Melancholy, reflective, stripped down songs. I try to write songs about poignant events, which have really affected me in some way or another. Whatâ€™s the point in having a voice, no matter how small, if you canâ€™t use it â€“ even if all you do is allow someone else to identify with an emotion or a moment. I love to listen to lyrics and try to identify with the writer. If you can feel like you're not alone with your thoughts or beliefs that is comforting somehow. My greatest aspiration is that someone will let me know that I have achieved that for them...
Written songs since I was 17.. the first bieng "Not the way it should be" which I recorded at "The Hottie" The Percy Brothers Hotspur Press building in Manchester in July 2002.. along with 5 other tracks which make up the EP "Silver Shores".. "Fingerprints" is the last EP I produced (along with my good friend Lyndon Coleman) in 2004. Since leaving the world of studenthood..where I was able to do lots of gigs in the week.. I've found balancing work and music somewhat of a challenge and I'm currently taking a break from gigging to concentrate on my work commitments.. which is a bit sad really !!
Have you performed in front of an audience?
I have hosted various acoustic nights in and around Liverpool in the past. Some of these nights I'd still regard as the high points in my life so far!! Played some amazing gigs in the Zanzibar at nights promoted by my friend Joe Keelan. Organising the Music With a View festival in Coniston (The Lakes) used to be the highlight of my year and playing there was always special for me because I'm surrounded by friends and family. I'd play every moment of every day.. if I could.. but I'd probably lose my voice!
Your musical influences
I was named after Simon and Garfunkel songs (Katherine[Kathy] Emily - my full name) hence I was brought up listening to Joni Mitchell, Bob Dylan, Linda Rondstadt.. My Mum and Dad obviously had a huge influence on my musical tastes and they both supported me when I wanted to learn various instruments as a child.. My Mum always told me that they bought me a xylophone when I was really young and she made sure it was in tune so that I could make proper music.. I guess that must've been the start of something.. I had once thought that the time when a girl could sit on a stage and be accepted as a performer with only her guitar for accompaniment ..was over on the 70's.. it was when I first heard Jewel Kiltcher singing "you were meant for me" that I realised that this would always be a possibility.. There is a certain vulnerability to that kind of performance.. the fact that it *is* damn scary.. especially on a circuit which is so male dominated for a girl to have the balls (literally) to get up there and sing her heart out about something she believes in, something she feels...That's me!
What equipment do you use?
Acoustic guitar (Guild Songbird, Baby Taylor in mahogany and a Yamaha FG160)..with a little cello or electric piano, but only in small helpings and for recording purposes only so far!
I am lucky enough to work with some fantastic people over the past few years - firstly Lyndon Coleman (see Project Aurora on the links page) he's basically my personal producer - I trust him implicitly. Heâ€™s more fussy about my music than I am! He's never afraid to tell me when I need to do something again.. and again.. but hey it's worth it to get it right! Frank Holden â€“ weâ€™ve played some fantastic music together just recently â€“ Frankie has basically written piano parts to most of my songs from scratch â€“ I often almost drift away listening to his unique brand of â€œimprovised-jazzâ€쳌 and wonder why I ever thought I needed guitar accompaniment. Beautiful .. Frankie and I also recorded a version of "Over the Rainbow" which we played at my Mum's funeral. I was so pleased to have this special recording of such a beautiful song because I knew I wouldn't be able to do it justice on the day. Alastair Ligertwood â€“ again heâ€™s composed his own cello parts to some of my songs â€“ his input just makes the music a little more whole by adding a subtle bass element.