AI: A Brave New World or Rock 'n' Roll Suicide?

The artist Sting wrote many fine songs in his time, but few finer than 'If I Ever Lose My Faith in You'. For those unfamiliar with it, the song is a deceptively buoyant singalong something of a melodic, radio-friendly anthem wrapped around a surprisingly bleak meditation on modern life. In it, Sting catalogues his disillusionment with religion, science, politics and a host of other institutions that once promised meaning and certainty. Yet the song's masterstroke lies in its chorus, where, amid all that doubt, he clings to faith in one cherished belief. Presumably that is the love and respect for his wife, Trudy Styler.

It's a great song, but what has always struck me is the sentiment behind it. Here is a man who, by almost any measure, appears to have won life's lottery. Fame, wealth, artistic success, global admiration. Sting has achieved more than most musicians could ever dream of. Yet beneath the polished surface lurks a persistent dissatisfaction, a nagging sense that something fundamental has gone missing. It is a feeling many listeners recognise immediately.

Sting doesn't specifically mention music, he may be referring to unconditional love, but someone who was referring to music was my old mate Steve Hillage. As he mesmerised my band with his musical expertise in the studio back in the day, he once mentioned that he felt completely discouraged by the state of the music industry. When pressed further he described what he referred to as his 'Oh no, has it come to this?' moments. He explained that the great music that had initially inspired him to pick up a guitar, had at times and in various guises gradually given way to something altogether less inspiring. Targeting his vitriol in particular towards bands such as Duran Duran who were still relatively successful at the time.

I've experienced similar moments too. When Joy Division's classic 'Love Will Tear Us Apart' failed to make the Radio One playlist, whilst Racey's insipid 'Lay Your Love On Me' achieved round the clock airplay in the UK. Or the rise of manufactured pop, reality television talent contests, and the coronation of Simon Cowell as a cultural tastemaker each felt, at the time, like another small surrender to the powers that be. Whether those concerns were justified is beside the point. What mattered was the growing suspicion that something authentic was being replaced by something artificial. 

That is why Sting's song continues to resonate. It reflects back to the listener a feeling that many of us carry but rarely articulate: the sense that too many of the things we once believed in have let us down. Over time, cherished certainties begin to fray. Institutions disappoint. Heroes fall. Ideologies reveal their contradictions, and family bonds disappear. I have felt this quite acutely in my own life, where beyond my immediate family and close friends, there have been times when there appeared to be little left to believe in.

To find an escape from the relentless noise of the modern world I've always found comfort and solace in nature. Trees, in particular, have never failed to lift my spirits during a morning walk. Yet even that source of inspiration has become harder to embrace unreservedly. The relentless assault on the natural world leaves the uncomfortable impression that humanity values profit more than beauty, consumption more than stewardship. We marvel at nature's wonders while simultaneously dismantling them. So what does today's world have left, if anything, to provide hope?

For a long time, I believed education was one of society's great redeeming forces. The idea seemed noble enough, simply equip future generations with knowledge and critical thinking, and the country will gradually improve. Yet education, like every other institution, has its contradictions. Some of history's most destructive figures were highly educated. Brilliant lawyers, politicians, financiers and scientists have often used their talents not to serve humanity, but to enrich themselves or advance destructive causes.

Sport presents a similar dilemma. Few spectacles are more inspiring than a great football match or an Olympic athlete at the peak of his or her powers. Yet modern sport is littered with stories of corruption, greed and performance-enhancing drugs. Ben Johnson. Lance Armstrong, Diego Maradona and countless others. Athletes who knew they were cheating but carried on regardless because the rewards were simply too great. In many cases, the lure of money proved stronger than the pursuit of excellence. So much so that we are left with a lingering cynicism, where world records that once seemed sacred now come with a mental asterisk attached.

For years I believed art and especially music represented the last refuge of authenticity. Politics could be corrupted. Business could be corrupted. Sport could be corrupted. But creativity seemed different. Great art emerged from a uniquely human combination of talent, inspiration, discipline and imagination. It could be imitated, certainly, but never truly replicated. No doubt over the years there were warning signs. Drum machines gradually replaced drummers. Technology increasingly blurred the line between performance and production. Every generation complained that something essential had been lost. Yet for me, my dear mother's old saying still rang true: 'The cream always comes to the top'. Genuine talent would eventually distinguish itself from imitation.

Today, however, that assumption feels less secure than ever. Even the legendary producer George Martin, eventually accepted back in the nineties that modern technology had reached a tipping point where it could compete with some of the finest creative minds in the industry. And he should know having produced the Beatles. What once seemed impossible, the actual replication of human creativity itself, no longer belongs entirely to the realm of science fiction. 

It has been said that time is money, so if you can reduce the time it takes to complete a particular task, it will ultimately lead to a positive outcome. However, I  believe time spent crafting a song, painting a picture, or writing a book is not wasted time. Amongst other things it's cathartic, it assists with personal growth. It is hard work, but fulfilling, where you grow as a person, as you immerse yourself in the infinite connection with the divine. Are we going to throw all that away so we can mass-produce AI music and videos for a profit? And what then? Make endless amounts of cash that we can spend on things we neither want nor need, but because of the corrosive impact of advertising we are brainwashed into believing that's what we want? 

Apparently thirty percent of music on Spotify is considered to have been created using AI. Well, that's all well and good, but at what point will it increase to fifty percent, or seventy percent or worse?  Bearing this in mind, about ten years ago I visited the famous house of the Bronte sisters in Yorkshire. In something approaching an epiphany I stared down at the desk where a young Charlotte Bronte was said to have crafted Jane Eyre, mesmerised by the energy that seemed to permeate the room. I can't imagine in years to come anyone is going to be similarly moved by visiting the house of an individual who pressed a few buttons, claimed artistic ownership and then went out shopping.

I was recently approached by someone who will remain nameless, but who had already created seven albums which had been released into the world all at once, just two days earlier. That is a huge body of work for a new artist. They informed me that the project was created using Suno and wanted to be considered for a review. To be fair, they were honest enough not to hide the fact that Suno had been used, and their email made it sound as though they genuinely believed an artistic process had been employed. However, after looking at their YouTube channel where the albums had been released, and listening to the tracks, I didn't agree. There was a distinct soulless, generic, mass-produced feel to both the sound and the artwork, so I decided to pass on reviewing the project. It did make me wonder where all this will lead though. The next generation may no longer be tempted to pursue artistic endeavours at all. Why would they, when they can go online and get everything they require with a simple touch of a button? Clearly, the tail is wagging the dog. 

Yes I agree, it's fast, it's convenient and it clearly saves time, but in using it does it threaten to destroy the very fabric of creativity? Artificial intelligence describes exactly what it is, that it is artificial. Furthermore, if one of the most important lessons we can learn in life is to learn to think for ourselves, are we are in danger of allowing imagination to be displaced by AI? Why write lyrics when LyricStudio can write them for you? Why learn how to compose music when you can use Suno? Does AI have to be inevitable? Or if it is here to stay, should more effort be made to implement safeguards? These are all important questions that deserve our attention. Surely we need to educate ourselves on the pros and cons of this technological revolution, and be aware that the light at the end of the tunnel may well be an oncoming train.

I read somewhere recently that in ten years time there could be as many as one hundred million active robots in society. Well, all I can say is, good luck finding a job under such circumstances. While some people may regard this as a good thing. After all, oiling the wheels of the capitalist system is no great loss, if other means of production can be discovered, and where a universal basic income has been promised. There is some credence to this despite the fact that I have little confidence that the likes of Elon Musk care one jot about the welfare of ordinary people going forward. 

Furthermore, there is more to work than simply making money. People all over the world find tremendous value pursuing a job worth doing. Through self-esteem, giving back, adding value and finding a much needed purpose. I agree that not all jobs offer this, but there are jobs that do. I would certainly include my job as a teacher as one of them. I agree that this is a particularly nuanced argument, involving many competing factors. Nonetheless, the fact remains, that work provides intrinsic purpose, and also creates the type of discipline and self-reliance that enables personal growth and a genuine feeling of belonging. 

So, where do our loyalties lie, and who are we betting on? When it comes to choosing between a shared humanity and the validity of the artistic process, or alternatively the pursuit of profit for little, if any, effort. Because the danger is that if we strip away the artistic process and allow our thoughts to be controlled by technology, what is left? And that's before we begin discussing the damage to the environment, and the disastrous consequences for future generations. Seemingly destined to inhabit a world devoid of art, culture and artistic integrity, where the last refuge of a beating heart is left to perish on a dying planet. Because for me the artistic process is sacred, the planet we inhabit is sacred, human dignity is sacred and human intelligence is non-negotiable. If we fail to grasp this, we are in danger of living in the kind of dystopian society Orwell so famously articulated in 1984.

We are now experiencing in real time a David and Goliath story for the twenty-first century. With genuine artists struggling to make a buck versus the grasping tentacles of the tech giants. Will the artistic process survive, and stand up to these billionaire disruptors? Don't make me laugh, the supine response to vulture capitalism and the pursuit of profit has become no more than a race to the bottom, a zero-sum game where AI is the steamroller and music is the road. Governments will no doubt pay lip service to the problem with all their inept meddling of dubious merit, but the end result will no doubt be the 'same as it ever was', as David Byrne once famously declared in song. Bearing this in mind, I can't imagine that it will be long before a so-called AI artist approaches me for a review of their album. Oh, sorry, I stand corrected, that's already happened!

AI – Artistic Intrusion.

Album Track Review: Welcome Here – Matt Heaton

Matt Heaton's 2020 album, All of Us, remains a joyful and thoughtful collection of songs, packed with stories of childhood adventures and everyday discoveries. The album covers everything from counting and bike riding to late-night snacks, and even the unfortunate agony of stepping on Lego. While the subject matter is aimed at younger listeners, the craftsmanship on display ensures the music has much broader appeal.

At its heart, this is a country record, so anyone with a soft spot for classic Americana will find plenty to love. Heaton combines the storytelling spirit of artists such as Johnny Cash with an easy melodic accessibility that gives these songs considerable charm. The result is children's music that never talks down to its audience, delivered with genuine musicality and a keen ear for memorable hooks.

The album's opening track, 'Welcome Here', is an immediate standout. More than simply a cheerful introduction, it carries a message that feels particularly relevant in today's increasingly divided world. At a time when political discourse often seems defined by conflict and exclusion, Heaton offers something refreshingly simple by affirming that everyone belongs.

Musically, the song is every bit as inviting as its message. Shuffle-driven rhythms, jangling guitars, nimble fiddle lines and beautifully layered harmonies combine to create a sound that feels bright, uplifting and effortlessly welcoming. Every element reinforces the song's central theme, giving the track a warmth that is difficult to resist. 'America is all of us', Heaton declares, reminding listeners that 'no matter where your family is from', we're all travelling together because 'we all ride the same big bus'. It's a sentiment that could easily feel heavy-handed in lesser hands, but Heaton delivers it with sincerity, optimism and just the right amount of charm.

'Welcome Here' captures the spirit of the album beautifully. It acknowledges the complexities of the world around us while choosing hope over cynicism and kindness over judgement. In doing so, it offers a simple but powerful reminder that, regardless of our background, appearance or place of birth, there is room for everyone.

It's an uplifting opener from an album built on empathy, inclusivity and the joy of shared experience. It's an album that has survived the test of time, and perhaps never been more relevant than it is today. Perhaps most importantly, All of Us may be made with children in mind, but its message and its music belong to everyone. The next chapter arrives this fall, with a new album waiting in the wings.

Matt Heaton – there is a light that never goes out.

Album Track Review: Ferris Wheel – Esther Crow

Who doesn't enjoy a ride on a Ferris wheel? Likewise, who can resist the charm of a beautifully crafted ballad built around little more than acoustic guitar and a captivating vocal performance? That is precisely what Esther Crow delivers on 'Ferris Wheel', a standout track from her latest album, Get Silly.

The song opens with delicate fingerpicked guitar, warm and inviting, setting the scene for a journey that is both literal and imaginative. Esther's vocals gently guide us high into the sky, inviting listeners to leave their worries behind and embrace a moment of childlike wonder. Rich in imagery and heart, the songwriting transforms a simple amusement park ride into something far more profound.

What makes the song so effective is its ability to capture the extraordinary within the ordinary. Through vivid lyrical snapshots, Esther encourages us to see the world from a different perspective. As the wheel rises above the landscape, we catch a glimpse of the ocean stretching into the distance and are reminded of the beauty that surrounds us every day, yet is so often overlooked.

Musically, the song is understated and elegant. The melody unfolds with quiet confidence, never demanding attention yet remaining deeply memorable. The production is equally impressive in its restraint. Rather than overwhelming the listener with unnecessary embellishments, its simplicity allows the lyrics, melody and emotional core of the performance to breathe.

At its heart, 'Ferris Wheel' is a celebration of curiosity, imagination and the sense of wonder that defines childhood. Esther's vocal delivery is beautifully  judged, conveying the excitement and awe of seeing the world through young eyes. There is an innocence to the performance that feels entirely genuine, drawing listeners into the narrative and making them participants rather than mere observers.

This is a wonderful example of minimalist songwriting from an album filled with thoughtful and engaging themes. Like much of Get Silly, the song works equally well as both family entertainment and as a resource for the classroom, encouraging children to explore their imaginations while inviting adults to reconnect with their own.

For a few fleeting moments, 'Ferris Wheel' allows us to slow down and take stock of the world around us. Childhood may be fleeting, but as the wheel turns and the horizon unfolds before us, Esther cleverly reminds us that wonder is never entirely lost. Sometimes all it takes is a change of perspective, and the willingness to simply look up.

Esther Crow – leave your cares behind.

Single Review: Puppet Power – Larrikin Puppets

Award-winning Brisbane duo Larrikin Puppets have been delighting audiences across Australia for many years with their energetic, educational and thoroughly entertaining performances. Alongside their engaging puppet shows, they have built an impressive catalogue of original children's music. Their latest single, 'Puppet Power', is a wonderfully quirky slice of pop that entertains from beginning to end.

Musically, the track draws on a subtle seventies disco influence, combining infectious grooves with upbeat vocals designed to get children involved. Whether singing the alphabet, counting along or simply moving to the beat, there are plenty of opportunities for audience participation. From the opening chorus, the irresistible rhythm encourages listeners to get up, move and play.

The arrangement is refreshingly adventurous, pairing rhythm guitar reminiscent of Chic with keyboards that capture the soulful energy of a classic Stevie Wonder recording. Lyrically, the song celebrates the art of puppetry itself, encouraging children to 'bring the puppet to life' while embracing creativity, imagination and the joy of play.

What makes 'Puppet Power' particularly distinctive is its confident fusion of musical styles. Tight precision and retro-inspired flourishes sit comfortably alongside verses that move seamlessly between rap, spoken word and melodic vocals. As the song encourages listeners to 'feel the power in our hand', it delivers precisely what it promises: a celebration of music, imagination, creativity and participation.

Larrikin Puppets have embraced the modern children's entertainment landscape by combining original music with high-quality puppets to create a distinctive experience for family audiences. Their energy, creativity and professionalism shine through in every aspect of their work.

If Larrikin Puppets are performing in your area, they are well worth seeing. They are among Australia's hardest-working children's entertainers, consistently delivering lively, engaging performances that delight audiences of all ages. Whether appearing at festivals, schools, community events or country shows, they have earned a reputation as reliable crowd-pleasers who leave audiences smiling long after the final curtain call.

Larrikin Puppets - fun for all the family.

Single Review: When Everything Falls Apart – The Hat Ladies

Every so often a song arrives that demands your immediate attention. 'Everything Falls Apart', the latest single from sibling duo The Hat Ladies, is one of those rare tracks. How many times have we heard children's artists claim that their music also appeals to adults? It's a promise often made but rarely delivered. This dynamic duo, however, have the goods to back up this claim. This isn't simply a great children's song; it's a great song, full stop.

A brief drum fill serves as a launching pad before the track erupts into a scintillating chorus. From that moment on, the music rarely pauses for breath, driven by urgent guitars, soaring harmonies and an irresistible melodic hook. The result is a sound that feels both contemporary and timeless, combining raw energy with effortless accessibility.

Central to the song's success is the vocal performance. The lead vocals pass seamlessly between the two siblings, each bringing a distinct tonal quality that enriches the musical texture. Their voices complement one another beautifully, creating a constant sense of movement that keeps the song fresh and engaging from beginning to end.

Beneath the song's exuberant surface lies a powerful message of resilience. The lyrics acknowledge the pressures and noise of modern life while offering a measured response: breathe, slow down and keep moving forward. It's an uplifting sentiment, but one delivered with sincerity rather than cliché. The result is a song that feels genuinely encouraging instead of simply optimistic.

The bridge is particularly striking, with the band briefly abandoning melodic certainty for something more dissonant and unsettling. Here, the music mirrors the anxiety and confusion explored in the lyrics, creating a moment of genuine tension before the chorus returns with even greater impact. It's a clever structural decision that adds emotional depth and dramatic weight to an already compelling composition.

What ultimately distinguishes 'Everything Falls Apart' is its sheer vitality. The track is packed with hooks, yet never sacrifices substance for immediacy. It is simultaneously exhilarating and thoughtful, balancing emotional honesty with an irresistible sense of momentum. While The Hat Ladies are a new band, and still in the process of establishing themselves, this release suggests they possess both the songwriting craft and musical ambition to make a significant impact.

The song stands comfortably alongside the kind of guitar-driven anthems that have defined generations. Whether your tastes lean towards The Who, The Pretenders or The Killers, there's plenty here to satisfy lovers of melodic rock. Inspirational lyrics, soaring harmonies and crunching guitars combine to create something genuinely exhilarating. It's the kind of song that bursts from the speakers with such confidence and conviction that you can almost imagine Chrissie Hynde nodding along in approval.

Without doubt, this is one of the finest songs I've heard this year, and I don't say that lightly. This really is 'Famwave music' to coin a phrase: intelligent songwriting that speaks to children without excluding everyone else. Congratulations, ladies you've delivered an absolute gem. I take my hat off to you.

The Hat Ladies – power in the darkness.

Single Review: Some People See But I Don't – Doctor Noize

'Some People See But I Don't' is the latest release from Doctor Noize, a multi-instrumentalist, teacher and parent with a big heart. The song is taken from his forthcoming album, Positive Energy (The Music of Doctor Noize), due for release in August.

Written as something of a tribute to his wife Janette, the song celebrates resilience, determination and joy. More broadly, it explores how strength and beauty emerge when we embrace our own unique perspective and refuse to be defined by the way others may see us.

A pop anthem with an additional slice of rap thrown in for good measure, the track is driven by tight, percussive instrumentation and an imaginative bass line that perfectly complements a confident vocal delivery. The song is irresistibly catchy and even brought to mind the laid-back groove and cool vibe of Womack & Womack.

The sublime vocals take centre stage, amplifying the song's uplifting message with infectious energy, while the driving rhythm keeps the momentum building from start to finish. From the opening bars, it's clear the listener is in for one exhilarating ride. This is music that's easy to dance to, thought-provoking and, above all, carries a potent message that deserves to be heard.

Furthermore, be sure to watch the accompanying music video, directed by Dr Noize's daughter, Sidney Cullinan. It offers a moving portrayal of the challenges faced by many people living with disabilities, while celebrating their remarkable strength, resilience and optimism. It's a touching reminder that this project is very much a family affair.

All in all, 'Some People See But I Don't' is a masterclass in combining memorable music with meaningful storytelling. Packed with infectious energy and powerful lyrics, it's a song that will stay with you long after the final note.

Doctor Noize – a family affair.

Single Review: But You Did. – The Jackie Papers

'But You Did.' is the latest slice of perfect pop from the irrepressible band The Jackie Papers; a truly memorable song that celebrates kindness without asking for anything in return. In a world where everything seems to come with a price tag, that message feels genuinely valuable. 

The lyrics emphasise how modern society can sometimes feel cold and lacking in courtesy, while reminding us of the power of small acts of kindness. Where a smile, a gentle nod, a simple moment of acknowledgement can mean far more than we often realise. The line 'when we share small things, we all have enough' perfectly captures the song’s generosity of spirit.

I also love the American post-punk vibe running throughout the track. You can almost imagine The Jackie Papers tearing up the stage at CBGBs in the late ’70s alongside perhaps Blondie or Talking Heads. Where, the laid-back almost detached vocal delivery, provides an interesting contrast to the heartfelt lyrics on display. 

The song also features live instrumentation throughout, with every instrument played by the band. No AI shortcuts here, just a group of friends making music the old-fashioned way. Leaving the impression that spending a Saturday afternoon blasting away in a garage might still be one of life’s great pleasures.

The Jackie Papers continue to release timeless music that lands both emotionally and melodically. For me, they’re always right in the pocket — and the fact that kids love these songs too only proves one thing: great music is great music. Nuff said!

The Jackie Papers – everyone’s a winner.

Radio Show Review: Radio Active Kids

Radio Active Kids is a programme for kids that also welcomes mums, dads and everyone in between. Every Saturday from 8–10am, presenter Sagan Thacker struts their stuff with an infectious enthusiasm that can't help but make you smile. The show features cool kid-friendly tunes, storytelling, comedy and even a healthy dose of genuine weirdness. It's a rollercoaster ride of frivolity and fun, and if you haven't already tuned in, what are you waiting for?

With so much self-interest dominating the music business, it's refreshing to discover someone who is genuinely giving back to the community. Sagan Thacker, producer and DJ at Radio Active Kids in Asheville, North Carolina, is one of the few selfless souls truly making a difference.

As a teenager, Sagan grew up listening to artists like Dan Zanes and Laurie Berkner and was keen to find what else was out there. Armed with boundless energy and curiosity, they soon discovered countless talented children’s musicians receiving little or no exposure. Recognising this gap, Sagan set out to do something about it, not for financial gain, but to connect with emerging artists and help bring their work to a wider audience.

What makes Sagan so important is their willingness to play music that many broadcasters overlook. They don't judge artists by social media numbers, and remain refreshingly unimpressed by the hype and spin that often dominate the industry. Their formula is simple, play great music and support passionate creators. You don't have to be famous or well connected to be featured. Sagan is happy to reach out, spread the word and provide a level playing field which challenges the status quo.

They play  music from a variety of genres, from post punk to country, and they firmly believe that children's music deserves great respect. Their music selection avoids the corporate money grab, showcasing intelligent music that doesn’t patronise its audience and instead treats young listeners with respect.

Sagan receives masses of music daily, utilising their master’s degree in library science to catalogue a huge number of songs while rarely letting a submission slip through the cracks. They are a DJ that really believes in their work, with a passion and enthusiasm for showcasing the musical and lyrical diversity of the genre, noting ‘there’s awesome new stuff coming out virtually every week'.

At its heart, Sagan's work is about celebrating the joy of life, while introducing the next generation to the social issues that shape our modern world. Their show doesn't just educate, it provides heaps of fun for listeners, entertaining with warmth, humour and imagination. Their enthusiasm for their craft is showcased in each and every broadcast.

Sagan Thacker is a rare breed. Their focus on joy, communication and community sets them apart in today's world. They possess a generosity of spirit that defies typical expectations, creating a programme that is informative, inspiring and refreshing. They provide magical moments for young listeners, while giving deserving artists opportunities they might not otherwise receive. Most importantly, they genuinely care about their audience, the musicians they support and the wider community. If we had more people like this our world would undoubtedly be a much better place.

I have to say their ethos has inspired me tremendously. It’s a great honour to review a DJ who cuts through the noise, with a big heart and a mission to educate, entertain and inspire. 

Sagan Thacker at Radio Active Kids – someone who cares.

Single Review: Party at the Pool – Corinda Crew

'Party at the Pool' is the vibrant debut release from Corinda Crew, a collective of students from Corinda State School in Brisbane Australia who have taken part in a hands-on musical workshop, writing and recording their own original material. The track is lifted from their forthcoming album Dynamite Boom, soon to be available on Bandcamp as well as across all major streaming platforms.

This particular song was composed by a group of Year 6 girls who, armed with little more than an iPad, some rough sheets of paper, and a wealth of imagination, managed to bring this track to life, despite the considerable limitations of a DIY recording process in a noisy classroom. That sense of creativity under constraint is part of what gives the single both its vitality and charm.  

Musically, 'Party at the Pool' is an upbeat, feel-good dance track that’s almost impossible to sit still through. Its lyrics capture the simple but universal thrill of a pool party – friends gathering, sun shining, laughter echoing and the joy of living fully in the moment. There’s an infectious sense of fun that runs through every second of the song.

Vocally, the girls sing in unison rather than in layered harmonies, but this only adds to the track’s sense of unity and shared excitement. The result is a powerful collective voice that radiates both anticipation and energy. Combined with its lively rhythms and enthusiastic delivery, the song creates a sound that feels fresh, uplifting and undeniably genuine.

What stands out most is the spirit behind the project. This kind of uninhibited creative exploration deserves recognition and encouragement. The workshop itself is part of a much broader initiative, with students from Years 3 to 6 experimenting with soundscapes in ways that reflect pure curiosity and imagination. 

As a first taste, 'Party at the Pool' offers an exciting glimpse into what this young collective is capable of. It’s a joyful celebration of movement, friendship and fun, delivered with an energy that feels larger than the stage it came from. Both the single and forthcoming album Dynamite Boom come highly recommended for anyone willing to tap into something refreshingly sincere. I've also heard through the grapevine that there's a further album lying in waiting with additional tracks, but we'll leave that story for another day.

All funds raised from this creative enterprise will be donated to the school itself to improve the facilities for the students. So, all you dear readers around the world, you could really help the kids out here by subscribing to their recently created YouTube channel and garner some international attention. I'm sure the kids would be very grateful, and perhaps even organise another pool party to celebrate.

Corinda Crew – pump up the volume.

Single Review: Big Blue Sky – Damo

I'm not overly familiar with this artist, but I have to say, I absolutely love this track. I'm referring to the recent release 'Big Blue Sky' by Australian singer-songwriter Damo. It’s a real retro blast from the past, driven by thundering guitars that wouldn’t sound out of place on a classic Tom Petty record. 

The song wastes no time, bursting out of the gate with a scintillating riff before the vocals arrive and get straight to the point. 'We’re flying away in the sky' Damo confidently declares, and from that moment on, you better fasten your seatbelts because this is one unforgettable ride.

The verse introduces a welcome slice of melody before a descending bass line powers the song back into the chorus. It’s repetition without overkill, delivered through an inspired arrangement. As a result, there’s no need for this track to 'grow' on the listener,  it grabs you on first listen and never lets go.

We’re then treated to a guitar solo that reflects the vocal melody, giving the singer a brief respite while the bass and drums continue to thunder relentlessly underneath. This is where rock and roll collides with inspired melody, as you can feel Damo really getting his teeth into it. Consequently, you can almost picture kids running around with their arms outstretched, having the time of their lives.

There are shades of Springsteen here, perhaps even a touch of The Clash, though with a stronger emphasis on melody. The rhythm section is tight, confident and perfectly supportive of the vocal hook, while the production itself is superb. Every instrument sounds crisp and purposeful, and there’s just enough happening to keep things exciting without ever becoming cluttered. 

Damo is an artist who has delivered a rock and roll anthem in its purest form. A memorable singalong that resonates with considerable impact. So here’s my challenge to you: stream this cool song just once, and see if you can walk away without the melody spinning round your head head. It’s three minutes of scintillating rock and roll for kids, although I suspect plenty of parents will be turning this one up on the car stereo too. Tune in, turn it up, and party on with Damo, and I guarantee you'll feel all the better for it.

Damo – an anthem for the age.

Album Review: I Count – Margot Bevington

Margot Bevington is a singer-songwriter and school teacher with more than twenty years of classroom experience to date. A passionate advocate for inclusive education, she has used her music to help children  discover their voices through song. An award-winning songwriter and graduate of Oberlin Conservatory of Music, Bevington has crafted a sound that blends the warmth of folk music with the energy of classic rock. Yet her latest album I Count is about far more than music alone or even learning for that matter. After all, what a brilliant title for an album, an empowering sentiment in a world where too many of us feel like we're not enough, it reminds us that yes, we do count. Its message is unmistakable, and she delivers it with considerable conviction.  

According to Bevington, counting songs, which is her particular area of focus on this album, provide 'a lesson in how we each have value, a voice, and differences we can identify and celebrate'. The album bridges the gap between old and new through irresistibly catchy songs that speak to a generation where ideas such as diversity and equity are part of everyday conversation. As she so eloquently puts it, 'counting songs are a child’s first lessons in differentiation and value', and too often traditional nursery rhymes 'aren’t always inclusive or filled with positive messages'. I personally couldn't agree more.

So how does she take on such a Herculean task? By creating ten engaging songs that hit their target with considerable force. Bevington combines pop sensibility with educational expertise in a way that rarely feels instructional. The artist clearly understands that young children learn best when concepts are broken down into manageable pieces, and she approaches that challenge with consummate skill. In this sense the listener learns organically almost unaware that they are counting at all, which is perhaps what lies at the very heart of all inspired composition. Or as the German polymath Gottfried Wihelm von Leibniz famously declared - music is the 'arithmetic exercise of the soul, which doesn't not know that it is counting'.

The album opens with the bouncy and playful 'All Bubbling Babies', where bass, gentle percussion, and nimble piano create a lightness of touch that allows the vocals to really cut through. Exquisite harmonies add further uplift as the lyrics transform counting into something hypnotic and melodic, providing the perfect introduction to both the album’s sound and philosophy. The true strength of the song lies in its simplicity, here less is more, and therefore succeeds in keeping the listener engaged through its hypnotic allure.

'Many Ways to Be' introduces a shuffle beat alongside a solid bassline, with a hypnotic piano once again driving the melody. The song sparkles throughout, its soaring vocals celebrating individuality and learning in equal measure. 'Many Happy Helpers' takes a slightly more forthright approach, featuring instructional lyrics that demonstrates how tasks can be shared and broken down numerically, encouraging children to contribute and participate. The message is simple, many hands make light work. I'm sure all you teachers out there would no doubt agree.

'Three Is a Magic Number' takes a more freeform approach to this classic children's track, allowing the musicianship more room to breathe. Slightly funky in tone, the song highlight the number three, whether through family structures or the ease with which the number multiplies. The dexterity of the musical arrangement here is impressive, pushing the boundaries of what a counting song can sound like. It is then followed by 'Three Big Feelings', which carries a noticeable Americana flavour through its doo-wop harmonies and gentle melody. Conjuring images of fifties nostalgia, and providing an interesting nostalgic accompaniment to the songs lyrical message.

My favourite track on the album is the superb 'That’s How I Can Make Equity'. It is a beautifully crafted song with both a memorable melody and a stirring message. Here, numbers become a way of explaining fairness and equity, in a way that reflects the expectations of contemporary society. Musically, the track has a cool, laid-back vibe that perfectly complements its reflective lyrics. One could almost imagine Joni Mitchell performing such a song with a similar artistic approach. The message is simple but powerful: kindness, sharing, and fairness enrich not only others, but ourselves as well.

'He, She, They' is equally delightful, built around a strong hook and a hypnotic arrangement that effortlessly draws the listener in. What sounds like a xylophone adds extra colour and subtle texture to the melody. It is another ambitious composition, confident without ever feeling forced. 'All the Colours on Our Skin' focuses on diversity, celebrating the many shades that make up humanity while weaving the counting process naturally into the lyrics. The music strives forward with considerable purpose, yet never loses its sense of fun, allowing children to clap and sing along as they learn.

'The Baby Not a Baby' introduces a traditional country influence through its rootsy arrangement and catchy singalong chorus. As the child in the song grows older, birthdays are celebrated, numbers exponentially increase, and counting becomes part of the storytelling itself. It is a clever idea that blends melody, humour, and education seamlessly. Finally, 'One Me' closes the album with sweeping emotion and an anthemic quality that truly hits the mark. Here, children are encouraged to sing along as the melody rises and the arrangement gently builds toward a moving finale. It is a fitting conclusion to an album that is both ambitious, and refreshingly original.

Margot Bevington is clearly an artist who cares deeply about both music and education. She has identified a gap within children’s music and responded with compassion, and creativity. Highlighting how many traditional nursery rhymes feel outdated, she sets out here to redress the balance with educational songs that reflect the modern world. Traditional nursery rhymes are replaced here by thoughtful songs that encourage empathy, inclusion, and curiosity. Through her expertise in writing songs about rhythm and numbers, Bevington demonstrates how music can help children understand fairness, solve problems, and celebrate individuality. Teachers, parents, and educators alike would do well to pay attention. This is music with a message, a message that encourages children to learn, respect one another, and enjoy the process along the way. 

Margot Bevington – 1,2,3 eyes on me.

Album Review: The Lost Junkyard Gator Parade – Phredd

Welcome to the theatre of the absurd. I’m referring, of course, to the artist known simply as Phredd and, in particular, his latest album, The Lost Junkyard Gator Parade. Phredd takes no prisoners here, delivering music that makes even the avant-garde sound commercial. Musical mayhem is the order of the day, punctuated by moments of surprising beauty and dizzying imagination.

Essentially a one-man band, Phredd combines ukulele, harmonica, drums, bass, and eccentric vocals into a wildly entertaining experience aimed at children and families. This marks his fourteenth release, and across the last twenty-five years he has mastered the art of crafting chaotic, joy-filled music that refuses to obey convention. Imagine Raffi colliding with the cast of The Jungle Book at an experimental jazz festival and you begin to understand the strange magic at work here.

The opening track, 'Kazoo Overture', sounds like a long-lost outtake from The Beatles (The White Album) – think 'Wild Honey Pie' pushed even further into absurdity. The kazoo takes centre stage during this gleeful momentary lapse of reason, offering a perfect introduction to the madness that follows. 'Nipper Lost His Flipper' continues in a similarly bizarre vein, driven by a loose shuffle beat and improvised vocals that resemble a jazz ensemble jamming together during a particularly unruly Saturday afternoon session. Somehow, the bass manages to hold the song together while the vocals wander gleefully off the rails, resulting in one of the strangest tracks you are ever likely to hear.  

'Junkyard Town' embraces the spirit of a sea shanty, propelled by a pounding bass drum and cheerful ukulele accompaniment. It is both utterly unique and irresistibly fun, sounding as though Phredd had a rollicking good time recording it. The singalong chorus, complete with invitations to 'laugh at my recycle jokes', adds to the charm, while the backing vocals and playful instrumentation perfectly complement the track’s eccentric personality.

'Later Gator' introduces a clearer, more melodic vocal performance, sparring effortlessly with bass, drums, and ukulele. The lyrics take an amusing turn as Phredd announces 'it’s time to go' despite this being only the fourth track on the album. However, with Phredd, by now we should have all realised unpredictability is part of the appeal. In many ways, this feels like the children’s song Raffi never got around to writing: jaunty, heartfelt, and genuinely uplifting.

'Saint Patrick’s Cookie Parade' is whimsical and warm, driven by lively horn arrangements and buoyant vocals that perfectly suit lyrics celebrating togetherness and joy. There is a genuine affection here for Irish culture and communal celebration. In stark contrast, 'I Am a Robot' marches along with mechanical precision, blending descriptive verses with delightfully encouraging lyrics reminding listeners to be thankful they are 'not a robot'. The harmonica work is especially impressive, adding texture and personality to a track that would likely become an instant favourite in any music classroom.

'The Eddie Daniels Internet Adventure' returns to pure absurdity, presenting a brief, bizarre interlude that appears to feature a live audience. Clocking in at barely a minute, it serves as a humorous palate cleanser amidst the surrounding chaos. Meanwhile, 'Ziggy the Kind-O-Saur' proves that Phredd can produce more traditional children’s music whenever he chooses. Driven once again by drums, ukulele, and harmonica, the song introduces a dinosaur who is essentially a 'big-hearted troubadour'. The rhythmic phrasing is sharp and inventive, while the trombone solo injects an extra dose of playful humour.

'Chocolate Cake' offers one of the album’s dreamiest moments, balancing laid-back instrumentation with surprisingly expressive vocals. The bass playing is warm and imaginative, anchoring the song while the vocals drift into delightfully experimental territory. At one point, the bridge sounds as though a cat has wandered into the studio to provide backing vocals; an absurd creative choice that somehow works perfectly within the album’s universe.

Finally, 'Later Gator Goodbye' closes the album on an uplifting note, saying farewell in multiple languages before reminding listeners that 'music and love will bring me back to you'. It is a genuinely heartwarming conclusion from an artist whose sincerity shines through even during the album’s strangest moments. Beneath the chaos lies a musician with an instinctive understanding of melody, arrangement, and emotional connection.

The Lost Junkyard Gator Parade is unlike anything I have ever heard. It completely disregards traditional expectations, venturing fearlessly into territory that is simultaneously experimental, cerebral, and deeply entertaining. Across the album, bizarre sound effects, eccentric vocals, and imaginative musicianship combine to create something genuinely unique. If listeners can look beyond the sheer craziness, they will discover an artist unafraid to embrace unpredictability in pursuit of creativity and joy. Ultimately, Phredd has harnessed the sound of the unexpected, and done so with remarkable confidence and skill.

Phredd – the sound of the unexpected.

Album Review: Join the Band – Emily Who

Emily Who is a well-established figure in the world of family music. Not only does she share a stage name with one of my all-time favourite British bands, she is also widely regarded as an internationally acclaimed artist. She writes all her material with long-time collaborators Robin Gist and Peter Bailey, performs live tirelessly, and has amassed a prolific output of songs over the years. 

With five albums to her name, each showcasing her distinctive songwriting voice and warm, versatile vocals, her latest release, Join the Band, is an absolute classic. Spanning seventeen tracks, the album is rich in melody, imagination, and lyrical precision. Its themes range from road safety to interactive sing-alongs and everything in between. I know it sounds like a bit of a cliche these days, but there is genuinely something here for everyone.

The opening track of any album is crucial, it sets the tone and, in an age of shrinking attention spans, must make an immediate impression. Here, 'Any Colour Will Do' rises effortlessly to the challenge. Sprightly and full of life, it invites children to express themselves artistically, with  lyrics that place the emphasis squarely on the listener, encouraging them to be bold, trust their instincts, and remember that 'the colours that you choose are up to you'. It’s a charming antidote to hesitation, buoyed by some stirring banjo and delightful double bass, with flashes of harmonica playfully sparring alongside a Hammond organ.

For preschool teachers in search of engaging classroom material, this album is an absolute treasure trove. 'Shaker Party' bursts with energy, urging everyone to 'come to the shaker party' and keep moving  – left, right, low, high – ensuring every child feels included. 'Fly Like a Butterfly' follows a similar path, encouraging children not just to observe but to participate, flapping their wings and soaring 'through the air up there'. Even road safety gets a joyful spin in 'Crossing the Road', which transforms an everyday lesson into an interactive musical experience. 

There’s no shortage of delightful sing-alongs, either. 'Crescendo the Kookaburra' skips along with infectious charm, painting a vivid picture of the Australian bush, complete with unexpected Americana-tinged backing vocals. 'The Magic of Music' carries a nostalgic, almost 1950s feel – you could easily imagine Judy Garland at the helm. Its arrangement is lush yet effortless, with elegant strings and a chorus that radiates warmth. Then there’s 'The Omelette Song', proof that even the simplest idea can become something magical, with tight percussion and an inventive bassline giving the track a playful edge.

My personal highlight is 'Hugo and Cuddles and Boo'. It unfolds like a miniature adventure part story, part song, and rich in both curiosity and imagination. There’s a comforting familiarity to the music, as though it’s always existed just out of reach. As the characters journey on their merry way, children are encouraged to mimic the animals they encounter, turning the track into an interactive storytelling experience that’s impossible not to smile at. My only complaint? I wish it were longer, because I wasn’t quite ready for it to end, and I hazard a guess that I'm not the only one.

At its heart, the album is also a celebration of music itself, and in particular the joy of playing an instrument. Whether it’s the whimsical 'The Magic of the Flute' or the affectionate 'Hello Orchestra', which introduces the sounds and personalities of orchestral instruments, Emily Who captures that sense of wonder beautifully. 'Hello Cello', meanwhile, luxuriates in the instrument’s rich, resonant tones. Throughout, the album succeeds in presenting music as a universal language – 'a magical language that everyone can understand' – and, perhaps with a subtle nod to The Who’s classic 'Join Together', invites listeners to do exactly what the title suggests: join in.

For those drawn to gentler moments, the album also offers plenty of tenderness. 'Hello Cello' drifts along on waves of melody, while 'Dolce the Dragon' tells a sweet, engaging story, inviting children to 'slide and glide' along with its graceful tune. The album closes with 'Ballerina Dance', a soft, hypnotic finale where keyboard, strings, and bass support a vocal that glides and soars with quiet confidence.

All in all, Join the Band is a tremendous achievement from an artist who continues to evolve, despite her impressive back catalogue. There’s a kindness and authenticity in her approach that makes learning feel natural and joyful. She communicates the importance of the arts with effortless clarity, inspiring a genuine love of music along the way. The musicianship throughout is exceptional, matched by thoughtful, polished arrangements. An award-winning artist, she has already managed to take her music to the big stage, presenting orchestral children's shows around the country. She has achieved this in collaboration with the Sydney Symphony Orchestra, the Sydney Youth Orchestra, and the Ku-ring-gai Philharmonic Orchestra, which is an impressive feat by any standard.

Emily Who – perfect for preschoolers. 

Single Review: Rainbow Weather – Nicci Rea of Sunshine

Nicci Rea is a French immersion teacher and Kingston-based performer who has drawn on a rich array of musical influences to create a sound that is distinctly her own. Performing as Nicci Rea of Sunshine, she is at her core, a seasoned singer-songwriter, with extensive experience both on stage and in the studio, where she has spent years bringing her stories to life through a deep passion for creative expression. Her bilingual songs blend seamlessly with her background in musical theatre, placing heartfelt storytelling front and centre. A considerable talent, Nicci brings warmth, playfulness, and majestic melodies to children and families around the world. 

I have to say, I absolutely love this single, 'Rainbow Weather'. It’s a mesmerising piece of perfect pop, where melodic intrigue meets captivating vocals. It brought to mind shades of Kate and Anna McGarrigle, for anyone out there who may remember them. The arrangement is beautifully crafted: harpsichord, shimmering harmonies, and what sounds like a mandolin gently serenade the listener over a simple backbeat that allows the melody to truly shine.

Here, imagination runs free. This is pop music with purpose; a song that carries you into a world of colour and wonder. Sprightly and upbeat, it embraces melodic simplicity while delivering a vivid lyrical message. The song paints the colours of the rainbow with warmth and clarity, inviting us to “look up whenever there’s rainbow weather.” Each colour is described with such conviction that you feel part of this magical moment, gently reminding us of life’s simple joys.

All in all, this is a fabulous track from a superb artist who sings in full colour, with a generosity of spirit that is second to none. Sung in both French and English, the music speaks volumes, whether you connect through its lyrical meaning or simply its sense of mystery. It’s a true “brighten your day” song, one that leaves you wanting more, drawn in by its irresistible charm. Clocking in at around four minutes in length the song captivates your attention throughout, and does so with both flair and imagination. As far as I’m aware, this is her only solo release to date, so I look forward with great anticipation to hearing more from this inspirational artist in the future.

Nicci Rea of Sunshine – living colour.

Book Review: Big – Kim Noller

Kim Noller is an elementary music teacher and relatively new voice in children’s recording, bringing a wealth of musical experience into a fresh creative chapter. After years as a performer and songwriter, she released her first children’s album in 2023, quickly followed by a second in 2024. Her work is grounded in a simple but powerful belief: that music is a universal language capable of lifting spirits and helping young people make sense of the world around them.

At the heart of Noller’s work is a belief in the emotional power of music, and in particular its ability to shift moods and act as something of a lifeline when times are tough. Helping children navigate a complex world through music and literature seems to be her life’s mission, and one she embarks on with considerable energy.

Big is a new children’s book, which was adapted from the single and title track from her 2024 album Big, but more on that shortly. This inspirational picture book immediately establishes its tone through a series of rhyming couplets that speak directly to a child’s inner world. Its optimism is infectious, with lines that suggest we are 'bigger than my body can hold', with hearts that feel 'like they just might explode'.

The poetic imagery is rich and evocative throughout. The protagonist is likened to 'ocean waves crashing on the shore' and 'a beautiful sunrise ready to light the sky'. The accompanying artwork complements this lyrical message perfectly, enhancing both the emotional depth and sense of wonder. As the story unfolds, imagination takes flight, we soar 'like a giant pegasus' and even 'touch the moon' in passing.

Eventually, the narrative gently returns to earth. The child sees their reflection and realises, 'it’s just me'. Yet the message is clear: whatever we see in ourselves, we are always loved, safe, and protected. It’s a reassuring conclusion that grounds the book’s expansive emotional journey.

This is a charming, beautifully illustrated story that explores imagination, self-doubt, fear, and dreams of adventure, all while encouraging positive self-perception. There’s a subtle sense of escapism—almost Joycean in its emotional scope, but also encompassing a strong thread of belonging. It reminds us that while we are free to dream big, we are always loved exactly as we are.

The accompanying music is gentle and reflective, built on sparse piano and strings that add emotional resonance. The vocal delivery carries a hint of Bonnie Tyler, gradually building in intensity as the arrangement unfolds, mirroring the growing imagination of the child. There are even shades of Frozen in its cinematic progression. Translating such lyrical sophistication into music is no easy feat, yet Noller meets the challenge with considerable flair.

Beneath the poetic surface lies a clear and meaningful message. This is, at its core, a story about overwhelm, about learning to manage big feelings and understanding that such emotions are a natural part of being human. Through its resonant words and striking imagery, the book gives children space to explore their emotions and develop healthy ways of coping. Ideally, it leaves them feeling reassured, ready to let go of worry and simply enjoy life.

It’s said that the book was inspired by the experience of living in the shadow of an older sibling, of feeling the need to take up less space. It’s a sentiment many will recognise. Embracing one’s own 'bigness' can take a lifetime, which makes lessons like these all the more valuable when introduced early.

Whether through music or literature, Kim Noller has managed to blend these two distinct art forms into the type of musical storytelling that is both joyful and meaningful. Her work radiates a genuine love of life, combining sound and vision to create art that is engaging, uplifting, and deeply empathetic. Underpinned by a strong child-centred ethos, her work champions kindness, connection and inspiration.

Kim Noller – music, literature and imagination.

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 an additional 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 Fortunately, 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.