Music Today 2013

The biggest issue we have today in music is to be able to keep pace with change, as the formats by which music is delivered keeps changing at a rapid pace. Along with this is the hankering for the past with the re-emergence of aisles of vinyls. 

The Album Rebirth. Artists today feel that 'music streaming' (such as on Spotify) is limiting for them artistically - while the album format offers them the more classic format to display their craft and the sales of vinyl have surged in recent years.

                                      

Live Music. People today are also listening to more music than ever and the live gig scene is meeting a growing demand, maybe in part because at a live performance we are able to hear the full rich dynamic range of sound - from the deepest bass to the highest vocal detail.

By comparison the drawback with the compressed MP3 sound that most of us travel with, is that we only get to hear about 5% of the sound. The problem is that producers yank up the sound to full blast, so that when we listen to recorded music on the MP3 format it becomes distorted to our ears.

Often it makes me long for the quality richness and depth of a full orchestra - with the violins at the front and the brass and percussion behind. I had the wonderful pleasure of this in January at the City halls when the Scottish Chamber Orchestra played with Cara Dillon’s beautiful voice. The sound was cinematic and blew your senses away.    

The Big Question. Is the music industry shrinking as a whole while the demand for live gigs are flourishing - and as the demand for music for games, apps, movies and tv productions continues to grow too.

New artists these days have to build a base online – and then decide do they take that on to a label or stay independent?  Good management is essential. When is an artist ready and are they good enough? I have seen several young talent in recent years get picked up and signed by the industry and then sidelined and no one can afford to take chances these days. The BBC Sound of the year makes its predictions.  

My son, who is a musician, remarked at a large stadium gig for one of the old-time rockers holding thousands, how hard it was for young musicians these days to fill those large stadiums with the older demographic top heavy audiences.  
 For the future we need the new life blood of the younger generation. Our older heads offer experience but the young bring their fresh outlook and energy and enthusiasms. I'd like to see more older artists work with and encourage new talents.   

                                                                                                     

 As song copyright gets extended to 75 years, we have to wonder why and no other art form has such an extended copyright. A songwriter and his children can now live for decades off a successful composers work (example Schumann). It means the Labels can live off their Song Back Catalogues - which means they don't need new artists. And while outfits like iTunes gives nothing back to the artists or to music..  

Cara Dillon and BBC Scottish Symphony orchestra Glasgow City Halls

Cara is sweet, lovely and petite. She has a pure, natural voice that makes her singing feel effortless. She comes from Londonderry Northern Ireland and sings many Irish traditional songs as well as Dillon/Lakeman songs.

I first heard Cara on a radio interview and I was impressed with her voice. I checked her songs on YouTube and found her singing with the Ulster Orchestra. For Celtic Connections 2013 tonight Dillon recreated this event with the BBC Scottish Symphony orchestra.    

For her first songs here at the City Halls venue she performed with her band (Zoe Conway on fiddle and Michael McGoldrick on whistle and pipes) and included the song Johnny Lovely Johnny.  Then for her fourth song the orchestra took to the stage when the sound became as rich as a film score with that added depth, resonance, and fullness that only an orchestra can produce.

Dillon’s Voice.

On the memorable The Verdant Braes of Skreen the orchestra provided swelling strings and floating woodwind.  For the song Your Hearts No Longer Mine she sang of the heartbreak of lost love with her voice like a subtle flute. On Black Is the Colour her voice was clear and poignant. The orchestra really kicked in once the brass section took flight for the added drama on the song She Moved Through the Fair.

At the start of the second half for the haunting Gaelic song Fil Fil O Run her voice was serene, sincere and full of sadness. On the song Maid of Culmore she sang with her soft voice that both whispered and soared. On High Tide, her own composition, Dillon sang of the homesickness of emigration from Ireland which she says sadly is happening again. Cara finished her concert with Sam on piano and with the traditional song The Parting Glass, she wished us well..

She was expertly backed by her husband Sam Lakeman on both guitar and piano with whom she has worked for a number of years. They are an impressive musical collaboration and Lakeman's playing was perfectly in sync to Dillon's voice. Cara has a way of singing as if she sees her voice floating over the microphone.

Some of the songs Dillon sang: SET – Johnny Lovely Johnny, Hills of Derry, Verdant Braes of Skreen, Black Is the Colour, Maid of Culmore, High Tide, The Snows They Melt the Soonest, Fil Fil O Run, It Will Not be Long Love, Tunes form the band, Streets of Derry, Hill of Thieves, P Stands for Paddy, I Wish You Well, Parting Glass. 

Cara Dillon is an Irish folk singer from Londonderry Northern Ireland. In 1995 she joined folk group Equation and signed a record deal with Warners Music Group. She collaborated musically with her husband Sam Lakeman under the duo name Polar Star. In 2001, she released her first solo album titled Cara Dillon. The album contained traditional songs and the original Dillon/Lakeman songs "Blue Mountain River" and "I Wish I Was".  The opening track of the album is "Black is the Colour". Her second album Sweet Liberty(2003) , entered the UK indie album charts and included both traditional and original material. The album was promoted with the songs "High Tide", "There Were Roses" and "Everywhere".  Also songs "Falling Like a Star" and "Broken Bridges".  Dillon received The Meteor Irish Music Award for Best Irish Female. Her third album, After the Morning, was released in 2006. The Czech Philharmonic Orchestra recorded on two tracks for this album - Garden Valley and The Snows They Melt The Soonest. Paul Brady sang on The Streets Of Derry. The song Never In a Million Years gained Radio 2 airplay. The next single was the double A side: This Time/I Wish You Well.

Dillon released her fourth album in 2009 the award winning Hill of Thieves on her own label Charcoal Records.  In 2003, Dillon performed at the Belfast Festival at Queen’s Opening Ceremony with the Ulster Orchestra. In 2006 Dillon sang at the opening ceremony of the 2006 Ryder Cup in Ireland. In 2012 Dillon performed two concerts with the Ulster Orchestra. The song "Hill Of Thieves" was voted by BBC listeners as one of the "Top 10" original songs to come out of Northern Ireland. Dillon has also done collaborations with others albums.