Tag Archives: Music

The Playlist Panic: Why Moving Your Music Shouldn’t Feel Like Starting Over

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Switching music services should be as easy as changing your phone case. However, millions of consumers experience what experts refer to as playlist migration stress just by thinking about switching from Spotify to Apple Music or from YouTube Music to Amazon Music. Our music playlists are extensions of our experiences, emotions, and identities rather than merely compilations of songs. Given the high stakes, many people become anxious when switching streaming services. Thanks to solutions like freeyourmusic, playlist transfers are becoming simpler, quicker, and less stressful.

https://cdn.pixabay.com/photo/2017/08/06/03/17/headphones-2588235_1280.jpg

Source: Pixabay

Why Playlists Are So Personal

Music playlists, whether for a breakup, a “crush” mix, or your favorite exercise songs, frequently symbolize significant life events and emotions. After hours or perhaps years of honing, they become digital photo albums for your ears.

Because of this, the hardship of playlist migration is so real. Changing platforms isn’t enough. It is about the arduous process of finding every track, the worry of starting anew, and the dread of losing access to tunes associated with memories.

Streaming Services: Don’t attempt it.

Spotify, Apple Music, SoundCloud, YouTube Music, and Amazon Music are all vying for your attention and allegiance. Moving out of their ecology, however, becomes difficult because of:

Limited Export Tools: Most streaming providers don’t natively transfer playlists, making moving your music library to a new streaming platform challenging.

Catalog inconsistencies: Certain albums, films, or songs are available on one platform but not on another. When migrating, your meticulously constructed playlists may lose essential tunes.

Loss of Behavioral Data: Many users are concerned that if they quit a platform, their saved preferences, playing history, and suggestions would be permanently lost.

Time and Frustration: Manually rebuilding your playlists might take hours or even days, particularly if you’re using a sluggish device or don’t have a reliable internet connection.

This impotence influences the idea that shifting your music requires a total start.

Playlist Transfer Tools: Your Stress-Free Solution

This is the role of freeyourmusic. Because the entire procedure is automated, this tool is intended to remove the anxiety, inconvenience, and tension associated with playlist moving.

How It Works:

·         Connect your new and old music services (e.g., Apple Music to Spotify).

·         You can migrate the complete music collection or just specific playlists.

·         Allow the app to do the rest, transferring each track, cross-platform matching, and generating your list again in minutes.

No need to search, categorize, or log every music by hand again. Having a digital moving truck for your playlists is analogous to that.

Psychological Attachment and Streaming Loyalty

According to behavioral psychology, routines, such as making playlists, cause people to form deep emotional bonds. These routines provide comfort, regularity, and a feeling of control. Even if a different streaming service has more features or a better deal, customers will not switch if they fear their rituals may be interrupted.

This is particularly true if you’ve been using Apple Music or Spotify for years. Your playback speed, search settings, and log history contribute to your identification, and losing that data can cause you to lose a piece of yourself.

This link is maintained by services such as Free Your Music, which provides safe playlist transfer, transforming change into an improvement rather than a loss.

Why You Might Want to Switch Platforms Anyway

Even though moving platforms might be frightening, there are many reasons to do so:

Better Prices: YouTube Music or Amazon Music may have more affordable family or student deals.

Exclusive Content: Certain albums or songs are only available on Tidal or Apple Music.

Feature Preferences: A platform may have superior device compatibility, playback, or interface.

Needs for Integration: Interested in connecting your TV or smart home system? Full integration is not available in every service.

These advantages, however, might not seem worth the psychological and technological trouble unless you can move playlists with ease.

The Future of Playlist Portability

The need for mobility is growing as customers become more tech-savvy. Playlist transfer is rapidly moving from being an afterthought to a necessary function. In the future, we may observe:

·         Cross-platform standards that allow seamless sharing and backups.

·         Built-in transfer options within primary services.

·         AI-powered mapping that not only matches tracks but suggests upgrades or replacements.

However, until then, those who want the flexibility to relocate without losing their essential music must utilize third-party solutions like freeyourmusic.

Playlist Transfer Comparison Across Major Streaming Services

PlatformNative Playlist Transfer3rd Party SupportNotable Issues
SpotifyNoYesDRM restrictions on some content
Apple MusicNoYesMetadata differences
YouTube MusicPartial (manual)YesPlaylist structure changes
Amazon MusicNoYesMissing niche tracks
SoundCloudNoYesLimited track metadata
https://cdn.pixabay.com/photo/2020/09/01/19/40/woman-5536265_1280.jpg

Source: Pixabay

FAQs

Q1: What causes tension when customers transfer music services?

For the emotional significance of playlists. Real psychological anguish results from users’ anxiety of losing carefully chosen material that has been developed over the years.

Q2: Is it possible to transfer playlists from Spotify?

True! You may safely and swiftly move playlists across providers using programs like FreeYourMusic.

Q3: Are all of my recordings transferred?

Though there may be problems if a music isn’t accessible on the new platform, most are. The app seeks the closest match.

Q4: Will my suggestions and play history be carried over?

I’m afraid not. Only playlists are transferable; your algorithmic data and play history are locked on each platform.

Q5: Is using freeyourmusic free?

There are paid choices for premium services like bulk transfers and automated synchronization and a free version for basic transfers.

Conclusion

Your playlists contain more than just music. They are a digital backup of your experiences, feelings, and memories. It is reasonable to feel anxious while migrating playlists—that ingrained playlist panic. However, it does not need to define your experience.

Tools like freeyourmusic enable you to select the ideal streaming service for your requirements without sacrificing your favorite content, regaining access, or protecting your collections.

Music has the power to move us. It should be possible for our playlists to adapt to us.

Music Profiles: Bad Habits – Hotel Hell | Great New Music

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We love bringing music to people’s attention that they might not have come across. Bad Habits have a wonderful gritty punk-rock feeling and I’m a huge fan. Bad Habits consist of a husband and wife, alongside their son. Their new album, Hotel Hell is out now. Here is the band in the own words:

“Music saved my life but it was also my cover and nearly took it.” – Bad Habits’ Martin Red Butane. He writes dreamlike songs often with a nightmare reference. Creating landscapes and images with his lazy vocals and guitars. You are drawn into his stories and you really feel you are in the plot of the characters, you can touch danger but escape. Accompanied by his family on occasion (3 piece/duo/solo) his wife Glo Butane produces, engineers and plays bass/guitar/keyboards and their son Dakota Red is on cajon/drums. A family of music under his owned trademarked brand Bad Habits (since first used in the 70s). Martin Red was medically retired from his undercover job with PTSD, now with health conditions and injuries from his past life; So he has to sit/use support to perform. However it was not always like this, ” Back in ’78 I was going to give it up while playing a blues jam at the Onslow pub, Southampton when a grubby man came up and asked to jam.” he continues, “he asked if we knew Black Magic Woman? We started to play and it was @Peter Green. After I asked him where he lived he said Salisbury. I asked him how he got here? He said he walked so I took him home to his sister’s house; Pete told me, “Play music for yourself and if other people like it its a bonus.” since 12 yo music was always my centre but life took me to a very different world where I could not be in the limelight. Finally I am free and making music to help my mental health and hopefully other’s as well” 

This is a very organic process. I play live and drive my wife the producer/engineer up the wall as I see every song as a story that I have to emote immediately. We don’t overdub except on the electric guitar parts. I play and sing completely live. My wife uses 3 microphones on me because I can’t double myself every take is different as every gig I play will also be; first one 20 July at Bush Hall, London W12  more dates to follow in support of Mens Health Charities as I’m a disabled musician. 

https://www.facebook.com/BadHabitsMusic

ITunes https://itunes.apple.com/album/id/1725930821, 

Spotify https://open.spotify.com/album/0jXS9zNxMviC7f3echmd4t 

Deezer https://www.deezer.com/album/535391092

WANDSWORTH JOINS THE BIG PLATINUM JUBILEE LUNCH

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Partnering with the World Heartbeat Music Academy to provide free live music for the occasion across Battersea Park, Wandsworth Common, Tooting Common,Furzedown Recreation Ground and Coronation Gardens.

To celebrate the Queen’s Platinum Jubilee, Enable and Wandsworth Council will be participating in the Big Jubilee Lunch on Sunday the 5th of June. Not only will they be helping you find your perfect picnic spot, but will also provide free lunchtime entertainment in Battersea Park, Wandsworth Common, Tooting Common, Furzedown Recreation Ground and Coronation Gardens, to make for the perfect summer picnic.

Not for profit Enable is also delighted to announce it has successfully been awarded a grant from Arts Council England’s ‘Let’s Create’ Jubilee Fund, administered by The London Community Foundation, to deliver a special programme of musical entertainment for the occasion. The Foundation provides critical funding to community-based organisations around the city, in its mission to support grassroots organisations.

The focus of this fund, as Arts Council England note, is to ‘empower community organisations to work collaboratively with artists and cultural organisations in a way they might not have before, producing creative events that are driven by them and highlight their ideas and creativity.’ In this spirit, Enable is excited to partner with the World Heart Beat Music Academy to provide free live music and entertainment for the Wandsworth community as they celebrate the collective history of the 70th anniversary of the Queen’s coronation.

Thanks to the grant given by Arts Council England’s ‘Let’s Create’ Jubilee Fund, Enable will work with the World Heart Beat Music Academy to provide a series of music education workshops to local primary schools within Wandsworth, culminating on the event day with performances from the participants.

Featuring young local musicians aged 5-25, the Wandsworth based World Heart Beat Music Academy promotes music as a universal form of communication – that transforms the lives of young people through its unique and richly diverse teaching environment, where young talent is nurtured through a broad programme of music lessons, workshops and events, matching the Big Jubilee Lunch theme of community cohesion perfectly.

Started in 2009 by the Eden Project, The Big Jubilee Lunch is a national opportunity for all communities to celebrate their connections, bringing neighbours together and getting to know each other a little bit better. And what better setting than our beautiful Wandsworth green spaces for five incredible performances from young musicians and artists. So, pack your picnic blankets and Coronation chicken sandwiches and head to your local greenspace for a special Wandsworth royal knees up.

The Big Jubilee Line-up

Battersea Park –  World Heart Beat Music AcademyContemporary Gig Bands – 12.30PM
Tooting Common – New Orleans Second Line Marching Band – 13.00PM
Wandsworth Common – Otto and the Matapa Calling – 13.00PM
Furzedown Recreation Ground – Rebecca Wing’s Jazz Band – 14.00PM

Coronation Gardens – World Heart Beat Music Academy Piano Party – 13.00PM

 

Follow Enable’s social media for more information over the coming weeks

Instagram: @enableparks Twitter: @enableparks

What you need to know when starting your own record label

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Whether you are an entrepreneur looking to start something new or an aspiring musician who wants to go out on their own, this article is for you. It discusses everything you need to know about starting your own record label and becoming a big player in the music industry if that is your target. Of course, you might just want to set up a small local label to help local musicians, but these tips will still help. 

  1. A Name

To start your own record label, you need a name. It doesn’t have to be the catchiest phrase on the planet, but it would help. The name is important because it represents you and what you stand for. It will be your branding and will be the name everyone knows. If you are reaching out to artists and producers at any level, it will need to be a name that you are proud of. 

As music covers so many industries and genres, you also need to think about what the name means. For example, if you are planning on specialising in the Pop music sector, you might want to avoid something that represents another genre entirely. Obviously, it is down to you in the end, but the name is what will stick. Be imaginative as you would if you were setting up your own company or agency name. At the end of the day, the name is something you should be happy with. 

  1. Defining a Genre

This sort of goes hand in hand with the name choosing. If you are going to specifically settle for one niche then that will have played a factor in setting up your branding. However, if you opted for a label to be named after yourself for example, then you still need to make sure you have a defined focus. Whilst a scattergun approach may work for some people when trying to find clients, it helps to be more targeted. This way will also see you face less rejection. 

Imagine a band trying to make it in Rock ‘n’ Roll like Nirvana receiving an approach from a label which promotes Pop Music. They will likely dismiss your email or direct message. You do not have to appeal to everyone, as quite simply, you just won’t. This applies to those looking to start their own record label, as well as musicians, producers and songwriters. Be strategic and mindful of who you want to market to. In the same way as a marketing company refine their target audience for their newsletters and social media strategy, you will want to do the same when attracting potential clients.  

  1. Work Out When How You are Going to Distribute Your Music

When learning how to start a record label, you reach a point where you know it is about to get serious. As seen in the article on Pirate Studios, starting your own record label can be so rewarding. It can work in so many ways and can be extremely beneficial if you are an aspiring musician yourself. However, you do have to get it right, especially when it comes to distributing and releasing music. As we have seen down the years, the music industry can ride in waves. Artists can have a stellar year and then you may never hear from them again. 

That is why it is so important to avoid releasing and distributing when you feel like it. Similar to when approaching clients and artists, it is important to avoid a scattergun approach in this regard. As there is new music being released every hour, every day, timing is everything. Even the artists and labels with the biggest status will still research the best time to release. Perhaps the best example is how much thought goes into getting the Christmas Number One spot in the UK. This is quite a profitable time for record labels and in the UK, there was always a battle against Simon Cowell’s X Factor juggernaut. 

  1. Think About How You Are Going to Distribute Your Music

Since streaming and downloads started being counted towards the charts and other official figures, how you distribute your music if you are a record label has become a lot more complicated. Obviously, you can still look into releasing online and this is what most new record labels will do. Finding a digital distributor can be quite simple if you know where to look, and this means your records will hopefully land on all streaming sites such as Spotify and others. 

On the other hand, it can be more profitable to get your music distributed to shop floors. With HMV still going, there is still scope for this to be done. However, this can come further down the line if you are just starting out. First things first, don’t overthink it and just get your music distributed online. 

  1. Spread the Word

Perhaps the most important part of starting your own record label is to spread the word. Word of mouth is a great tool. Similarly, to an artist trying to get their name out there, you are wanting to do the same. In an already saturated industry, it is all about timing and word of mouth. Get your friends and other business to promote your new label.

Do some scouting as well. There are many unsigned bands and artists with loads of potential that just need a break in the same way you do. Signing a fledgling artist with bags of talent and ability is easier said than done, but they are out there. What better way to give your new record label a real boost by getting that talented, unsigned artist on the radio. Some record labels started out as bloggers reviewing unsigned talent and this led to promotion online. From there, they realised they had a knack for spotting talent and ability, which led to them setting up their own recording label. 

What you need to remember is that everybody has to start somewhere. Just have a look around and make sure you have everything covered. 

 

Collaborative post with our brand partner.

Play Up, Malory Towers!

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As the first ever stage production of Enid Blyton’s Malory Towers embarks on a national tour, Director Emma Rice tells Vicky Edwards why these classic stories are an enduring delight…

I’ve always thought optimism a lovely trait. Not only do the ‘glass half full’ brigade seem better equipped to withstand life’s slings and arrows, but their sanguinity is also marvellously contagious; even die-hard Eeyores struggle to maintain despondency when in the company of a fully-buoyant bright-sider. In literature, Malory Towers is the epitome of optimism. Nobody better, therefore, to adapt the original work and direct it than Wise Children’s super-sunny Emma Rice.

Co-produced with York Theatre Royal in association with Bristol Old Vic, and officially licensed by Enid Blyton Entertainment, a division of Hachette Children’s Group (HCG), Malory Towers is the original post war ‘Girl Power’ story. The high jinks of pupils at the Cornish boarding school have thrilled readers ever since the first story was published in 1946 – didn’t we all yearn to join in the midnight feasts and yell ‘Play Up, Malory Towers!’ at nail-biting lacrosse matches? The books remain hugely popular, with new generations devouring them and dreaming of being sent away to boarding school with an overflowing tuck box.

 

Emma Rice credit Steve Tanner

“But there is plenty for boys too,” urges Emma, in exuberant form after a productive week of rehearsals. “The only thing that would disappoint me would be if people didn’t bring their boys,” she added, promising a show that delivers plenty of thrills and spills.

“The animation is fantastic – we see the train arriving at the Cornish coast – and then there is a real cliff hanger just before the interval. We have just been rehearsing that bit today and it’s like Ben Hur!”

Described as ‘nostalgic, naughty and perfect for now,’ what initially appealed to Emma about the project?

“The Malory Towers books are great stories filled with great characters who don’t seem to age at all. It is very hopeful and I think that is right for now. I call it my happy Lord of the Flies: when left to their own devices, a group of girls decide to be the best version of themselves they possibly can be. They want to change the world and be women the world can lean on; they want to resolve conflict. They never talk about boys and they aren’t boring!”

Interestingly, Emma is a relatively new convert to Blyton’s best-loved school stories.

“I’ve worked with David [producer David Pugh] many times. He has great taste and he knows me so well, damn him!”
Laughing, she recalled how David piqued her interest by wooing her with a vintage set of the books, beautifully wrapped in brown paper.

“As soon as I read the first one I just knew they would make a great piece of theatre. They’re such page turners, the characters are so well observed and the powerful feminine voice comes through with such positivity.”

Anyone familiar with Emma’s work will know that music is an integral part of her productions.

“There is always lots of music with me,” she agreed cheerfully, “but I wanted the music in Malory Towers to be virtuosic; simple, but showing how rich the world is. There are some new compositions by Ian Ross and it’s a real musical feast,” she teased; “and it has got fantastic dancing, too. The choreography is incredible. I wanted my Malory Towers to be like Busby Berkeley, but in an earthy, feminist way!”

If the music is a feast then the actors Emma has assembled are a veritable banquet (‘simply top hole,’ as Darrell and her chums might say), and, refreshingly, it was achieved through a ‘character-over-looks’ approach to casting.

“For me, casting is always about getting the right personalities and the people who absolutely capture the spirit of the characters.” As proud as a Head Teacher with an intake of straight ‘A’ students, she adds: “My company comprises a range of actors with different backgrounds.

Gymslip clad, Emma’s performers will transport audiences to 1950s Cornwall where Darrell Rivers is embarking on her Malory Towers adventure. Bright, loyal and big-hearted, her fast and fiery temper is something she must learn to master. And, while she’s about it, can she save the school play and rescue terrified Mary Lou from the grip of a raging storm? Crikey!

But amid all the drama and japes runs Emma’s affection and regard for the generation of women who taught in schools in the wake of warfare.

“With lives shaped by the savagery of two wars, they devoted themselves to the education and nurture of other women. My Malory Towers is for them, and also for the two generations of men that died in those same wars, leaving us with the freedom to lead meaningful, safe and empowered lives. And it is for Clement Attlee and his Labour government of 1945 who looked into the face of evil and chose to do what was right. These people changed the political landscape in their focus on care, compassion and the common good. Malory Towers was written at the heart of this political revolution, and embodies a kindness, hope and love of life that knocks my socks off.”

Something else Emma is passionate about is the work of her company, Wise Children.

“We want to make fantastic world class ensemble theatre based on storytelling techniques that I have developed over my career, and at the same time teach the next generation of creative theatre makers. And we want to create access for people who might not be able to access theatre training,” she told me, explaining that there are free places given to those for whom such aspirations would otherwise be impossible.

Vowing to raid my daughter’s bookshelf and get reacquainted with Blyton’s finest work, on my way home I imagined what Miss Grayling’s comment on Emma’s end of term report might have been:

‘A splendid Head Girl who can surely be depended upon to lead Malory Towers to victory. Jolly good show, Emma!’

©Vicky Edwards

Dancing the day away: The Piano Works bottomless brunch

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As you might’ve noticed, here at Frost we have a penchant for prosecco filled bottomless brunches. What could beat it? A bottomless brunch with live music, of course. We headed to Farringdon to give The Piano Works ‘Brunch to the Beat’ a try and, whilst initially nervous as we first entered the lair, we quickly embraced the atmosphere and partied the day away.

At £50 per person, the bottomless brunch includes a two-course meal and two hours (none of that 90 minute malarkey) of unlimited drinks. Choose to wet the whistle with either prosecco, pink Italian sparkling wine, Aperol Spritz, Bloody Mary or mocktails.

You’d be hard pressed to find staff who support your quest for completely embracing the ‘unlimited’ part of the Brunch to the Beat experience too. Each time your glass is edging towards the dangerous ‘half full’ territory (yep, we’re eternal optimists), the suited and booted waiters are at your side, ready to serve and encouraging the party.

Although you can choose to purchase just the drinks at £35 a head, the quality of the food is not to be ignored. The chicken and waffles were the perfect mix of sweet and savoury and the crunchy, smokey batter that encased the chicken was packed with flavour. For dessert, it’s a modest list of options but they’re certainly fan favourites – sorbet, waffles, fruit salad or the pancake stack.

Above all else, it’s imperative we talk atmosphere. This bar is often packed with large groups of hens, stags and party people (which usually guarantees a good time) but the sheer brilliance of the on-stage professionals is something else. Music starts at midday with two piano vocalists, followed by a full band at 1.30pm. Once the band has bowled in, the party intensifies.

Playing only the audience requests with a fantastic jazzy twist to just about everything, the artists become the pied pipers, drawing crowds to the dancefloor with tantalising ease. To top this experience with the metaphorical cherry, it’s a no holds barred kind of affair, with all types of requests welcome. During our experience, we heard Ben E King, Jackson 5, Ellie Goulding and Lewis Capaldi – what more could you want!?

By the end of the session, it’s pretty much guaranteed that you’ll be dancing like you’re 18 again on the dancefloor at 4am. Although, the reality is that it’s 4pm, the harsh light of day awaits outside and the hangover is starting to prepare for its inescapable appearance… we wish you luck.

To make a booking for The Piano Works’ Brunch To The Beat, visit the website.

 

 

Asenso “Senz” Ampim | Music Profiles

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PRODUCER | RAPPER | PRO BASKETBALL PLAYER

Asenso “Senz” Ampim is the physical manifestation of persistence, passionand raw talent. Most people dream of one day becoming either a professional athlete or a musician but rarely ever both at the same time. With his athletic 6 foot 6 frame which he imposes on defenders on the basketball court, Senz in his music off the court, offers a raw, honest and at times humorous perspective into his life over thought-provoking emotiveproductions that make you feel. There’s a fresh wave of music coming your way that is intriguing, uplifting and vulnerable.

Jack Gierlich
CEO & Founder Ferus Solutions LLC

Born in Ghana (’88), raised in England then studying and living in New York, Asenso “Senz” Ampim is a man of the world. He is a Professional Basketball Player, Musician, and Entrepreneur seeking to continuously develop and display his abilities.

Senz got his start playing basketball for a small high school in Massachusetts, which then led him to play Division 1 college basketball at Columbia University where he was

named Ivy League Rookie of the Week, finishing his career amongst the Top Ten all-time Offensive Rebounders in school’s history. After graduating, he took his talents internationally to professional leagues in countries such as

France, Lithuania, Lebanon and South Korea to name a few. Throughout his career over the past 7 years, he has earned himself tournament MVP awards and “All Imports Team” Honors.

Senz began pursuing music as a hobby while traveling and playing basketball. His early influence stemmed from

the 2012 EDM hype with then younger acts such as Avicii, Afrojack and Calvin Harris leading the way as budding superstars. He would in turn make a slew of EDM remixes for friends who were Dj’s at local venues while also developing his own original tracks. Senz began to quickly find his own sound which features strong kicks, catchy melodies and emotive transitions intricately woven together. These components add a unique feel to his productions that set him apart from the status quo. He then started jotting down lines to his productions which led to his first single “Photoshoot Fresh” that has made him not only a professional athlete, but also an artist, producer and engineer of his own music.

https://www.youtube.com/watch?v=1zfsVEMYIHY

 

Pizzagirl Releases New Single ‘Body Part’

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pizzamumPhoto credit: PizzaMum.

Pizzagirl – ‘body part’

Following latest singles highschool and gymnasium, Pizzagirl remains within the blurry borders of his misremembered 80s, filmic universe for the spacious body part.

Perhaps the clearest embodiment of his vision, and the space he’s occupying between 80s teen-film nostalgia, 90s dial-up internet culture and the modern meme age, the tracks owes as much to Phil Collins and Janet Jackson as it does to fellow purveyors of wide-eyed bedroom-pop, Clairo, Boy Pablo, Gus Dapperton.

The experience, as Pizzagirl, AKA Liam Brown, puts it, is as follows:

“You’re scrolling on the World Wide Web and you reach mypizzagirl.com, but you click the wrong link and you’re virtually sucked into a dark, smoky, glitchy chatroom, where a badly rendered waitress serves you a beat pie by mistake, now your new CGI ears have accidentally downloaded my freshest tune, BODY PART!”

From the confines of his bedroom studio (AKA The Beatzzeria) in Liverpool, Pizzagirl’s musical mind wanders through the decades and over the Atlantic. Capturing the wistful, romantic nostalgia and coming-of-age sentiment in classic Brat Pack era film it’s as though Pizzagirl has planted himself as a character in a John Hughes screenplay. And body part is the latest set-piece scene, a darker, sadder element to his sound, a plot twist before a triumphant return.

Sophomore EP season 2 is the follow up to acclaimed debut EP An Extended Play, released at the top of the year. This earned Pizzagirl numerous not-so-secret admirers. Champions came in the form of Huw Stephens, Annie Mac, Lauren Laverne and more across the airwaves, as well as Noisey, DIY, Highsnobiety, Wonderland plus dozens of others in the blogosphere. With a tour supporting Her’s up and down the land to boot, there are multiple levels to the ever-growing platform from which Pizzagirl can now dive further into the cosmos.

He maintains his flair for channelling through his music and visuals the extroversion of 80s electronica, late 90s internet culture and US East Coast sad-indie introversion, calling to mind the likes of Porches, Frankie Cosmos both in esoteric sound and DIY work ethic.

Overall it’s a small operation. With the help of a thrown together flatpack mini studio, Pizzagirlwrites, records and produces all of his music and visuals from the comfort of his home. His best mate shoots his videos and his mum takes his press shots.

Through December Pizzagirl will be taking his show on the road with a series of UK tour dates, standing solo on stage, accompanied only by his trusty laptop, guitar and sequencer, displaying the lonesome idiosyncrasies of an introvert married with the larger than life extroverted nature implied by his eccentric, zany and often pensive pop tunes.

body part is being released by Heist or Hit on October 23rd, and is taken from Pizzagirl’s season 2 EP, out November 30th.

 

Live Dates
1st Dec – Sound Basement, Liverpool
3rd Dec – The Louisiana, Bristol
4th Dec – The Chameleon Arts Café, Nottingham
5th Dec – The Hope and Ruin, Brighton