TRi THIS Music Magazine Ninth Edition

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IN THIS EDITION

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Welcome to TRi THIS Music magazine.

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Our biggest issue yet is here, bringing you even more of the music, artists, and stories that deserve a place on your playlist. Alongside all your favourite regular features, reviews, and new music discoveries, we’re delighted to feature interviews with Kenny Thomas, Penelope Robin, Gia, and German rock legends Lake. If you like what we are doing, be sure to like and share our socials and help us spread the word.

As always, we’re building this with you, for you.

Enjoy the music, The TRi THIS Music Team.

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Listen to the music of TRi THIS Music Magazine Ninth Edition.

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The greatest care has been taken to ensure accuracy, however there can be no liability accepted by the publisher for errors and omissions. We can under no circumstance be held responsible for any materials, matter or photographical copy submitted for publication or not within the website or magazine.

The views and opinions expressed within our publications are not necessarily those of the publisher or indeed TRi THIS Music Magazine or any featured parties.

Three years ago, when TRi THIS Music first spoke to Penelope Robin, she was just 15. Now, after having made Colombia her home, dedicating her music to the Spanish language, signing with Sony in Latin America and having begun to producing her own records, Penelope has moved beyond the dark-edged rock image of her early releases towards something brighter, bolder and unmistakably her own sound.

Reuniting with Ross, Penelope reflects on the difficult realities of the industry, the importance of passion and the country that helped her find her voice.

ROSS: In our first interview, we focused on the idea of reinvention and what the future might be like for you. I feel like you've fulfilled it. Your energy is still there. You said that all your songs used to be in English, and now you've fully moved over to Spanish. It's crazy how much you dedicated yourself to it, and now you're kind of living another life through the music and through the community. That's what you said you wanted to do at the start.

PENELOPE: The biggest thing has been really working hard. One thing I always say is, at the end of the day, I'm very transparent about this because nowadays a lot of artists are like, "Yeah, everything's great." No, the industry is super hard. People are rude. It is very frustrating. There are a lot of moments where you're like, "Oh my gosh, this is horrible. Why?" But I think the most important thing is the passion.

I think that's the most important thing. Right now, I'm in this place because I've worked so hard and I have used all my passion. That's the most important thing in this industry. You have to really love it.

ROSS: You still had that work ethic back then, and for a 15-year-old to have that work ethic, I think it's really paying off for you now. . In the first interview, the single we focused on was 'Taking Back Sunday'.

PENELOPE: I'm like, "Oh wow, it's so crazy." I don't even remember my rock era - obviously I do - but it's so weird to me now. I'm so excited for you to listen to the new music that's coming out because it is so cool. Also, I'm producing all my own stuff now, so that's very, very cool. Remembering 'Taking Back Sunday'... sometimes I listen to it. It's actually really funny. The other day, I was on a date, and this guy was like, "Oh my God, I found all these old songs." I was like, "Turn off your phone. No. Anyway, I'm leaving. I've got to go. I'm sorry." I'm not embarrassed by it, but it's just weird. I don't want to listen to it. I think that was a really big thing too. I was at that age where I was like, "I'm going to be cool and everything is dark." Now, I'm really proud of myself because I feel like I've found Penelope, personality-wise. This is me, and I am just a ray of sunshine, dolly. Seriously, I am just so myself. If I want to wear hot pink and glitter, I will. If I want to be a rocker one day, I will. I'm just very me.

I think that's the hardest thing about the artist stuff. When you're growing, when you're younger, you try really hard to be a little bit cool and edgy. At the end of the day, it didn't work for me, for Penelope, because that wasn't me.

The reason I'm so happy with my music, with myself and with everything right now is because I am doing what I love. I'm doing the music that I love. I really feel that is getting me places because when you have passion for those types of things, you really love it, you really believe in the song and you believe in the lyrics, that will get you way further.

I love the fact that we talked so long ago and now we're talking again. It's like we're going through the past, and now we're here.

ROSS: You've excelled and done so much. How do you gauge the success? What is that like?

PENELOPE: I definitely have changed my goals a little bit, but they're still there. Maybe I've looked more into myself. When we talked, one of the big things was that I would love to sing in a stadium. I would love to open up for any artist, and I still would love to do that. I know I will be doing that very soon.

When I was starting, I was doing a lot of music. It's not that I didn't like the songs; I was finding myself, finding my sound. The song would come out, and later I was like, "It was never really hitting the vibe." A really, really big goal is definitely to keep doing what I'm doing and make the music that I love, because right now I'm doing that and I have never felt more connected with myself and with music.

At the end of the day, I'm a musician, and I was asking myself, "Why am I doing all these pop songs when I'm a musician?" I listen to so much music. I listen to Mexican music, English music, Colombian music and Haitian music. Why am I doing this? I went in this other route, and I'm so happy.

Another goal - and this is why I said a lot of my goals have changed in the perspective of myself - is to never lose myself, ever. Recently, I have been working really hard, and I have this positive energy that I love about myself. I hope, and it's going to happen because that's my mantra, never lose yourself. I hope people don't get to me in the future. I hope I don't become an angry person.

ROSS: I feel like you have an oomph now. The music you make today, the instrumentals, the backing and everything that goes behind it musically, is so beautiful and so well put together. That's you, isn't it?

PENELOPE: 'Diosa de Cien Colores' is a really important song for me because I wrote it with my ex-boyfriend. I love him, he's great. It was such an amazing song because I was writing it with somebody I trust so much, so it was such an amazing session.

I always say: never forget to be grateful. I'm so grateful for my dad, of course. I remember telling you how he's a producer, and he has taught me so much. 'Diosa de Cien Colores' is the first

song I've ever produced. It's crazy because, not to toot my own horn, but I think the production came out really cool. After we finished the song, I called my dad and I was like, "This is all because of you. This is because you have shown me so much."

It's so great that I have an amazing family and an amazing dad. After I am done, I can be like, "Hey, what do you think?" Since he's shown me so much, he's somebody whose opinion I trust. That song is really, really important to me.

ROSS: Do you have any advice for girls and women starting out in the industry and going forward? You've been at this quite a long time now.

PENELOPE: I hate being one of those people where you ask somebody something and they're like, "Oh, well, it's not easy." I hate being those people, but I am going to say it. For the people who maybe want to start: do it, girl. But you have to have so much drive because it is not easy.

The hardest thing we all have to realise is that it's not only as an artist; it's in sports, if you want to be a lawyer, anything. You have to work very hard, and nothing is going to come easy. You have to get on it with your social media, with everything, and keep going. If you're there, there, there, and then you stop no.

Be ready, because there are a lot of sacrifices you have to make. You're not going to be able to hang out with your friends all the time. Maybe you're going to be in the studio; you should be in the studio. Right now, I'm actually making my outfit for Mexico by hand, and that's taking a very long time. That's the sacrifice I'm making because I have a vision and I want it to be perfect. That's me, my back hurting, doing it by hand.

ROSS: What would you say is your proudest moment so far?

PENELOPE: Before, I used to say when I opened for Karol G, that was a very proud moment. But now that I have found myself, I think my proudest moment has been coming to Colombia, learning Spanish, singing in Spanish and the fact that I got signed with Sony here in Latin America. All of those things. It's more like, "You did that, girl. You did that, girl," because you wanted to and you believed in this amazing country.

I used to always say it was when I would do shows, which is a proud moment, but now that I have tapped more into myself, this is my proudest moment. A little gringa, that's what they say here. Gringa, white girl.

Technically, my parents are Latin, but still, I'm like a white girl coming here to Colombia, learning Spanish. I am a Colombian. I'm adopted, by the way. I am super Colombian.

Singing in Spanish, starting to produce my own music, really finding myself here in Colombia. I've only lived here for five years, and I already love this place. It feels like home. Colombia has really helped me find myself. I think it's really, really cool that I came here without knowing Spanish, without even knowing the music here, and now I'm doing this thing. I also had that amazing achievement: I signed with my first label.

That's crazy. I think that's my proudest moment ever.

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Our Spotlight on Street Cred!

BU SK BR ER EA K Lucy May Walker Lucy May Walker is a singer-songwriter whose heartfelt blend of folk, pop and acoustic storytelling has won audiences on streets, stages and airwaves alike. Originally from Worcestershire and now based in Kent, she first made her name busking in London, where her captivating performances stopped more than passing crowds—they also caught the attention of broadcaster Jeremy Vine, helping launch her music to a national audience.

Those early days busking shaped Lucy's warm, engaging performance style. Whether playing to commuters, festival audiences or intimate venues, she combines honest songwriting with an easy connection that makes every show feel personal. Her music balances uplifting melodies with thoughtful lyrics, drawing listeners in from the very first song.

Her releases, including Heartbreak Songs and the album Nothing Ever Stays The Same, have earned radio support from BBC Radio 2, BBC 6 Music and BBC Introducing, while tracks such as Safety Net and The Hardest Goodbye have become fan favourites. Today, Lucy continues to write, record and perform, bringing the same authenticity that first turned a London street corner into the beginning of her musical journey.

Raised in Poland and now creating in Berlin, GIA is building a world in which music, fashion, colour and family history are inseparable. Following the release of her debut EP 'Soundprint', she joins Ross Ferguson to discuss the music that first felt like home, the story behind House of Hempel, turning early demos into physical art and why creative hunger matters more to her than conventional measures of success.

ROSS: You have such an amazing creative vision, there are so many areas that you already seem to excel in. What drew you into music?

GIA: Basically, it's not a hard question. I grew up with a lot of music. I was born in 2001, so my parents were always putting the radio on. The first thing in the morning, the radio was on.

When we were leaving the house, the last thing was that the radio went off, or sometimes my father would leave it on so that, when we entered the house, music was already in the house.

Also incredible Polish music. I recommend everybody check out 2000s Polish playlists.

There are a lot of incredible Polish singers and musicians, and the sound was just different. It was like people were craving honesty and truth, and it gave me so much juice. It felt so powerful, and it still feels powerful.

ROSS: Tell us about House of Hempel. Why did you set it up?

GIA: When I was a kid, I was always obsessed with fashion and jewellery. Then my parents and grandparents told me that my family used to make a lot of cutlery, and I was like, "Oh, that's crazy!" Because of the Second World War, they couldn't keep making it, and a lot of the cutlery was stolen. Some pieces survived, and my parents sat me down and said, "Okay, we have some pieces we want to show you."

I was like, "Oh my God, this is crazy! I cannot believe that my great-grandparents were making jewellery and cutlery, and it was also

artistic." I felt like, "Oh my God, there were artists in my family." It made sense of why I love so many details and why I love looking at the world, architecture and art.

I felt that, if I continued making music, I would also love to represent my family. It made me sad that it had stopped. I was like, "Okay, if I have the power and I can make something for my future legacy..."

The moment I make my future bigger or brighter, I will continue with this cutlery and jewellery dream. It's a big goal, and for sure it will take me some years, but I'm excited. I would love to do it.

ROSS: The photo shoots we've seen so far are so heightened and at the quality of somebody who's been doing this for quite a while. What has informed you on that journey, and who has inspired you?

GIA: So many people inspired me. For sure, family members. My grandmothers looked crazy - the fits, the outfits. They always dressed me in the craziest pieces: fake fur and a lot of hats. Since I was a kid, I was very experimental with that. Then, as I was growing up, I loved magazines. I love Isabella Blow, Alexander McQueen and John Galliano.

I'm very visual, and it's really important to me to connect all the dots. If I have a sound, or I want to sound a certain way, it also has to look a certain way. It is all one thing together. What drives me is also colour. I see a colour, and I'm like, "Oh my God, this is how I want this song to sound." Then I have to have a piece that will make me feel the same way the song makes me feel. Colours and fabrics can work with sound as well. When I started making music, I was like, "How would this song look? What colour would this song have?"

I live in Berlin, so I've met a lot of incredible artists.

It's hard not to get inspired or be creative. There are so many incredible people and brands, and you see the fabrics and colours. I'm obsessed with hats at the moment, and I've met so many amazing people who have made hats for me.

One of my favourite pieces is by the UK-based artist Meg Dennis. She made this incredible hat piece for me recently. It also inspired a song I'd made. I had some weird ideas and felt a bit wrapped, so we made this wrapped hat. That's exactly it: you have an idea and think of the sound, the smell and the colour. Then you see fashion in Berlin or in magazines. Everything is connected, and you feel very spiritual with it. You just follow it. Family, friends, artists and incredible designers are the main inspiration.

ROSS: I think the EP is very much a journey. It has so many different styles across it. How does it feel to have it on these physical editions - the vinyl in different colours and the CD - and to hold this wonderful piece of art you've created? Even the back cover and the hat on it are incredible.

GIA: This is the proudest moment for me so far in this musical journey. It was my biggest dream to have a physical copy on CD or vinyl, and I was praying every day: "I need to make it work. I need to make it work." A lot of people told me it was a dumb decision financially and that I should just make songs and keep releasing singles. I was like, "I don't want to make singles just to make singles. I want to make physical copies for people who collect them."

ROSS: With an EP like 'Soundprint', you want to hear the whole story. It has an intro and an outro; it's a journey.

We often find ourselves skipping through music, and you lose quality and certain sounds. I love putting on vinyl and letting it play all the way through. 'See You Again' stood out to me as very summery and bright, with an early-2010s feel.

GIA: It's the first song I ever wrote in my life. I wrote it in 2021. I moved to Berlin, and I didn't know what I wanted to write or say, but there was this one person I never wanted to see again. I used to see their face all the time in Berlin, but the person was from Warsaw. I was like, "I'm in a different city. Why do I keep seeing this face? Is my brain tricking me?" I needed to let it out.

That was the first song I started and finished, and I was like, "We have to release it." Then I waited a few years because I was studying. If I was going to release it, it had to be right, and I'm happy that I waited. It's a cool song, and I'm happy you say it gives you that early-2010s feeling because I really wanted it to have a little bit of an early-2000s vibe.

ROSS: It's not a sound you really hear anymore; it's almost a lost sound. Did you always envision an EP and launching with this collection? The songs were written at different times, so did you always imagine this would be the format in which you'd put the music together?

GIA: No. This is just an EP, and all those songs are demos. I really wanted the opportunity to make something. In Warsaw, I wasn't able to make a proper song or collection of songs. There was always a sign saying it wasn't possible. A producer wasn't willing or didn't have time to work, and everywhere was a big no, no, no, no, no.

When I was 18, I knew I wanted to make music. I'd always had that feeling, but I was waiting for it to change because everyone would tell me, "It's not the real thing. You should have a normal job." I always felt that wasn't for me. It was banging in my head every day: "You need to make music."

Then I moved to Berlin in 2021 and met three producers. I was like, "Okay, let's go." Everything was a yes.

Everyone gave me a green light. They wanted to work and experiment, and I didn't need a crazy background or to have already released songs to work with them. That gave me a lot of confidence and the feeling that I was in the right place. I knew what I was doing, who I was and what I wanted to say.

Those demos were like dipping my toe in the water to see if it was cold, but now I want to jump into the water.

That's why I'm working on a proper album. With the EP, I was just trying to make as many demos as I could and see if they were cohesive in any way, lyrically or sonically. I still feel like this EP is a little start. I'm proud of it, and it's a great EP and a great start, but I know I can do much better things. This is just the beginning, and I'm excited. I'm ready to jump into the water and go for it.

ROSS: They blend together so well. I think that's because it's you: your presence, character and artistry can be felt through each track. They don't sound like demos; they sound well put together and produced, while still feeling experimental.

GIA: The people working on them worked very hard. The production and everybody involved were incredible, and they put so much time and effort into it. I'm talking about the fact that it was the first thing I ever put together. I wasn't thinking, "Should I make a better song? Should I write something better?" I was like, "Let's just go for it."

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Fifty years after their debut, LAKE the German rock group return with new album ‘Four’. For vocalist Rob Reynolds, who joined the group around seven years ago, the record represents both a continuation and a new chapter. Speaking with Ross Ferguson, Rob reflects on joining an established band, preserving its identity, the value of physical music and what it means to continue creating after five decades.

ROSS: My first question for you, Rob, is: how did you get started with LAKE? How did you fall in with the guys?

ROB: About seven years ago, I got a phone call from Detlef, who's the main producer and writer.

He went to Scotland to find a new singer because the last singer of LAKE was a Scottish guy, so he was trying to find another Scottish singer. I was suggested, and we chatted and got on well. I went to Germany, we worked on some songs, and it seemed like it was going to be a good project to be involved in. I'm very happy to be involved.

There's enough time now for people, because it's hard to replace lead singers. But I think there's enough time between me and Jim. Hopefully, anyway.

ROSS: What's your background with music? How did you get started with music as a whole?

What was your experience like at the time when they found you?

ROB: I started gigging when I was 15. I was in blues bands and stuff like that, and then I moved to London in my 20s, got a record deal and did a lot of opening for acts like Errol Brown from Hot Chocolate, Hugh Cornwell from The Stranglers and Hazel O'Connor - all these sort of people from my age group, actually. I had quite a good little career going on. COVID kind of put a stop to that big time, and it was really handy that LAKE got in touch with me at the same sort of time.

ROSS: Were you already familiar with LAKE and the music they'd made through the '70s? They come from such an interesting time and background, when there was so much great rock music coming out of Germany. They're really the main band to have done it internationally, I suppose.

Were you always aware of them growing up?

ROB: I remember the song 'On the Run'. I think I might have seen that on The Old Grey Whistle Test when that was going. When I went and had a look at their old stuff, I recognised it, so I would have been aware of them. I didn't know them like I knew Led Zeppelin, for instance, but I knew the song. I recognised it.

ROSS: Reuniting for the 50th anniversary feels absolutely crazy. Was a new album always on the cards? Did you always envision doing something really special to commemorate it, such as a new album, new material and new music?

ROB: It happened that when we finished the album, it was the 50th year. I've been in the band for seven years, but because of COVID, it was very, very bitty for a long time. In hindsight, that was a great thing because you could go back and go, "Well, that doesn't work. I've lived with that for a while. I don't like that. Let's try something new," or, "I really like that. Let's keep that and build on it."

Because we had such a long time, it was very good for the project in the end.

It just happened that we ended up on the 50th year, which is... serendipitous? I can never say that word. It means it's good timing.

ROSS: It's such an amazing album. It's crazy how much it sounds like the first and second albums. It all gels together as an amazing continuation from that period to today. It sounds so classic, but at the same time, it sounds so new. It's really got an oomph to it. What was the process like, putting the album together, finding that style and enhancing that classic sound?

Did it all gel? Was it an easy process?

ROB: It was pretty easy on the whole. Detlef was the original songwriter and producer, so we've gone right back to the start. In previous years, there were different incarnations, but this is the original backbone of the band. He's written most of the music, so there's that continuity there.

Like I say, we'd record a song and then, "Oh, that doesn't work," and we'd go back. It was a lot of me travelling there and travelling back. I had to get vaccinated to go there for the first time; it was that sort of close. But I think it was a really good process. We were never in a rush. It was never like, "Oh, we need to do an album. We need to get it done now." We wanted to get it done as quickly as possible, but there was no time frame, which was a really good thing. It didn't feel like there was any stress to finish it.

I think it was a really easy process. We're even talking about starting the second one, the next album, because it's been such a good process.

ROSS: It's such a great body of work. There are so many real hits on there - songs that you might have called singles back in the day. 'Wish I Was a Sailor', 'Ordinary People' and 'Hey Sam' are definitive moments spread across the album that really bring it together. It's amazing how much it reflects the style of the band. You can really feel it, and that's why it's such a treat for LAKE fans, but also for people discovering the band for the first time today.

ROB: I think it's very hard to change singers, but you mentioned 'Wish I Was a Sailor', which Ian Cussick, the other singer in the band, sings. He does two songs on the album, I do the rest, and then I do the backing vocals. He does the backing vocals when he's not singing. He was the original, original singer of the band - not on their hits, but he was an original member. So there's this nice continuity going through it.

They were always well known for their block harmonies. Ian's in there, everybody's still in there, so it's still got that same sound. The only voice that's different is mine. That's the only voice that's changed. You can still feel like it's LAKE, but it's got a different thing because I'm singing.

It's a slightly different sound, but I think it works really well together. It's complementary, really.

I love Ian's voice, and 'Wish I Was a Sailor' is one of my favourite songs on the album. I didn't sing it, but I love it. There are no egos involved. It's like: can we make a great album? It doesn't matter who's doing what. I'm really pleased with it.

ROSS: What do you hope these new audiences take from it?

ROB: I hope they like the music. I hope they're moved by it. That's the whole aim of music, I think: to move, even if it's physically moving or moving you emotionally. It doesn't sound artificial.

I'm just hoping that people hear it. Even if they hear a tiny bit of it, they'll go and search it out and they'll like it. I think it's a good album, so I think people will enjoy it.

INTERVIEW BY ROSS FERGUSON HAMBURG GERMANY @LAKE_BAND

VINYL JUNKIE The groove tells the story

Walk into a record shop looking for one album and there's a fair chance you'll leave with three. That's the magic of crate digging. Unlike shopping online, where clever algorithms suggest what you might like, a record shop offers something no website ever can – the joy of the unexpected.

Every record shop has its own personality. Some are packed floor to ceiling with carefully organised collections, while others are gloriously chaotic, with boxes of vinyl waiting to be explored. That's part of the attraction. You never quite know what you'll uncover.

For many collectors, the real excitement isn't finding the record they came in for – it's discovering the one they weren't expecting. One minute you're searching for a favourite album, the next you're holding a jazz classic you've never heard of or a forgotten soundtrack with artwork too good to leave behind. That's how collections grow, often by accident rather than design.

Of course, record shops are about much more than buying music. They're places where conversations begin. Ask the owner if they've had anything interesting arrive that week and you'll usually be rewarded with a recommendation or two. Mention a favourite artist and you'll often find yourself chatting with another customer who's equally passionate. Before long, half an hour has disappeared and you've still only made it halfway through the 'M' section.

Independent record shops have weathered some difficult times. When CDs took over, many disappeared from our high streets, and the rise of streaming seemed certain to finish the job. Yet somehow they survived. Today they're thriving once again, helped by a new generation of music lovers discovering that there's something far more satisfying about holding an album than simply tapping a screen.

Perhaps that's because buying vinyl is an experience rather than a transaction. You study the cover, read the sleeve notes, admire the artwork and imagine how it will sound when the needle finally touches the groove. It's music you can see, touch and share.

Then there's the thrill of the hunt. Every collector knows that feeling when a familiar spine catches your eye.

It might be the first pressing you've been searching for, a limited edition you thought you'd never find or simply an album that brings back memories of another time. Those moments are impossible to recreate with an online search bar.

Some of my favourite records weren't even on my shopping list. I once walked into a local record shop determined to find a particular album that had eluded me for months. They didn't have it. Instead, I left with a record by an artist I'd never listened to before, recommended by the owner with the words, "Trust me, you'll thank me later."

He was right.

That album is still one of the most-played records in my collection, and every time I hear it I'm reminded that the best musical discoveries are often the ones you never planned to make.

So next time you're passing an independent record shop, step inside. Leave your phone in your pocket, take your time and flick through the racks. You might find the album you were looking for.

Or, better still, you might find one you didn't even know you needed.

Until next time… keep the stylus clean and the records spinning.

YOUR STAGE YOUR STAGE

YOUR MERCH YOUR MERCH

YOUR SUMMER YOUR SUMMER

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BONNIE TYLER Straight from the Heart Few voices in music history have carried quite the same emotional weight as Bonnie Tyler’s. With her unmistakable rasp, dramatic delivery and ability to turn heartbreak into an arena-sized anthem, the Welsh singer became one of Britain’s most beloved musical exports. Her passing in 2026, aged 75, marked the end of an extraordinary career, but the voice behind some of rock’s most enduring moments will continue to echo for generations.

Born Gaynor Hopkins in Skewen, South Wales, in 1951, Bonnie’s journey to international fame began far from the bright lights of global stages. Performing in local clubs and developing her craft, she quickly gained attention for a vocal style that was raw, powerful and completely her own. Her breakthrough arrived in the 1970s with hits including “Lost in France” and “It’s a Heartache”, introducing audiences worldwide to a singer who could deliver vulnerability and strength in equal measure.

A defining moment came after surgery affected her vocal cords, transforming her voice into the trademark husky sound that would become her signature. Rather than holding her back, that change helped create one of the most recognisable voices in popular music.

"I've been "I've been singing singing since since II was was 16 16 because II love because love it. it. II wanted wanted to to be be aa singer, not singer, not a a star. star.

There's a There's a difference difference between between wanting to wanting to be be famous famous and and wanting to wanting to sing sing well." well."

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In 1983, Bonnie teamed up with legendary songwriter Jim Steinman for “Total Eclipse of the Heart” — a towering power ballad that became a global phenomenon. The song’s cinematic scale, emotional intensity and unforgettable vocal performance cemented Tyler’s place in music history. Alongside tracks such as “Holding Out for a Hero”, it helped define the sound of 1980s rock and remains a favourite across generations.

Yet Bonnie Tyler was never simply an artist of one era. She continued recording, touring and connecting with fans around the world for decades, proving that authenticity and passion never fade. From Eurovision appearances to countless live performances, she remained a performer who gave everything to her audience.

Behind the legend was an artist known for her warmth, humour and down-to-earth personality. Bonnie Tyler was more than the voice of a power ballad — she was a survivor, a trailblazer and a true original.

Her music captured love, loss, hope and defiance like few others could. The eclipse may have passed, but Bonnie Tyler’s star will continue to shine.

The honest and heartfelt memoir of vocal powerhouse and music legend Bonnie Tyler.

Read the full story, BUY THE BOOK NOW.

“I love “I love my my nice nice things, things, but I'm but I'm still still the the Welsh Welsh family family girl” girl”

Electro Swing Electro Swing: Vintage Style Meets Modern Beats What happens when you mix the brass and glamour of the 1920s with the energy of a modern dance floor? You get Electro Swing—a genre that blends classic swing and jazz with electronic beats, creating a sound that's impossible not to move to.

The genre began to take shape in the late 1990s before gaining real momentum during the 2000s. Producers started sampling old jazz and big band recordings, layering them over house, hip-hop and electronic rhythms to create something that felt both nostalgic and completely new. It quickly found a home in clubs, festivals and online playlists, attracting listeners who wanted something a little different from mainstream dance music.

Part of Electro Swing's appeal is its personality. It's stylish without taking itself too seriously, combining vintage fashion, lively brass sections and infectious rhythms with modern production. The result is music that feels equally at home in a jazz club, at a summer festival or soundtracking a social media montage.

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More than just a novelty, Electro Swing proves that great music doesn't have an expiry date. By giving classic sounds a contemporary twist, it introduces a whole new generation to the energy and excitement of swing while keeping one foot firmly on today's dance floor. So, if your playlist needs something fresh with a touch of old-school cool, Electro Swing might just be your next musical discovery.

Suzanne Vega is the mother of the MP3 format. An acapella version of the star's classic hit 'Tom's Diner' was so admired for its simplicity and clarity that German scientists used it as the test track when developing the MP3 format.

Metallica is the only rock band to play on all seven continents in the same calendar year.

A I V I TR

Morton Rocket, lead singer of A-Ha, holds the European record for singing the longest single note in a pop song. This happens in the band’s hit, Summer Moved On, in which he sings one single note for 20.2 seconds.

In 1950s Soviet Union, teenagers secretly copied banned Western music onto discarded X-rays, creating eerie "bone records" that let rock and jazz spread despite Cold War censorship.

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INTERVIEW BY MARTIN SHAW @KENNYTHOMASOFFICIAL

From North London’s record shops, pirate radio and church halls to the charts and Top of the Pops, Kenny Thomas has spent a lifetime following soul. Now selling out the biggest venues of his career, he joins Martin Shaw to reflect on ’90s success, industry upheaval and why music—not fame—has always been the force that drives him.

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MARTIN: How did Kenny Thomas come to be as a musician? What about those early days with your family, friends, school, whichever it might be that influenced you towards a music career?

KENNY: It began to take shape, always listening to music, my father used to buy vinyl, and he liked the crooners. He liked Johnny Mathis. He would also buy other stuff that he was into just different records if a song took his fancy. My mother was Spanish, so obviously there was Latin vibes going on, but she also had a fondness for crooners like Nat King Cole and people like that, but she would be one minute Nat King Cole and the next minute Mario Lanza, and and then some Flamenco, it was right across the board.

Ultimately I would say it's because I grew up in a sort of a poorer part of town in London, a poor part of North London.

The flats we lived in were positioned quite nicely opposite an independent record shop called R and B Records in a place called Stamford Hill, North London. R and B didn't stand for rhythm and blues. It stood for Rita and Benny, and Rita and Benny were a middle-aged Jewish couple, and they really knew their music. They knew their Soul, their Jazz Funk, and she really knew her reggae and Lovers Rock.

We grew up around that. I was also involved with the church near my house, and I got involved in singing. It was very noticeable early on that I could mimic certain records, I could mimic singers, and I had the quite a nice tone and a good vibrato and all of those sort of things, and I was beginning to be pushed more to the forefront of the church, doing songs there, and then of course we’re into the 80s.

A Jamaican friend of mine, Derek Woods. He bought his first bass guitar and was learning that, and he bought his first mini Moog and a SH 101 keyboard, then the four track, and we were just starting to try to make music and jam. I bought my guitar and I was playing guitar and learning my chords. All of that was going on and so it was coming from all different directions: what we were listening to, what music I was buying, what was going on around us, and then I suppose it was just a natural progression that I knew I wanted to be involved with music. I knew I wanted to be in studios. I hadn't managed to get into a studio yet, but I yearned for it. I wasn't a youngster that thought I'd need to be famous .... towards the late 80s that I started to think, ‘Well, maybe I could really be a solo singer’.

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MARIO LANZA pictured, rita king of R&B records, celebrated for championing jamaican artists one of the first labels in britain to do so. kenny thomas’ alternative cover for this edition, colouring inspired by his 1993 album ‘Wait For Me’

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“Money’s never been my governor, and never has fame. Fame has never been my boss. What’s driven me is always music” Around about 1988 my best friend David Sassoon, who's like a brother from another mother, my Jewish friend David, passed away a few years ago. Bless him. His father was quite connected, and he knew the brother of Eddie Grant.

Eddie Grant's studio wasn't the studio he used to use. He still owned it. It was not very far from where I lived. So one very cold winter night, we went round there and knocked on the door and got no response. Was a bit disheartened, and then we went back another night again. It was during that winter, and eventually it opened, and Eddie Grant's brother Patrick opened it, he was still producing records there. Eddie was you know travelling backwards and forwards from Barbados because he had a lovely studio he built out there, which some of the big superstars were using at that period of time, and then we got in there, eventually that's where I cut my first two songs that I attempted to write and record, that's where I got my foot under the door in what I call the beginnings of the music world.

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MARTIN: Did that come easy writing those first few songs?

KENNY: Melodies did. The melodies came and lyrics. I listen back to that stuff now and it was all kind of the beginning of things, but it was something I wanted to do. Anyone who knows my career, I've also got a fondness for taking a record and cut and covering it. For years and years, many artists have done that. There were some records I fancied having a go at, being brave enough, and even the records that were quite risky to touch for a young white lad from Hackney to touch some of those records was a bit risky. But then I've always had that kind of fearless character that nothing's impossible and just what could go wrong? Just do it and crack on.

MARTIN: So, what does the word soul mean to you then?

KENNY: Well, that's a tricky one because you could say there's a lot of singers that aren't classed as soul singers, but they're very, very soulful. They may not be in that typical genre, that pigeonholed genre of soul, but their voices are soulful.

MARTIN: How were you feeling at that time when you hit that success?

KENNY: It's a whirlwind because it's happening very fast.

Although, you've done a lot of work leading up to it, a lot of slapping around the country, going in and out of nightclubs, trying to gain fans, singing to audiences that aren't interested, and eventually they are. All those days and days in the studio cutting your demos and everything was really laborious and you had to have a lot of patience because it took a long time back then.

MARTIN: And you're still gigging today. You're not on tour at the moment, though, are you?

KENNY: I just finished a tour, and the irony of it is, I'm doing the biggest venues of my career ever. So I did the Hammersmith Apollo earlier this year, sold out, Birmingham Symphony Hall.

These are venues I didn't sell out at the peak of my career. I didn’t do them let alone sell them out. I'm selling out these places that are not to be sniffed at, really.

MARTIN: So what are you making? What music are you making now?

KENNY: It's still soulful. But I'm making stuff with Opolopo, this producer in Sweden. So that has a kind of different edge of dance production. I've always done that. I've always done dance music. So it's always been soulful and dance.

Contempo, the label I was signed to, was a dance label. It was a club label. So I still do that, and I'm still making some cuts, making some with American producers at the moment, a record with Opolopo in Sweden, and I just cut two soul records with some producers in London, and the stuff's sounding great, man, sounding great. Just some great musicians on there, and it's just-it's real. It's real.

BOOK CLUB

For most people, a DJ is there for one day.

You arrive, shake a few hands, play the music, keep everything running smoothly, pack the van at the end of the night and disappear. That's the job. Or at least that's how it looks from the outside.

But spend enough years doing this and you realise it's rarely that simple.

The events we work are rarely just "another gig". They're the biggest birthdays, milestone anniversaries, engagement parties and, more often than not, weddings.

They're the moments people spend months – sometimes years – planning. They're the days families come together, old friends reconnect and memories are made that people will talk about for decades.

As DJs, we somehow become part of that.

You start the evening with a room full of strangers. By the end of the night you've learned people's names, shared jokes with the best man, calmed nervous brides, encouraged reluctant dancers onto the floor and watched complete strangers become one big family for a few hours.

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Then the lights come on.

Everyone hugs goodbye, thanks you for the music and heads home. You load out, drive away and, more often than not, never see those people again.

It's a strange part of the job that nobody really talks about. You can spend one of the biggest days of someone's life right alongside them, only for your paths never to cross again.

But every now and then, life has a funny way of reminding you that those moments mattered.

Only this weekend I was standing in the checkout queue at a large DIY store when a woman turned to me with a smile and said, "I know you... you were the DJ at our wedding."

It took me a second to place her.

Then she added, "Ten years ago."

Ten years.

She was there with her family, and before I knew it we were chatting about the venue, the music and parts of the evening I hadn't thought about in years. To me it had been one fantastic wedding among hundreds. To her, it was still one of the happiest days of her life...

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That's when it really hits you.

We spend so much time worrying about playlists, timings, equipment and making sure every detail is right that we sometimes forget what people actually remember. They remember how they felt. They remember the packed dancefloor, the laughter, the people they loved all in one room, and somehow you're woven into that memory.

Not because you were the centre of attention, but because you helped create the atmosphere that made those moments happen.

It's an incredible privilege when you think about it.

We might only be there for a single day, but for the people celebrating, the memories last a lifetime. And every now and then, when someone recognises you years later in the most unexpected place, you're reminded that what we do is about far more than just playing records.

Sometimes, without even realising it, you become part of somebody else's story.

If you have your own DJ story to tell, we'd love to hear from you. Get in touch at trithismusic.com.

INTRODUCING

www.connormorrisonmusic.com

Bringing Piano Rock Back to Centre Stage Every so often an artist appears who reminds you that great songs don't need to follow the latest trend.

Connor Morrison is one of those artists. While much of today's indie scene leans heavily on guitars, synths or programmed beats, Morrison has chosen a different path, building his sound around the instrument that once defined some of rock's greatest songwriters – the piano.

Based in California's Bay Area, Connor has spent the last few years steadily carving out his own corner of the independent music scene. His style sits comfortably between classic piano rock and modern indie pop, creating music that feels both familiar and refreshingly current. It's a combination that has earned him an ever-growing following and plenty of attention from listeners searching for something with genuine melody and heart.

His influences are worn proudly on his sleeve. Billy Joel's storytelling, Elton John's larger-than-life musicianship and Ben Folds' sharp wit and piano craftsmanship all leave their mark, yet Connor never sounds like an imitation. Instead, those inspirations provide the foundation for songs that reflect his own experiences, personality and generation.

Like many independent artists, Morrison's journey has been built through persistence rather than overnight success. Writing, recording, performing and connecting directly with listeners, he has embraced the opportunities that modern platforms provide. Every release marks another step forward, with each new track showing greater confidence in both his songwriting and production.

His recordings reveal an artist who understands that memorable music starts with strong songwriting. Rich piano melodies sit alongside driving rhythms, thoughtful lyrics and polished arrangements, resulting in tracks that are equally at home through headphones or on stage. There's an honesty running through his catalogue that makes the music easy to connect with, whether he's exploring relationships, ambition or simply navigating life's ups and downs.

If you want to experience Connor Morrison properly, start with his YouTube channel. You'll find music videos, live performances and behind-the-scenes moments that showcase not only his musicianship but also the personality behind the songs. It's easy to see why so many followers have joined him there, his performances feel authentic, engaging and completely unforced.

His Spotify catalogue is equally worth exploring. Rather than relying on one standout single, you'll discover an artist steadily building a body of work, with each release adding another chapter to his musical story. It's the sort of catalogue that rewards repeat listens as new details reveal themselves over time.

Meanwhile, his Facebook page has become a lively meeting place for fans, offering regular updates, new music announcements and a glimpse into life as an independent musician balancing creativity with the realities of building a career from the ground up. It's clear that Morrison values the connection with his audience just as much as the music itself.

Connor Morrison may still be writing the opening chapters of his career, but the foundations are firmly in place. He's talented, ambitious and, perhaps most importantly, making the kind of music he genuinely believes in. If piano-driven rock has ever had a place in your playlist, this is an artist you'll want to discover now, because the feeling is that his biggest moments are still to come.

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