Shepherds Bush Empire, 10 February 2006

Perceptions in this wickedly superficial world are supposed to be everything, and the marketing gurus can get it so right, and so badly wrong. And there’s no ‘third way’ or ‘happy medium.’ In the music industry the ‘pigeon holing’ of musicians by both record companies (especially the majors) and the music media seems to be a way of life; and if it doesn’t fit, make it, or else… Now this suits the ambitions and aspirations of the easily led, and less talented – everyone wants to be a ‘pop’ star - but it bears no resemblance to the needs of the most talented and original.

Back in 2003 Radiohead were moaning about the state of the music industry. They were particularly fed up with all the singing reality TV shows and how the contestants are groomed, saying ‘they’re trying to make them all 40 year-old stars like Annie Lennox‘. Thom Yorke (along with other band members) rated Alex Parks and said it was a shame she could only get a deal through appearing on Fame Academy: “She’s got a fucking great voice and if this is the only way she can get out to people it’s a shame because there’s really something going on there, and people will dismiss it because she’s from a TV talent contest. If that’s the only way to get exposed now then there’s something seriously wrong with the music industry. I’m against the safety of it all.”

You only have to look at the thousands of hopefuls that apply for TV talent contests, and the ‘experts’ that judge them. The surprising thing is that real talent is uncovered, and on the very rare occasion can very special and quite unique. And it’s that rare and unique talent that I’m reviewing here. And just about everything I’ve mentioned above probably applies to her. Talent contests will continue, but I doubt whether another Alex Parks will be found, and have to suffer the same incompetent marketing, and perverse pigeon-holing. Ask anyone who packed the Shepherds Bush Empire to see Parks if she is a ‘pop princess’ or serious singer/songwriter. Guess what….

When I arrived at the SBE box office and looked at the night’s schedule I noticed that the first support act was Jordan… Shit! Not the glamour model who contested a place in the Eurovision contest! No frigging way! So I went out for a smoke to await the second support act called Helen Boulding, whose name I recognised but just couldn’t place… Fortunately I asked a guy if he knew her and was told that she was an excellent singer/songwriter. Great! So with a few minutes to spare I wandered into the venue to find Jordan was still performing, and had in fact just started. Further, that Jordan was a he, Canadian, and a decent singer/songwriter on his first trip to London.

Jordan was accompanied by another acoustic guitarist, and the pair gave the audience an energetic thirty minute set of upbeat songs, tastily spiced by blues, rock and country. It was a great start to the evening, and I made a note to find out more about this musical free spirit.

Next up was Helen Boulding and she was greeted by knowing applause, while I was still none-the-wiser. Fortunately the lady seated behind the Yamaha provided all the information I needed to know, and then it clicked… This was the lady who co-wrote the Fame Academy single Maybe That’s What It Takes, with Alex Parks. During an excellent set, supported by bass and guitarist, Boulding revealed the liquid voice of a Beverley Craven, but darker, more passionate, performing songs with a grittier edge.

With an album coming out soon, Boulding took every opportunity to promote it and the accompanying singles. Virtually every song came with a, ‘this is the A-side, or B-side’, and ‘this is my favourite song from the album.’ And why shouldn’t she? I of course didn’t know any of the songs but the set-list, especially the last two songs, were good enough for me to scribble down a note to secure the album for review. Incidentally, her favourite album track is called Copenhagen - so now you know…