah Part One and Part Two albums are genius. She addresses the current state of Black America, the hypocrisy of “the American dream” and I love how she never shies away from controversy and stays true to her beliefs. I am in awe of this lady as an artist.

I couldn't disagree more about Bob Dylan, I can't stand him but that discussion will take a whole other blog post. You've got me listening to Erykah Badu for the first time in years (my sister bought her first album 'Baduizm' when I was eleven and I was obsessed). Jill Scott's next on my list.








If you'd like to see Edel live, then you're in luck because she will be playing a number of gigs with her Swoo-Beh Project in June:

7th June 8PM LAUNCH NIGHT The Jazz Kitchen at The Grand Social Also playing: ZoiBand! €5 suggested contribution

19th June 5.30PM Zinc Club at Pacino's Cellar Bar €8/6

21st June 8PM The Jazz Kitchen at The Grand Social
Also playing: O.K.O.D.O.M.G. €5 suggested contribution

30th June 8.30PM National Concert Hall (Kevin Barry Room)
€10/8

Edel Meade - voice/radio/compositions
Chris Guilfoyle - guitar
Darragh O'Kelly - rhodes/piano
Andrew Csibi - double bass
Tommy Gray - drums

Also Edel is running a brand new Jazz night in Dublin starting on 7th June in The Grand Social (formerly Pravda), 35 Lower Liffey Street near the Ha'penny Bridge. It starts at 8pm and will feature the brightest emerging talent on the Irish jazz scene!

THE JAZZ KITCHEN.


In her own words:'The reason I'm doing this is because I see it is an absolute necessity for the jazz community and creative musicians in Ireland to have a designated venue where they can perform their music. We have a gorgeous and spacious room and two fantastic bands every Tuesday night and all for a fiver, so I really hope people will come out and support creative music and get involved. It's gonna be great!'

Songs about Songs

Well now that title might be a little misleading because todays blog isn't strictly about 'songs about songs', it's about lyrics that arise from a frustration with song writing...but that's just not quite as catchy. At first when I was writing this blog I thought to myself 'I need to link these ideas together more, to draw more comparisons and conclusions...' and then I remembered it's not a leaving cert essay. If you'd like to draw a conclusion please do.


1) Fiona Apple: Waltz




Fiona Apple has written one song about writing songs, arguably two. I'm a big fan of Fiona Apple's two earlier albums, they're clever, they sound honest, the production is good BUT every single song is about boys. Not that that's always a bad thing, I mean the girl can put a clever spin on heartbreak but by the end of the second album I was thinking I hope she doesn't spend her whole life wracked by teenage self doubt worrying about whether 'he' really loves her. It's tempting to want to shout at her 'Hey Fiona, he's a douche' and hope that she'll hear you from the other side of the CD, move on and come across some new territory.

So when 'Extraordinary Machine' came out, her most recent and very possibly last album, I was excited the first time I listened to it and heard the lyrics on 'Parting Gift':

'Oh you silly, stupid pastime of mine
You were always good for a rhyme'

This song is meant as a parting gift to the men in her life she's written songs about (I don' think I'm just making that up, I'm pretty sure she's said so in interviews). Great I thought, nows when I get to hear an intelligent woman sing about something other than silly boys. Alas it wasn't to be. Instead the album closes with 'Waltz'

'If you don't have a song
To sing you're ok'

Supposedly this is her retirement song. So as soon as she decides not to write about heartbreak the only thing she has left to write about is how she has nothing left to write about?* This is my least favorite 'song about a song'. It's really more of an excuse, an explanation for bowing out. Singing about having nothing to sing about isn't really very interesting so lets move onto a song about a song that has a LOT to say.



2) Saul Williams: Surrender





The lyrics really work on many levels, a love song recognizing the destructive powers a lover can wield, and a song about trying to overcome his ego and surrender himself completely to his muse (who scares the bejaysus out of him). Now here's a portrayal of a strong woman that you don't get in songs often, even if she may be a mythical figure. Her strength doesn't come from adopting male traits, it's her openness, her willingness to love and her ability to reinvent herself that make her strong. You find this character a lot in Saul Williams music, he's the one of the greatest feminist lyricists I can think of off the top of my head.

The whole idea of inspiration coming from a muse is really very useful. Believing the creative idea comes from an external source is such a great way of tricking your brain into shutting your ego down. 'Is this lyric good? Is that melody too catchy/not catchy enough?' 'I dunno, not my problem I'm just doing what my muse tells me to, she's the boss'. But this song is more of a lovers wrestle, his muse won't stay still for him, her honesty and love scares him like a bachelor scared of intimacy.

Throughout the whole song he keeps repeating 'I need a second, I need a second to think' as if he has no control over the song writing, the muse is having her way with him (the cheeky minx), writing the song through him and he's fighting to have his say.


3) Ríona Sally Hartman (that's me): Song for the Dead, Song for the Living

Really the first half of the song is about the futility of music, the self indulgent folly of being a musician. In the face of tragedy what good can a song do? There's an instinct sometimes to rewrite tragedy in music into something heroic or meaningful but I don't think that approach is necessarily very honest.

The second half of the song is sung to the living:

'I'm another song, let me try to keep you warm,
let me hold you hand, let me try to heal what's sore,
And I'll search for the sun should a darkness overcome you.
I'm a hopeful song hopeful for and end to the suffering of young men.'

It's split into two halves, one half for the dead should they choose to listen and one half for the living. Deciding to write a song about a tragedy is a tricky one. Firstly for selfish reasons I'm not big into writing weepys. The term singer songwriter has taken quite a bashing over the last while unfortunately. People have stereotypes of guys with their guitars singing depressing music to their friends. Personally I think the stereotype is completely unfair but I try to avoid it none the less. The other more important reason I'm cautious about writing about tragedy is that I feel like you have to take responsibility for what you put out into the world and if what your putting out there is songs with no hope

But that's exactly how I felt about this particular tragedy that I was writing about. People had died, it was too late there was no hope for them and I wanted to be honest about that. Your instinct is to try to make everything ok, to rewrite history with a song, but sometimes tragedy makes you realize the very narrow limits of art....

....is that a conclusion? Maybe. Probably not. In conclusion go buy Sealegs on iTunes.




*To be fair the other song on the album that is arguably a song about song writing is 'Please please please' which is supposedly aimed at her record label which was pressuring her into writing:

'something familiar
Something similar
To what we know already
That will keep us steady
Steady, steady
Steady going nowhere'

So it's possible she's not a one trick pony after all, maybe she's a circus pony who's owners are big into dressage or something. Maybe given some time and artistic freedom she'll join a circus and surprise us all with her jumping through fire tricks. Here's hoping......That'd make a great children's story.

**It was hard to pick one part out of this verse to quote, Saul William's lyrics flow from one line to the next with each line revealing a possible alternate meaning for the one before it so it doesn't lend itself well to dissection. I think that's what rappers mean when they talk about 'flow', I wouldn't know though coz I'm not down with the cool kids. So here's a link to the full lyrics.