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Montreux Jazz Festival (MJF) organiser Mathieu Jaton has previewed this year’s reimagined 58th edition in an interview with IQ.

The Swiss event, which typically draws 250,000 people over 16 days, kicks off today with performances from Jon Batiste and Henry Moodie and runs until 20 July. More than 30 shows will be livestreamed for free on the festival’s YouTube channel.

MJF has undergone a number of temporary changes for 2024 due to construction work on the Montreux Music and Convention Centre Congress Centre (2m2c), home to the 4,000-capacity Stravinski Auditorium, its main venue.

As a result, this year’s festival features a new layout with a new 5,000-cap main stage erected on top of Lake Geneva, and a return to the historic Casino, which will have a capacity of 1,300 and a half-seated, half-standing configuration. The Casino burnt down in the ’70s and inspired Smoke on the Water by Deep Purple.

“It’s a totally different festival this year,” Jaton tells IQ. “We decided to reinvent everything and create something exceptional for this 2024 edition. The main difference is the festival is much larger in terms of distance, because it was concentrated around the Congress Centre before, so the spirit will be a little bit different.

“It will have the same overall capacity, although the stage on the lake is much bigger than Stravinski, with space for [an additional 1,000 people]. We will be out of the hall for two years, but it will be ready for ’26 for the 60th anniversary of Montreux.”

“Our signature right now is to have very powerful double bills”

Each night will offer a carefully curated double bill including Editors & Smashing Pumpkins, PJ Harvey & The National, Jessie Ware & Paolo Nutini, Róisín Murphy & Kraftwerk, Air & Massive Attack, Rag’N’Bone Man & Sting, Raye & Janelle Monáe and Soft Cell & Duran Duran.

“Our signature right now is to have very powerful double bills,” explains Jaton. “It’s not like an opening act and main act, it’s really a complementary double bill, so that’s exactly where we’re going. When we had the confirmation of Janelle, the goal was to make something not only good, but something exceptional that makes Montreux unique.

“With the big open air festivals, you have 10 to 15 bands playing the same night, and you buy tickets because you know you will see something fun. In Montreux, every single person is buying a ticket for a specific night, so it should be unique and exceptional. Putting two acts on with very big production, like Air and Massive Attack, for example, is not easy, but it’s amazing to have both together on the lineup on the same night.

“We are very proud of that stage this year, because it looks totally different from all the other festivals, and that’s what we’re trying to do. The audience loves the storytelling and know they will have an experience that is different from anywhere else.”

Deep Purple will also return as part of this year’s lineup alongside Alice Cooper for what will be the band’s 10th performance at Montreux.

“Of course, their story is very deep with us, and they want to show a little movie at the beginning of their performance to celebrate,” says Jaton, who recently the MJF brand’s international expansion. “Smoke on the Water is really the hymn of Montreux so I could not have dreamed of anything better than having Deep Purple playing the stage on the lake. Even though the rest of the lineup is crazy, one of the first sold out shows was Deep Purple so I’m very happy.”

“Jack White said, ‘Montreux is not like Lollapalooza or Bonnaroo: the music is first, the party is secondary.’ That is a beautiful definition”

The Swiss institution was the subject of a documentary mini-series, They All Came Out To Montreux, which premiered last year and detailed the history of the event and its celebrated founder Claude Nobs, who died in January 2013 following a skiing accident.

“Claude was not a businessman, he was really a music lover,” says Jaton. “So he was not doing a festival to make money, but because he loved music. He loved the musicians and wanted to have them close to them. They interviewed Jack White [for the documentary] and he said that when his children asked him what Montreux is about, he told them, ‘It’s not like Lollapalooza or Bonnaroo: the music is first, the party is secondary.’ And that is a beautiful definition.

“We are not a for-profit company. I don’t have shareholders, so I don’t have pressure for there to be a return on investment at the end of the festival. The only thing I have to do is take the festival into the future – and we’re always thinking of the artistic projects first, before thinking of the budget.”

MJF also includes a free programme, which represents more than 80% of its total offering and will feature more than 500 activities on 15 stages, largely dedicated to emerging artists. Highlight include Kenya Grace, Good Neighbours, Sid Sriram, Marcel Dettman, Jazzbois, Venna, Dargz, Elmiene and Black Coffee.

The prospect of MJF’s landmark 60th edition in two years’ time is also rapidly coming closer into view.

“We’ve started thinking about it,” reveals Jaton. “It’s quite difficult to book an artist for 2026 right now, but we have some ideas and discussions about doing something very special with artists who have become friends of Montreux – the old but mostly the new guys that played Montreux when they were up and coming – because our Spotlight project and Artists Foundation are very important to our programme. So we’re going to work on that, and hopefully some of the big guys will come to the 60th anniversary.”

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The post Montreux Jazz Festival chief talks 2024 revamp appeared first on IQ Magazine.

Featuring A Lazarus Soul, Palmbomben II, Mabe Fratti, James Blake, Lil Yachty, Desire, Rosie Lowe, D*mp, Decarteret, 1000 Beasts, Pearl & The Oysters.

As first published on Nialler9 – The Nialler9 New Music Playlist

Latin pop sensation in the making, EmiTQM, has made an indelible mark on the Latin pop scene with his dreamy indietronica debut single, IGUAL Y ME PENSASTE, which arrests with ethereal melodic waves in the same vein as Cigarettes After Sex, and originates via tenderly warm and exploratively 8bit-adjacent sequences which envelop you in a sonic world of kaleidoscopic colour and soul. Translating to ‘maybe you thought of me’, IGUAL Y ME PENSASTE is a reticently sweet embodiment of hope and yearning to reverberate around the mind of the person who ceaselessly occupies every waking thought. The single is an affectingly unforgettable introduction to the Mexican pop singer-songwriter and producer’s unique style which has already seen him amass a loyal army of fans who relish in his ability to visualise universally resonant facets of the human condition. The emotions that will flood through you as you follow EmiTQM’s lead through this future-forward earworm reach the pinnacle of visceralism. The hazy love-drunk hues translate with perfect articulation as the lines between reality and imagination blur. One of the only things with more promise than his music career is that the sun will rise tomorrow. We are already stoked to hear what […]

The post EmiTQM has made an ethereal debut with his installation of Latin indietronic pop, IGUAL Y ME PENSASTE appeared first on A&R Factory.

A celebration of one artist’s songs by family and friends who just happen to be music icons.

You can easily make the case that Linda Thompson is one of the greatest British vocalists of the last sixty years, not just in the folk and folk rock genres.  She first came to the wider attention of folk rock fans when she featured on The Bunch’s “Rock On” in 1972, before recording six studio albums with her then-husband Richard Thompson. While their relationship may have been traumatic at times, her vocals lifted Richard Thompson’s songs to a new level, a level he has struggled to achieve since no matter the ongoing quality of his guitar playing and songwriting. In the forty years or more since her break up with Richard Thompson, she has only released four solo albums excluding “Proxy Music”, each one receiving critical praise and maintaining her reputation as an iconic singer and an increasingly interesting songwriter.

The limited number of solo albums is because Linda Thompson was unfortunately diagnosed with spasmodic dysphonia in the 1980s which prevented her from singing. She was only able to sing again periodically in the 21st Century with the help of medication. However, the difficulties with her singing voice meant that Linda Thompson was able to devote more effort to her songwriting, which leads very aptly to ‘Proxy Music’, an album of Linda Thompson songs sung by singers selected by her.  This is not a run of the mill tribute album, but a celebration of Linda Thompson through her songs sung by singers handpicked singers by her. Also, the singers are family and friends of Linda Thompson which means they can bring a personal aspect to their interpretation of the songs. If there was any doubt about the joyous nature of the album, the album title and album cover, a perfect pastiche of the debut Roxy Music album, dispels those thoughts immediately, particularly when you realise the album design was all Linda Thompson’s idea.

The opening track ‘The Solitary Traveller’ may be sung by daughter Kami Thompson accompanied by son Teddy Thompson, but the first line “I had a voice clear and true.. “ makes it still all Linda Thompson. Martha Wainwright is featured on ‘Or Nothing At All’  and brother Rufus on Darling This Will Never Do’. The Proclaimers repay their debt to Linda Thompson on their version of ‘Bonnie Lass’. Salford’s Ren Harvieu takes on the persona of the young Linda as ex-husband Richard Thompson plays guitar on ‘I Used To Be So Pretty’. Life’s ups and downs are covered in ‘John Grant’ which had to be sung by John Grant. Daughter Kami Thompson and her husband invoke Richard and Linda Thompson as the Rails perform  ‘Mudlark’  with the help of some background vocals by Linda Thompson herself. We cross the Atlantic on ‘Shores of America’  with Don Freeman bringing a touch of americana to a dark tale of desertion. Eliza Carthy does her own family traditions proud on the lively ‘That’s the Way the Polka Goes’. The Northumbria pipes of The Unthnks bring a special colour to ‘Three Shaky Ships’. Teddy Thompson is at the heart of ‘Proxy Music’ as producer and accompanist and he closes the album with ‘Those Damn Roches’ which celebrates the various folk family dynasties from the Coppers to the McGarrigle-Wainwrights by way of the Waterson-Carthys.

‘Proxy Music’ is a surprising album on many fronts, not least the fact there are no filler tracks. Linda Thompson made her reputation in the ‘60s and ‘70s as one of the great British female vocalists, and then fate conspired to gradually reduce her vocal capability. What could have been a life-changing trauma has meant that Linda Thompson has also become one of Britain’s best female songwriters who has pulled together a group of singers who have reset the bar for any tribute album. Linda Thompson’s reputation was forged singing the dark songs of then-husband Richard, but the concept and cover art of ‘Proxy Music’ give us a glimpse of the humorous side of Linda Thompson, something many listeners may not have known existed. A great Linda Thompson album despite the absence of her signature lead vocals, a sign that ‘Proxy Music’ is very special indeed.

Kasabian have announced dates for an arena tour in support of their latest album, ‘Happenings’, with selected dates alongside The Streets.

READ MORE: Serge Pizzorno: “Kasabian’s trajectory is exactly where it’s always been, and always will be”

The band kick off the tour tomorrow (July 6) with a homecoming show at Victoria Park supported by acts including Kaiser Chiefs, before heading to arenas in Bournemouth and Bristol. The Leicester group then wrap up their July dates with a headlining slot at Latitude Festival, which will include acts such as Duran Duran, Orbital, The Vaccines, Khruangbin, and Jockstrap.

The Streets will then join Sergio Pizzorno and co for a second leg in November, beginning in their hometown of Birmingham, before hitting Glasgow, London and Manchester. Pre-sale for tickets to the November shows start July 8 at 9:30am BST, with general sales starting on July 10 at 9:30am BST via Ticketmaster.

The dates for Kasabian’s upcoming 2024 tour are:

JULY 2024
06 – Leicester, Victoria Park (with Kaiser Chiefs)
22 – Bristol, O2 Academy
23 – Bournemouth, O2 Academy
26 – Latitude Festival

NOVEMBER 2024 (with The Streets)
08 – Birmingham, bp pulse LIVE
09 – Glasgow, OVO Hydro
15 – London, The O2
16 – Manchester, Co-op Live

The tour follows a secret set that they played at the Woodsies stage this Glastonbury Festival, which marked their fifth appearance at Worthy Farm. Calling Glastonbury “the greatest festival”, Pizzorno noted that the appearance marked “one of the greatest days in this band’s history”, previewing their new record while covering dance classics such as Deee-Lite’s ‘Groove Is In The Heart’.

In an interview released today with NME, frontman Sergio Piozzorno explained the pop-structured mentality behind the band’s eigth record. “Usually, I tend to react to the last album, and I went through it surgically (wahey) so that every eight bars, it hits,” Pizzorno explains. “It’s a pop record, in a way – it’s just big song after big song. I wanted to make the point, then leave as fast as possible.”

Meanwhile, The Streets most recently dropped the contemplative single ‘End Of The Queue’, which was released as part of their upcoming ‘Fabric Presents…’ mix. Mike Skinner’s most recent record ‘The Darker The Shadow, The Brighter The Light’ dropped last October.

The post Kasabian announce 2024 UK arena tour with The Streets appeared first on NME.

New Zealand-based artist Shivnesh Sumer, known professionally as Cymbol, is poised to shake up the electronic dance music scene with his debut album, Distractions. Renowned for his sharp DJ skills and clever production techniques, Cymbol has already garnered a global following eagerly anticipating the release of his first full-length project.

Distractions offers an ambitious blend of Cymbol’s signature electronic style with fresh influences from Hindi and Punjabi music, integrated seamlessly with American hip-hop vibes. Cymbol’s genre-bending sound is anexercise in creative risk-taking, yielding a listen that’s both refreshing and intimate – proof that this artist is committed to evolving and broadening their musical scope.

Distractions benefits from a timely collision of creative forces, as Chitralekha Sen and Markel X.L. converge for a series of spellbinding vocal harmonies. Borrowing from the excitement of Bollywood, the playbook of pop, and the street smarts of hip-hop, this track births a style that’s equal parts sweet melody and rugged beat. An accompanying music video set to release shortly after the album aims to visually capture the essence of this vibrant sonic mixture.

It’s in the grooves of Distractions where we find the echoes of personal transformation, echoes that transcend mere musical textures to become a testament to artistic resilience. The focus track, also named Distractions, is strategically placed as the album’s finale, symbolizing the end of one chapter in Cymbol’s career and the beginning of another. Cymbol’s phoenix-like rise from the ashes is captured in this track, as he sidesteps his past achievements and charts a course for innovative new beginnings.

Since his breakout win at the George FM Remix Competition in 2013, Cymbol’s career trajectory has been nothing short of impressive. International feats decorate his resume, featuring a prized deal with Australia’s Sweat It Out Music and a memorable three-year stretch at Universal AUS/NZ. With every vinyl flip and every stroke of the crossfader, Cymbol injects raw passion into the air, whipping up manic buzz at New Zealand’s hottest festivals and events.

On Distractions, Cymbol unleashes an audacious sonic revolt, fearlessly combing raw electronic edge with ancestral rhythms and time-worn melodic motifs, rendering his already-packed resumé suddenly forward-thinking and refreshingly bold.

instagram.com/cymbol303

July is here, and with it comes the much-anticipated RBC Ottawa Bluesfest, a 10-day summer music extravaganza.
The first day of Ottawa Bluesfest 2024 was a testament to the festival’s diverse and dynamic lineup, promising an unforgettable experience for music lovers.

Headlining the main stage was the ever-energetic Mother Mother, who delivered a stellar performance that set the tone for the evening.
Their unique blend of indie rock and electrifying stage presence had the crowd singing along to every song, making it a perfect climax for the first day.
During the O My Heart, the rain returned for abit but didn’t ruin the show.

Before Mother Mother, the stage was graced by the charismatic Orville Peck.
Clad in his signature mask, Peck’s deep baritone and haunting melodies created an atmospheric set that captivated the audience.
Previewed materials from Stampede and only wished he had special guest on stage like Kylie Minogue or Diplo which would make it a memorable show if he was the headliner.
His mix of country, rock, and Americana provided a refreshing contrast and showcased his versatility as an artist.

The second act of the night, Tokyo Police Club, brought a bittersweet note to the festival as they stopped by Ottawa on their farewell tour.
The band, known for their infectious energy and catchy tunes, delivered a nostalgic performance that resonated deeply with long-time fans.
Catch short for about 10 minutes into the set due to the heavy downpour of the rain.
Their set was a fitting tribute to their journey and left the crowd with cherished memories of their music.

Opening the show was Kingston, ON’s Funeral Lakes.
This rising indie duo brought a raw and emotive performance that set the stage for the evening. Their introspective lyrics and atmospheric soundscapes provided an intimate start to the festival, drawing the audience in and setting a high bar for the acts to follow.

Day one of Ottawa Bluesfest 2024 attendance was modest but this being the first night of Canadian indie music.
The festival got alot of nights to test out how the turn out will fare with bigger acts.
Check out the gallery.

In this exclusive interview, we sit down with the talented Electronic Music Producer and DJ, Craig Oram, to discuss his exciting projects for 2024. From his methods to creating energetic DJ sets to his plans for the upcoming festival season, Craig shares insights into his latest productions and the inspirations behind his unique sound. As he prepares to release new tracks and remixes, Craig talks about his creative challenges, collaborative efforts, and how he plans to push the boundaries of his music. Join us as we delve into the creative mind of Craig Oram and explore what the future holds for this dynamic Producer and DJ. 

Hi Craig! How are you doing? 

Hello! I am doing great, thank you. I just got back from MINT Festival in Leeds, and it was bloody good fun. Some of the tunes were seriously good. 

Can you tell us about any exciting projects you have lined up for the upcoming months? 

At the moment, I am blasting out some guest mixes for various music culture websites like ‘6 am’ and ‘Magnetic Magazine’. If you want to hear some fresh, funky belters, have a look at my SoundCloud as they emerge. Most importantly, we have the festival season coming up, so the Campsite Kings will be out in full force. Noisily Festival in Leicestershire is next. Of course, I have several new tunes I cannot wait to release, and they will be out soon. 

What has inspired your latest productions and what can listeners expect from them? 

My last few tracks have been heavily influenced by Indie Dance wizards like Shagy and Jacob (IL), and some of the underground heroes of the Egypt music scene like Proof and Mooh. My tune ‘Stabby with Knives’ started out completely different to how the finished project sounds. After putting enough time in, you create your own inspiration. I also often take inspiration from my closest friends, as they can have great ideas for a track which I do my best to bring to life. I love that it feels like a wee challenge. With my tracks, you can always expect a good progression and the wait for the final drop to pay off. You can expect psychedelic-inspired sounds or rhythms, and I’d like to think you’d want to party when you hear them. 

Do you have any plans on releasing new remixes? What do you look for when choosing a track to remix or rework? 

I am always up for a remix; some of the best inspiration comes from hearing a rhythmic vocal. I am in the middle of a remix of a Nine & Dex single, a funky Rap track from a duo in England. I usually only like to take the acapella and then make all the instrumental myself, not using any of the original stems. 

Are there any collaborations in the works that you’re particularly excited about? 

I have been networking with some of my favourite artists, and I am hoping to get the chance to work with them. However, life is busy and gets in the way. If anyone likes my tunes and thinks we could make something great together, my email is on SoundCloud. 

How do you plan to challenge yourself creatively in the coming months? 

I guess the social media side of things is where the creation is lacking. Unfortunately, nowadays, the social media presence is where things really kick off. I am constantly in music production mode, and it’s easy to get stuck in the same routines and methods of music creation. I have bought some new hardware synths and some VST synths that I’d like to explore. Sometimes I feel my tracks can be lacking some atmospheric depth and sounds. This is an area I’d like to study more and bring a more professional sound to my projects. 

What role does experimentation play in your music-making process and how do you push the boundaries of your sound? 

Experimentation is everything, and my tracks always get to the point where I have several main sounds that I am toying with, and it can sound quite busy. Once I have played around and added the right saturation and grit or found the groove I am really after, that’s when I know I am on the path I want to be on. 

As a DJ, how do you curate your sets to keep them fresh and engaging for your audience? 

Often, I will go through any new tracks I have found – either new to me or just generally recent releases. I will always make a new folder on Rekordbox and categorise tunes, going from funky to more energetic towards the end. Between my friend circle, we get chances to practice together, and of course, our music tastes vary a bit. However, we all still appreciate a very well-made tune and a good mix. This gives me great confidence in the tracks I select and my own ability to play out the track in the best way possible. 

Are there any specific festivals or events you’re looking forward to playing at this year? 

I’m yet to be asked, but I am hopeful to finally see my name on the line-ups and show the crowds what amazing tunes are out there if you dig for them. But as I said before, I am still so happy to attend festivals. I will be partying at Noisily Festival in July and likely a couple more later in the year. 

Looking ahead, what are your long-term goals as a music producer and DJ, and how do you plan to achieve them? 

Honestly, my goal really is to just be able to make music my full-time profession and get out of the oil and gas industry. Time goes by far too fast when working a month at a time. I am the happiest man alive when behind the decks, and I can’t wait for the day that I realise I can do it for a living. Ideally, my long-term goal is to play a whole set using all my own tunes to the people who want to hear them. I don’t want to be the biggest and most famous, but I’d like to be reputable enough that the public will know they won’t be dissatisfied with my gigs. 

We conclude our interview with Craig Oram by thanking him for sharing his plans and creative insights for 2024. With a passion for music and a drive to continually evolve his sound, Craig Oram is set to make his mark on the Electronic Music scene this year; as he navigates sonic exploration, new releases, and potential collaborations, his dedication to his craft remains evident. Be sure to follow Craig Oram on his musical journey and stay tuned for the innovative sounds he promises to bring by keeping up to date with him via social media. 

Craig Oram Online  

Spotify | Instagram  

The post Inside Craig Oram’s Year Ahead: New Music Releases and Festival appeared first on EDMTunes.

FRED ABONG BLINDNESS MOOCHIN’ ABOUT RECORDS To those who follow Spill Magazine more closely, the name of Fred Abong might be familiar, and even more so, if they are fans of Throwing Muses and Belly, as Abong played bass for both bands back in the 80s. These days, Abong resides in New Orleans, has a […]

The post SPILL ALBUM REVIEW: FRED ABONG – BLINDNESS appeared first on The Spill Magazine.

Playing at Tāmaki’s Neck of the Woods and Pōneke’s Rogue and Vagabond in August.