The Great Escape Festival 2019
Thursday 9th-Saturday 11th May 2019
Various venues across Brighton
Ages 18+Full Line-Up
Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.
Her new album Lung Bread For Daddy delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own. “I know exactly what I want my record to sound like and apart from drums, I have the ability to play all the instruments, so I did” Houghton states.
True to form, the first peak of the new album is the self directed video (Houghton has also made videos for Ezra Furman, Red Hot Chilli Peppers and LUMP) for lead single 'Buddy' which also stars a bathtub, 3 bottles of vegetable oil and 37 packets of spaghetti.
Lung Bread For Daddy sees a meeting in which Beth’s previous two albums, 2015’s ‘Welcome Back To Milk’ and her debut ‘Yours Truly, Cellophane Nose’, take a seat at the table and make amends. Veering wildly between proto-punk, psych rock and the wholesome song writing of the 1970’s, taking the listener on a journey through the landscape of her past. It is an honest and often uncomfortable look into the life of a person who’s experiences have been touched by a myriad of characters, homes across continents, periods of extreme loneliness, mental illness and a search for an understanding of personal identity. “My lyrics are always autobiographical. I have to be able identify with what I’m singing, and telling my story is therapeutic”.
Houghton's insatiable thirst for creation on her own terms has seen her take charge of every aspect of Lung Bread For Daddy including the brutal self portrait that adorns the cover of this record. Painted from a photograph taken during one of her lowest points, the image depicts Beth devoid not only of makeup, but self worth and confidence. “I look tired and pretty much destroyed, which is a feeling I’ve known many times over; in the aftermath of relationships and that of making a record. Lyrically the album is very naked so I’m carrying on the nudity of my previous album covers, only this time it’s emotional instead of physical.”
19-year-old Kara Marni has been infatuated with music for as long as she can remember. With her adolescent years being soundtracked by classic soul artists, it was on the school run while hearing her mum playing Minnie Riperton’s Loving You that her interest in music was fully realised. From that moment Marni spent hours listening to the track, hoping one day to mimic the iconic whistle register with which Riperton is synonymous with.
Fast-forward to her teen years and she’s set up camp in a shed at the bottom of her garden. It was here that Marni nurtured her voice by attempting to imitate the likes of soul icons Roberta Flack and Anita Baker. This influence of soul icons alongside her appreciation for contemporary greats including Amy Winehouse and Lauryn Hill, has inspired her to develop her own incredible vocal talent.
Self-described as “soul with a sprinkling of pop,” Marni has a voice beyond her years, with soaring, vocals and a distinct sound that sets her firmly in her own lane.
Born and still raised in the South Downs - or in her words: "an Enid Blyton village, with a Co-Op" - Maisie Peters has written music for as long as she can remember...and even felt bold enough to enter the Guardian's Short Story competition aged 9, with an admittedly terrible submission. It was this voracious appetite for fiction that first offered Maisie a window into alternate realities, in which making music professionally may also be reachable. From F Scott Fitzgerald and Donna Tartt came a love for sometimes bittersweet, sometimes bolshy storyteller-pop, with early influences on her music ranging from Carly Rae Jepson and Lorde to the strong female figures in Maisie's own life (her mother, her polar-opposite twin sister).
Currently exploring new sounds at a pace befitting a child of the Internet, Maisie Peters' early material tackle the changing outside world her generation must now navigate, whilst unknowingly offering a bright musical hope for its future. Meet British Pop's next Bright Young Thing.
New Zealand four-piece The Beths channel their longtime friendship into high-energy guitar pop with a smart lyrical bite. Guitarist, lead vocalist, and primary songwriter Elizabeth Stokes and guitarist Jonathan Pearce attended high school together before meeting up with longtime mates bassist Benjamin Sinclair and drummer Ivan Luketina-Johnston at the University of Auckland, where all four studied jazz. After gigging together in a variety of configurations, the quartet came together for a project exploring the pop and rock sounds of their youth. Everything clicked, and The Beths were born.
Their debut EP, 2016's Warm Blood, overflows with explosive guitar riffs and infectious indie-rock hooks. Produced by Pearce and featuring all four members on joyful vocal harmonies that recall the best ‘60s pop, tracks like ace lead single “Whatever” and impossibly catchy standout “Idea/Intent” earned the all-killer, no-filler release rave reviews from the New Zealand music press.
2018 promises to be a breakout year for The Beths. A beloved live act across Australia and New Zealand, the band will tour the U.S. and Europe as the Carpark re-release of Warm Blood gets audiences beyond the bottom of the Pacific Ocean hooked on their ebullient sounds. Their freshman album, Future Me Hates Me, also produced by Pearce, arrives later this year; fans of artists like Sleater-Kinney and Best Coast should remain on high alert for the first full-length from their new favorite band.
Elizabeth Stokes - vocals, guitar
Jonathan Pearce - guitar, vocals
Benjamin Sinclair - bass, vocals
Ivan Luketina-Johnston - drums, vocals
Following impressive live outings at The Great Escape, Truck Festival and Tramlines, Zuzu has today revealed her massive debut single “Get Off”.
The Liverpudlian newcomer - whose influences range from The Beatles through Bright Eyes to Pavement - blends crunching indie-rock guitars with her no-nonsense vocal work to create the brilliantly angsty hue, aligning with the likes of Courtney Barnett, for whom she recently opened.
Of the track Zuzu says: “Get Off” is about not taking any shit from people trying to control you. I guess the song came out of frustration of not being heard…”