Album Review: Together – Heather Feather

Heather Feather has once again delivered a delightful new album, destined to get little feet bopping all around the world. I am referring, of course, to her latest release, 'Together', a highly infectious piece of perfect pop featuring ten new songs that all hit the mark. The music is put together with deep intelligence and extraordinary imagination, composed for children yet resonating with all ages.

The album opens with the collaborative 'Party', a song which features some of the very best in children's music, including Itty Bitty Beats, Preschool Rockstar and Esther Crow. The track brings to mind Bowie's 'Fame', with an infectious groove providing the framework for a delightful melodic celebration of friendship and fun. The musicianship is superb, and it sounds like the kind of party we would all want to attend, because 'everyone is welcome' here. The focus is on who you are, not what you represent. There is a smooth transition between vocalists, adding a dynamic quality in true Band Aid tradition.

'Fill Your Bucket' does exactly that, a jaunty song that emphasises positivity and celebrates the wonders of life, including the supreme gift of friendship and family. The happiness bucket is explored through acts of kindness, where simple gestures allow 'the happiness to flow'. 'I'm Good Enough' follows in a similar vein, confronting reticence and fear head on, presenting anxiety as a natural part of life, and reminding us that doing 'our best' is enough, because 'I'm good enough'. The music reflects this message with a cool, relaxed vibe, punctuated by superb bass lines and light percussion, creating space for the vocals to take centre stage.

'The Angry Song' shifts up a gear and delivers some good old-fashioned rock and roll, in a Grease-inspired Americana style. A twelve bar blues structure gives way to a gentle, reflective refrain that draws the listener in. 'Nightmare' continues to explore life’s challenges, this time with a shuffle drum beat and a big band feel that would not sound out of place in a 1950s film. The piano has room to flourish, bouncing along and sparring with the vocal, evoking a timeless quality reminiscent of something Doris Day might have recorded back in the day.

'Empathy' is a soulful ballad, with heartwarming lyrics full of sincerity and melodic charm. 'Include Me' is slightly more upbeat, continuing the theme of kindness, with lyrics that emphasise the importance of being seen, having 'someone to share' and 'someone to talk to'. The chorus delivers the message clearly, while a haunting harmony adds a layer of musical sophistication.

My favourite track is the wonderful 'Happy For You'. A staccato rhythm pairs with a melodic vocal, with lyrics that continually search for the positives. As a result, the song exudes a generosity of spirit, captured perfectly in the line 'I'm happy for you'. A song for all occasions, guaranteed to hit the spot, even when experiencing the darkest of moods. 

'Sharing (Is Hard to Do)' boasts a title that is self-explanatory. The lyrics explore the challenges children face when learning to share, particularly those who are 'not ready to share yet'. The song bounces along with a honky tonk piano that dazzles throughout with both dexterity and precision. Here, the artist tackles a complex message with a lightness of touch, and manages to thread the needle with confidence and expertise Thankfully, the song ends on a positive note, and finishes with a flourish as children begin to recognise the benefits of sharing while still maintaining their boundaries.

The album closes with 'A Fishy Tale', a song built around a cool bass line in true Robert Smith 'Love Cats' style. The bass carries the track, while the vocal melody does the rest of the work. Jazzy and slightly left of centre, the song shifts key towards the end, adding a touch more intensity. It is a wonderful way to finish an intriguing album from a genuinely inspiring artist, one who continues to create uplifting music with a clear pop sensibility and heartfelt expression.

What can I say? Heather Feather has delivered once more. This is a wonderful addition to her ever-growing catalogue. She has a unique ability to tackle complex subject matter with ease, combining charm with musical sophistication. Blending elements of funk, pop, and jazz, the album explores ambitious themes with a strong focus on inclusion and empowerment. An active presence in the music industry, she has received numerous awards over the years, and deservedly so. She has certainly put her PhD in Music Theory to excellent use, creating engaging and uplifting music for children, not only in her home country of Canada, but across the world.

Heather Feather –  kindness incorporated.

EP Review: Drawing the Silver Lining – Riffin' Griffin

Riffin' Griffin is a kindie rock band out of Minneapolis, USA, but don’t let the ‘for kids’ label fool you. Led by the irrepressible founder Jesse Norell, a music teacher with a bona fide rock pedigree, this is a group that plays with a conviction most adult acts would envy. Their sound fuses the raw, unfiltered energy of rock with lyrics sharp enough to resonate across generations, landing somewhere between playground anthem and a proper gig-worthy setlist. I, for one, am fully on board, and luckily they’ve just dropped a punchy new five-track EP that begs to be played loud, whether you’re five or fifty.

The EP Drawing the Silver Lining kicks off with ‘Kindness', a track that feels like grunge wandered into a Britpop daydream and decided to stay. It’s driven by heartening lyrics that deliver a message of hope to young listeners without ever talking down to them. There’s a live-wire quality here, giving the sense that this band thrives on stage, feeding off the room and throwing that energy straight back at you. Lines like ‘every person is deserving empathy’ land with surprising weight, building through a brooding undercurrent before bursting into a soaring, cathartic chorus. It’s in these dynamic shifts that the band’s musical instincts truly shine, balancing grit and uplift with impressive control.

‘I Am Cringe’ is an infectious rocker where pop sensibility cuts cleanly through gritty guitars and a thunderous rhythm section. Beneath the punchy exterior lies a clear message, self-acceptance, integrity, and the freedom to be unapologetically yourself. Lines like ‘we can be cringe together’ land with real charm, turning what could be throwaway lyrics into something quietly affirming. Musically, it’s sharp and assured, with a rhythm section that drives hard and vocals that balance warmth with a commanding presence.

Introducing one of the most popular subjects for children, dinosaurs, ‘T.Flex’ exudes a playful confidence that never lets up. It’s a theme that could feel novelty driven, but instead it’s delivered with both precision and conviction. Jagged guitar work and tightly wound rhythms give the track considerable bite, while the band’s discipline keeps everything locked firmly in place.

‘Translucent’ follows with a cooler, more measured groove, building anticipation from the outset. Its hypnotic rhythm nods towards the kind of laid-back funk rock the Spin Doctors once mastered, but with a more modern edge in its execution. The vocals glide over crunching guitars, and the track shifts and surges just enough to keep things engaging. It may not be a full-blown singalong, but it’s undeniably kinetic, built for movement, if not outright chanting.

The closing track ‘Silver Lining’ takes a left turn. What begins as a loose, groove-led jam quickly evolves into something more expansive, blending styles with an almost improvisational feel. There are flashes of The Edge in the textural guitar work, while the chorus carries a dramatic vocal lift reminiscent of Annie Lennox. It’s an ambitious closer, part rock, part jazz-tinged experiment, and it pays off, with soaring vocals cutting through the complexity to deliver a memorable finish.

Across the EP, the band carves out a distinctive space where pop hooks meet grunge grit without sacrificing clarity of message. The songwriting stays focused, the performances are tight, and the production gives everything room to breathe. There’s even a faint trace of Rage Against the Machine in the DNA, though here the urgency is channelled into something more uplifting than confrontational.

This is a confident, engaging release that doesn’t overstay its welcome. If anything, it leaves you wanting more, which, for a band like this, is surely the point.

Riffin' Griffin – let there be rock.

Single Review: Snow – Big Idea Committee

'Snow' is the latest single from Christine Petrini and Melissa Brun, the innovative duo behind Big Idea Committee. At its core, the track feels like a piece of poetry set to music, beautifully sung and delivered with rare, heartfelt sincerity. This gentle ballad is crafted with delicacy and finesse, pulling at the heartstrings while stirring the imagination in equal measure.

There is something universally nostalgic about songs centred on snow, the substance that brought so much joy in childhood, from snowball fights and sleigh rides to the anticipation of Christmas in many parts of the world. Countless ballads have tried to capture that magic-in-the-air feeling, and Big Idea Committee succeed in doing just that. They explore the subject with warmth and generosity of spirit, leaving the listener slightly dazed, yet never disoriented.

A soft acoustic arrangement forms the backbone of the track, complemented by serene, captivating vocals that gently draw the listener in. While the melody is strong and the vocal delivery impressive, it is the lyrics that truly stand out. The descriptive verses vividly paint scenes that linger in the mind, whether it is clear skies that 'sparkle brilliant blue' or sunlight 'glistening bright', each line immerses the listener in a quiet, wintry beauty.

At its essence, 'Snow' is indeed a poem set to music, realised with clear melodic vision and emotional intent. There is a literary quality here that feels timeless, as if the ink in the well, filtered through the blood of the poet, has frozen into something delicate and enduring. The performance carries such depth and sincerity that it evokes the spirit of many great poetic songwriters. It is reminiscent of Thomas Hardy set to music, delivered with the gentle passion of a songwriting team clearly in fine form.

Big Idea Committee also give the impression that they are only just beginning. Their work suggests a broader mission, to ignite imagination through collaboration, encouraging children to play, create and think expansively. As Oscar Wilde once wrote, 'We are all in the gutter, but some of us are looking at the stars'. There is a quiet ambition here that goes beyond the song’s delicate exterior, this is a duo reaching upward, who are already well on their way.

Though still a relatively new project, with just one album to their name, they have already demonstrated remarkable versatility. Their music blends diverse sounds and styles with thoughtful cohesion, where nothing feels accidental. With live instrumentation and carefully matched themes, their work shows a level of musical intelligence reminiscent of artists like Kate Bush or Dido, and yet still aimed squarely at children.

It is well worth exploring more of their work, because this is clearly music on a mission. A look at their wider catalogue reveals the influence of musical theatre and live performance, creating an engaging, interactive experience, particularly for younger audiences. Whether they ultimately 'reach the stars' remains to be seen, but even if they don't, one suspects they will land on top of the world.

Big Idea Committee – poetic justice.

Single Review: Interspecies Communication – Marko Polo

Another fascinating release from the ever-inventive Marko Polo. I’m referring, of course, to 'Interspecies Communication', his latest single – an intergalactic trip where ‘the frogs are talking to the cats’ and ‘talking to the trees’, in true Doctor Dolittle fashion.

There’s an underlying sense of unease in the music, with a tone that occasionally feels almost sinister. At times, it’s as if Captain Kirk has just beamed down with his crew to some strange, exotic world. Then, just as you’re settling into that atmosphere, the track closes with a riff that wouldn’t feel out of place on a Status Quo record, a final flourish that drives the whole experience home. The instrumentation is refreshingly raw, clearly performed live, and all the more engaging for it.

Structurally, the song leans heavily on its chorus, which takes centre stage and recurs throughout with a stop-start rhythm that feels almost like a march into this brave new world. The bridge shifts gears into something more haunting and melodramatic, where a simmering vocal wrestles with bursts of guitar intensity, both elements colliding and blending seamlessly within the broader wall of sound.

This is a track that stands confidently on its own, original, thought-provoking and consistently engaging. Its lyrics take us on an imaginative journey, evoking something akin to the cosmic wonder of 'Starman' by David Bowie, where we’re invited to tune in and observe from the outside, as if hovering just beyond the world itself.

Unafraid to experiment, Marko Polo blends live performance with layers of sound effects to create a universe rich in mystery, intrigue and curiosity, one where the imagination is free to wander where no one has gone before.

Marko Polo – space, the final frontier.