Mel Lathouras Fearless Singer Podcast Emma Sparks

Episode Highlights

Tune in to this week's Fearless Singer chat with jazz vocalist Paula Hackney.

Her journey, from discovering a Billie Holiday boxset in a thrift shop to fronting her own band - Melody Graves and the Hokum Redemption - and creating the Jazz Hive, is INSPIRING!

Early in her performing career, Paula grappled with her inner critic, which fueled her fear of the spotlight. 

A pivotal moment led her to reframe her mindset, propelling her from occasional gigs to headlining festivals.

Learn how Paula hones her craft, from mastering songs to exploring new vocal styles, ensuring vocal longevity and a vibrant colour palette. This episode is a must-listen!

As always, I LOVE to hear your takeaways, please leave us a comment! And share this one with your mates! 

If you like what you hear, subscribe now! And leave a review for others like yourself to find this podcast.

Links: 

Book in to see the Jazz Hive at the Brisbane Jazz Club Sat 4 May

Follow Paula's band on:

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The Jazz Hive

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Transcript

So we're live here with another fearless singer podcast episode this week, and I am interviewing the incredible Paula me.
Now Paula Hackney is a really wonderful jazz singer, musician.
Uh, she fronts as well as created the band Melody Graves and the hogan redemption, and she has now also begun a beautiful project collaborating with other jazz singers here in Meehanjin, uh, with a phenomenal band, including members of the Moli Gross um, banned as well.
And she's just so inspiring.
Paula, I've known Paula for so many years, but before we actually probably knew each other, people would mistake in us for each other, like walking down West End, uh, because I used to have the little little, uh, the little bob as well.
And, yeah, I took it as a massive compliment.
And one day, I actually met you properly and Aldi, and we're stand for the first time.
That's right.
That's where we kind of properly crossed paths.
It was a bit like a deep conversation in the old specials while or something.
We did.
Yes.
Uh, so Paula, thank you so much for being on the podcast.
I've wanted to interview you for a long time, and it's, um, it's all aligned out now.
Um, so, yeah, thank you for being on here, and we're going to be talking Thanks, Mel.
Talking about your journey.
Your your fearless is your journey.
When did you start? I I remember you saying that you you you were, uh, born and raised knip switch, and you actually Oh, well, I was born and raised in Bundaberg.
It's very, very similar regional centers.
Yeah.
And, um, you found a a record, didn't you? Tell us about that moment.
Yeah.
So, um, you know, always been the black sheep of the family, uh, very musical from a young agent that school and everything, you know, Lenny Kookaburra, 6 of the old country, knowing that there was more, you know, got asked to return my violin by my father because it was too noisy.
Um, and then I think when I was about 15 or 16, I was like an avid op shopper and Ipswitch op shops were great back in the day because you beautiful 90 forties, fifties, sixties, fabrics, and clothes.
They were just everywhere, like, 50¢ for a vintage truck.
Um, and then I discovered, like, this cassette box set of, um, a Billy holiday series.
And that was the start of my sort of journey into early jazz and blues, and then that kind of just led.
I think I've got played a check baker album, the check back of sings, I'll repeat, to let me die it on a old record player.
Um, yeah, so that really was just by luck a pure chance that I discovered this amazing, you know, capturing the music, like, in this artist that, um, I really connected with.
The sound, I think it was happened.
Didn't know what she was singing about really was too young.
I think it was the sound and the rhythm.
Um, yeah, you know, you can't help, but when some people don't like jazz or swing, they just don't get it.
Um, but, yeah, it's to me, I just, yeah, really gravitated um, towards the the feeling of it.
And Pretty exceptional for a fifteen year old to, you know, to listen to early like jazz music and be really Yeah.
Motivated.
Yeah.
It really I don't know about you.
Oh, no.
No.
No.
Yes.
Sorry.
You're going at that stage.
I think at that stage, I also government that I really was a vegetarian.
So, you know, I wasn't your typical Ipswitch teenager.
I I think so.
She's into jazz.
Oh my god.
There's no hope for her.
She was she was born to be living in West End.
Uh, isn't it true? But I feel like with early jazz, in particular, yeah, the the sounds of Billy holiday, it's very transportative, isn't it? So, you know, uh, that's what how I think why I was so obsessed with jazz at an early age too, because you know, uh, I mean, I but Bundaberg's a lovely place, but, you know, growing up in a regional center as as a as an empath and a sensitive, and, you know, it it As a creative.
Yeah.
As a creative, it it is it can be a little bit harsh sometimes, but particularly back in the ages that we Yeah.
Grow up.
Uh, so, yeah, these these sounds were really sort of took us to a new world, didn't they? Yeah.
For sure.
Amazing's made was a bit of escapism.
I don't know.
Was just like so normal, um, to discover something so different to my, you know, familiar landscape.
Um, yeah, anyway, so that was the start.
There was a start, but when did you get into a band? What where was it from from the covering the music to actually now collaborating with other musicians.
Yeah.
So that has been a really big journey, and it's kinda hasn't been a straight line.
It's kinda like ping pong to around the place.
So I think I really, um, like, I discovered that I discovered Ally and then somehow I discovered Bill Haley in the comments and fats domino.
And I somehow I moved to Brisbane when I was about 17.
I lived in this great share house in Spring Hill.
And then in my early twenties, I discovered rockabilly music and really got into rockabilly dancing and that whole um, all that that amazing music.
And then but then, you know, still so linked to that early swing in jazz And then, um, I thought about, um, I was singing, and I had my first singing lesson with the lady called Vicky Rubin And that's where I cross paths with Paula Gervin.
Uh, some singing workshop, uh, in the inner city.
I kinda remember where it was.
Uh, that was decades ago.
You know? Um, oh, I won't I won't give the year.
I wanna keep working that age away.
Yeah.
So the so I started singing then.
Um, so that would have been in the late nineties, I think.
I was very young when I started.
And then, um, I had considered auditioning for the con.
Uh, chickened out, basically.
Um, so then I went, I got it accepted into the acting school at Creative Industries at Qut.
And there's quite fun agent like all the attention being put on me.
So I moved over into the community theatre strain, um, and stream, sorry, and started marketing and community theater production and a bit of performance.
And then when I finished my uni, I went as because I was doing swing dancing at the time.
And I sort of met up with a an old friend from the swing dance scene not so long ago.
And, um, she was like, oh, it makes sense that you're singing now.
Uh professionally because you're always used to sing when we used to dance.
I'm like, oh my god.
I did.
I was like, busy.
I'd sing along to all the dads to the the music as we were dancing, and I'd like to be listening to the trumpet lines and matching my my footwork to what the melody of the trumpet or the rhythm that the trumpet was playing and things like that.
Um, so I then I ran a swing dance school for about 7 years.
And then, had my daughter.
So, um, I sort of was singing a little bit before then, but more kind of informally inquire some things.
I had started pulling together as a quartet in the early noughties.
And then once I get ticketed out, um, okay.
Just, yeah, I don't think I really liked the attention on me, which is quite fascinating because now it's like it's just what I do.
Like, it's chalk and cheese.
Yeah.
Yeah.
I think I've just found that that wonderful thing that comes with, um, sharing the joy.
Of music with people and, um, providing that not so much entertainment, but, yeah, just more sort of sharing this amazing thing that we're involved creating, which is just incredible music.
Um, yeah, so then I, um, set my sweet ass school, had my daughter, um, and sort of started getting back into singing inquires.
And then I just I'm a bit like this ago.
I'll wake up usually with an idea.
I'm gonna do this.
So I started, um, you know, wanted to put together this Western swing band.
So that's kind of like mix of sort of Western Country Music and Swing.
And, uh, couldn't find the right place that they found someone else, and then we started this old country band.
And then that led to another band 5 years later, that was doing like Western Swing, and then that led to Melody Graves.
Um, so it's been quite an interesting journey.
So it's always been at the forefront of where I put my energy and how I've expressed myself creatively.
Um, but it's just sort of, like, had a different just a different execution, I suppose, or different relationships.
Yeah.
Since I was young, and now Yes.
Almost like coming home.
So I've come home to my my box cassette set.
Um, 30 years on or whatever.
Oh my god.
So yeah.
It sounds exactly like that.
That's beautiful, Paula.
And, actually, you mentioned a couple of things, you know, be because you're a you're a marketing, you know, uh, corporate professional, and you've been building these beautiful projects, you know, on the side.
And one thing I know about you, and I'm always just in awe of is your repertoire is bloody you I know.
A track song of songs.
And I always think, oh my god.
Like, even just yeah.
And and your wonderful arrangements, you know, with the band, I always think, oh my god, where does she how do you fit it all in? You know? How do you do it? How do you work full time and be, you know, working on repertoire arrangements? You know, building your band, your projects, and also, you know, I I think people are starting to get to understand the nature of our our gig.
It's not just performing.
It's also the, you know, trying to get people to our gigs.
So it's all the, you know, the marketing and, um, PR work that we do as well.
So, yeah, when do you get the can you talk us through your process? It's a very long day.
Um, my process, I don't know, man.
I just I just write a list of prioritized, basically, but I would say it's I really do my workload.
It's probably, like, one full time job.
And then if it's a busy performance week, then it's like another, like, a part time job on top of that.
You know? Absolutely.
No.
That's fine.
But to be quite honest, I wanna I really, really wanna find ways of doing it differently.
You would know, it's like you work in the business and then, you know, you work on the business so you work on your performance.
And it would be really, really great to find a way where I don't I'm not doing everything.
Um, I mean, I feel really inspired.
I think that's probably my feel is inspiration.
And And which is why I started to feel a singer, like, a couple of years ago, Mel, because I was so bored with my singing style.
So, I mean, you know, I like my voice, but I was so bored in the delivery of it.
And it's been great to discover all of these, you know, like, the full and I still haven't discovered it, but the suite of my, you know, vocal palette and capabilities and different ways into songs and different, you know, ways expressing, meaning through your voice and where it sits.
Um, I think in another life, it probably would have been like a music therapist.
I was say.
I've done it that way.
Music though.
Yeah.
It's not it's not too late.
Uh, I it's interesting.
Yeah.
You spoke about, um, being a feel a singer member because I think a lot of people assume that if you go and get singing coaching or whatever, it's like, but aren't you a professional? You're doing it already.
You're kidding.
Why do you need to and it's like, well, I go and see somebody, you know, from time to time as well, but it really is it's just about, uh, investing more time and energy and yourself and hearing different people's perspectives and you know, uh, I I've, you know, booked in for sessions with particular artists around Brisbane who I really admire because there's certain things that they, you know, that they do really well.
I go, oh, how do you do that? Um, but, yeah, I love that you're part of uh, the fearless singer membership because every member brings their own energy and it's like we all inspire each other, but I think that you've said it really beautifully.
You you follow the inspiration.
You're inspired by the music.
And you know, you prioritize.
So, you know, if you've got a big show week or, you know, there are songs that come up that you go, oh, I really like that.
And you I love that about you.
You're always finding these obscure songs, which are really groovy.
I'm like I like the quirky ones, like the really quirky ones.
It.
It's like I just listen though.
I'm just it's just all the listening that you do, you know, and then you just go to something by chairs.
Like, oh, wow.
That's Yeah.
Do you do you find that too once and and I think it's the same with most genres, but I think feel like it is, uh, more so with with jazz, that once you start learning songs, it be the process becomes quicker and easier.
Yep.
Yeah.
And I found that lately I've been breaking songs down, which is amazing.
You just learn the little tricky bits over and over, and then, like, you say, you look for the patterns in your melody line where the repeats are, and it just becomes so much easier.
And you're right.
Like, it it's, um, yeah, a lot of the songs follow the same, uh, progression.
Right? So you get your ear gets used to So, yeah, so you kind of you kind of can predict where the melody is gonna go.
Yeah.
As well.
Yeah.
Yeah.
But I've learned to spend more time on learning the bridges.
So it's a great answer and not recommended one.
You've got the, you know, the a section which repeats the a sections and telling you Melanie.
Yeah.
What about lyric learning? Are you getting lyric's funny? Uh-uh.
Yeah.
So my process is I'd listen to the song on repeat.
Yep.
Uh, I don't sing along.
I just listen.
I'll have the words, the lyrics.
I'll find the lyrics.
I'll read them Um, I if it's a really deep song, like lyrically or narratively, I'll read you that trick where you read it out to get a different sense of meaning.
So you just, like, focusing on on the pros, I suppose, or the poll, um, and getting the meeting that way.
And then I will just, um, sing it through a sound like Nas or yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann yann So I'm just breaking it down.
This is what I'm doing now.
And then as you know, I've been working on my pitch, which seems to have fixed stuff through the techniques that we've been working on.
Um, so then I'll go to the keyboard these days and just play it melody and sing it with some kind of vocal sound, and then I'll just put it all together.
And start actually seeing.
So I don't sing straight away.
I don't sing the lyrics straight away anymore.
Get the melody down.
You wanna get this song into the yeah.
Exactly.
And get the get the melody in my mouth and then add the liras because I just find that otherwise, it's too much to think about Actually, I was looking to, um, Lewis Jones, um, just a couple of days ago.
So he's a, uh, he's a well known Brisbane producer, but he's, you know, had a career in acting and theater, but he was talking about the importance even with learning lyric not lyrics, sorry, script that, you know, to find ways of getting into your body.
So actors do things like, uh, he did say there was particular method.
It's it sounded German.
It's that they, you know, will use different sort of hand signals.
Right.
Different phrases to really, you know, just to get in your in your muscle memory.
Yeah.
Do you feel like your songs are now you can feel them in your body when you sing.
Definitely.
And that's what I'll sort of, um, say before this, like, I got, you know, that beautiful feeling when you're you're definitely in in your artistic bubble.
Like, you're definitely in create a flow.
And I think that's the times when you can, I feel that emotional connection to that, that part of the song or to the sound that you're making, which is a beautiful feeling when you connect to your own sound? And I was watching the off oh my god.
I've subscribed to so many Instagramers, like vocal coaches, kind of my whole feed now is just vocal stuff or pitch related exercises, which is great.
That's much more productive um, social media.
Yeah.
If you scroll it.
Right? It's like yeah.
They do scrolling for me.
Yeah.
Every time I scroll it, you become a better singer.
Yeah.
Yeah.
Yeah.
Amazing.
Yeah.
But, um, I was gonna say, oh, um, this one coach, what was she saying? Oh, I can't remember now.
Sorry it's gone.
It'll come back.
It's okay.
What about sort of the connection, body connection? Stuff.
Got the body collection.
Yeah.
Hard to be self indulgent with your sound.
Oh, yes.
I love that.
Yeah.
To be soft to it.
And I've been doing that more.
It's been so great.
It's like, oh, Yeah.
Yeah.
I know that.
Like, milk.
I always like, I I say milk it.
Milk it.
Milk milk.
Yeah.
Exactly.
Actually, there was a real turning point.
Oh, well, not the turning point, but it was, like, it was a moment of inspiration for you when you discovered primal sound.
Yes.
Yeah.
Talk us through on that when you discovered belting in jazz and felt like and what it meant to do.
Just felt free.
I didn't I didn't feel like I was damaging my throat, you know, my voice or yeah.
Um, and it came quite natural because you know, I am from Ipswitch.
So, you know And when you're doing the, uh, you know, with the, um, sob or the The sob, the crow, either wind, We The winch and the belt.
Yeah.
The belt comes quite naturally.
Yeah.
Good.
You know, one end of the screen.
The other of the other end.
I remember you saying you tried, uh, you had a gig at doobop.
I think and then you did you did a a a really cool little belt, and apparently the whole bin just went yeah.
That's so good.
What's that? But it's yeah.
That that that primal stuff is amazing because they just yeah.
It just makes sense, and it really think it makes you sound a little more authentic without, you know, sounding like you're crying all the way through a song.
Yeah.
It definitely links to an emotion for sure.
Um, and that also Yeah.
Helps you access the you know, the emotions a lot quicker too.
Yeah.
Yeah.
So one of it, like, if it feels or sounds more authentic, you know, I wonder what the how that weighs in on the story that you're telling And, Paula, one another thing I really adore about you is, like, you you have all these really cool reframes that I think really, you know, because you did mention before about there was a period where you're like, oh, I just don't like the attention on me.
Then you reframed it to no.
No.
No.
I'm I'm sharing something joyous with other people.
This is something that brings me joy, and I'm sharing it.
Uh, you're very good at the reframes.
You know, there's and there was another moment um, where you realize sort of further along on your journey, you were like, actually, uh, yes.
Yes.
There is one aspect of this is for others.
You know, this is a service that I'm providing.
But, you know, this is also something really beautiful and and nurturing and rewarding I can have for me, you know? So talk talk us through that when you came when you realized, no, hang on.
This is you know, I I It's about me enjoying this first and then giving the joy to others.
Yeah.
Yeah.
Yeah.
Thanks.
Thanks.
Um, so, um, I think I must have discovered this little golden nugget of advice for performance somewhere in my research a couple of years ago because I was finding that I was starting to worry too much about what other people thought about my performance or the way I sing that song.
And when you when you're performing, you don't want that little script running through your head, right, because it just it gets in the way of you doing a great performance or or or thank you performance or whatever or connecting, basically.
Um, so yeah, I decided I was gonna use that negative of advice.
And there's, like, a switch that flick.
It was amazing, actually, that I that I said to myself, okay.
I'm just performing for me now.
I'm taking the attention of the audience and I'm going to just perform for me and do the best that I can do for me and express myself the best for me or how I want to.
And that really shifted that whole performance anxiety thing.
I mean, it wasn't bad, but it definitely was getting in the way.
So, uh, you know, kinda looking for a little bit of, um, thumpers up from people, but I don't need that anymore.
You know, I only got it from a bit tired or sick or whatever, but, you know, um, which is just like a normal kind of like camaraderie.
Yeah.
That was great.
Um, and then it's kinda now it's kinda come back around a little bit where it I am performing for people because I just Yeah.
It's been quite interesting.
I feel very much more confident these days.
Um, just in a nice kind of, relaxed way, you know, not, um, no, I'm definitely no diva.
That's for sure.
I'm way too collaborative.
Nothing wrong with you, Diva.
I know.
I know, darling.
There's nothing.
There's nothing.
But I'm yeah.
I feel quite quite confident these days.
Oh, good on you.
I feel like it was more like that that whole thing was just reclaiming a little bit of the the power.
You know? Yes.
Yes.
Yeah.
And again, it's it's coming from a full place.
Yeah.
Your if you're full, then it's gonna, you know, the audience get the overspill.
You know? Yeah.
Exactly.
Yeah.
I think just reminded me, like, I think I was saying back then was, um, it sounded like a year and a half or 2 years ago, right, that I would say I just feel like I give away so much.
And at the end of a show, there's nothing left for me.
So I think I decided to keep a little bit for me.
So when we're so exhausted after a show, which is hard for an extrovert.
I can't fall on extrovert.
It's like, woah.
Like, I should've been out of the way.
You know? Oh, no.
I'm good, Mariah.
Thanks.
Yeah.
Okay.
I know it's oh, I love Broadway, but, yeah, you know, I did have my experience of singing and light opera voice as we've shared stories of Yes.
We had the Logan sit sitting center dragging my parents along to see me sing black coffee and crazy, Patsy Climb, you know, really now it's a song in a light operatic jazz voice.
Crazy.
Crazy.
Crazy.
Oh.
Anyone Oh, lovely.
And you you mentioned, uh sorry.
I keep talking over you.
My sincere apologies.
That's one thing.
Yeah.
Thank you.
Um, you did mention the c word.
Um, c you did say a c word, uh, and that was collaborative.
You said you're far far too collaborative.
No.
Although I have a a a I did this in the last podcast episode.
I love saying that, you know, the RuPaul? Well, you do have charisma, unique, misnervin talent definitely forget those things.
But you've you also you mentioned before, can't be a diff because I love collaboration too much.
You love working with other people, and One of the new projects that, uh, you've given birth to, uh, just very recently this year is the Jazz hive.
Uh, talk us through that.
What what what is that about? Yeah.
Well, I suppose I was inspired, you know, by Yas Queen.
I was inspired by women and boys And I was very inspired by, um, the lady Jay show that you asked, Queen and Paul, the girl, and put together, when was that, to you, ago.
Last year's IWDs at last year's international website.
Yeah.
Yeah.
Yeah.
That was a really good experience.
So I put I just I had a spot to fill out a venue, and, um, I was gonna do, like, this, um, smoke and blues thing with the piano player.
Thought, oh, I don't have the energy for that.
How am I gonna get my stickers involved? And then I've just I think, um, I did a brainstorm with myself and my whiteboard over there.
And, um, I moved on from we could have been called the Jazz Salad, but then that moved on to oh, No.
No.
That's too too cool.
Uh, then I woke up the next day with the Jazz hive in my brain.
I went, yep.
That's it.
That sounds like a great umbrella.
So, yeah, I just really wanted to, um, start working with other musicians, um, which is kind of what I've done with Melody Graves.
Because I've got, like, the the quartet that does some of the, um, home redemption songs, which is that more New Orleans, early twenties, kind of music in a six piece band format.
And I take some of those songs, like, sort of redo them, um, in a quartet, Jeff quartet style with some lovely jazz standards, but often the obscure ones, you're right.
Cause I wanted to have a really good sing.
Like, I wasn't like a love for 6 piece fan, but sometimes it's so noisy.
And, like, it's a very, you know, you've seen this as very, like, high energy performance.
You know, sometimes you bring it down with the smokey blues.
Um, so, yeah, I just really wanted to have a good sing.
So I started mellow jack Melody grass coaching and get other planes in there, which is really nice.
And then, um, yeah, I really wanted to work with more musicians and just, um, see what I could do and and learn more about, you know, music theory and pulling charts together and exploring, you know, testing myself.
See, oh, yeah.
I reckon I could do that.
I think I'm ready now to, like, um, yeah, play with anyone really that I want to.
Um, and and enjoy that process.
So Yeah.
The the Jazz hive is, um, me.
Yeah.
I just I love working with lots of people, I think.
I really do.
Yeah.
I I like I like the process, and and I like seeing what people bring.
So that's what I mean by, like, I'm very collaborative because I like you know, I could do, like, you know, I could write, be really prescriptive.
This is how I want this to sound like that to sound, but all these other amazing musicians formers that you're working with, they've got all these great ideas and this amazing, useful knowledge that it'd be a tool to not, like, open that conversation up for them to have more involvement in what you're creating.
So the Jazz hog is really it's just a celebration of, um, early early jazz music, um, and for me, it's, for me, it's all about Billy Holiday.
That's who I'm kind of honoring in the show and the other vocalists have chosen some some vocalists, you know, who inspire them.
And then we get to work with some amazing musicians and just put this really lovely show together.
And and really excitingly, you've gotta show this Saturday night.
Um, so May 4th at at the Brisbane Jazz Club.
Yeah.
What time does it kick off? 7:30.
Yes.
It was 30, 7:30, 22 sets.
So there's myself.
There's Charlotte Lane.
There's Tanil West, Stephanie Lauvin, who are the the 4 vocalists and backed by, uh, Paula Germon or piano.
Um, Evan James on drums, and Jimmy James has sent you in to Vivi on.
And, um, re I could never say Rebecca's last name.
It's so bad.
She said you won't be able to pronounce it.
I'm gonna have to practice very hard between now and Saturday.
McCutcheonsen? McCutcheonsen.
Yeah.
That's it.
Rebecca McCutcheonsen.
Thank you.
It was amazing to us.
She is amazing.
So she's completely new on the scene and, um, pull a book tour at the beginning of the year because Jazhype kicked off at the bit of the lady.
Uh, was it January or was it February? Yeah.
January.
Yes.
Yeah.
Such a good night.
And Um, we were all friend we've all we're all friends with Bec, and then all of a sudden, she pulls out this saxophone.
We're like, oh, this one's a good one.
Like, amazing.
Oh my god.
Amazing.
I was watching back some of the videos from that show today, uh, just looking at some of the arrangements we did.
Um, and here her solo is the tone.
So beautiful.
Oh my god.
Yeah.
No.
It's a killer band.
Paula Gervin is No.
Nice.
Deserves like badass at the piano.
I think it was really not.
Yeah.
Down to in Tennessee.
Be, uh, gorgeous and then for Evan Evans.
Yeah.
It's gonna be absolutely swinging in sizzling.
And then, yeah, you've got pretty much the best vocalists in Brisbane.
Error.
I know it's a lot of the best in Brisbane.
We we're so lucky.
We have got, like, an incredible does Sonoma.
How waters.
What do we call ourselves? A stool of of Jazz.
A head.
A head.
A head.
A gaggle of Singies.
Gaggle of singers.
Yeah.
We're very, very lucky, but you got, you know, some of the best there.
So, yeah, so such a bloody good night.
And I think what's really lovely is the camaraderie that comes through.
It's so beautiful with the vocalist and, like, doing this couple of songs together and scattered exchanges and things like that.
It's really lovely.
We've been working on some harmonies.
It's really nice.
Beautiful.
I've been working remembering my harmony parts today, so that's good.
And so that's great as well.
I'd like to, like, um, be doing that, like, just singing the lead all the time, but working on harmonies, which great, you know, just such a difference.
Oh, good on you.
No.
Well, that's it.
Yeah.
Honestly, I just feel like, I don't know, harmonies just really lift anything.
But they really are like the the icing or the cherry on top of everything.
It's already awesome.
Yeah.
So that's really cool.
That's really exciting.
And it's just, I'm sorry.
I've always been a bit like that.
I just got, uh, I'm just gonna do this.
I'm gonna start that.
Sometimes you go, uh, do I really have the schools at the time? We're Okay.
I'll just, you know I can say oh, another amazing fearless singer, Ella Donovan had her bossy day show last night.
And it would which just went off.
It was so beautiful from start to finish, and there was, like, a time last week where she's like, What am I doing? What have I signed myself up for? But, you know, we we do it.
You did you gotta take the plunge, don't you? You just gotta Give it a go.
Yeah.
Yep.
See how it falls down.
Make your own perpetuate opportunities.
Like, if you're inspired with a big vision, then just do it.
You know? Do you have some advice for someone that may be, you know, they've, you know, they've they know that they're musical, you know, they're they're you know, they know that they like to sing.
They go, oh, they sing, and they go, oh, that's a nice sound, but, yeah, they just don't know where to start in terms of, like, how do they go about you know, getting a band together, say, for instance, for any advice, or what would you advise just in general? Someone that wants it really wants to perform.
Yeah? Um, I suppose it depends where they are on their vocal journey.
You know, you could always start singing in a choir.
Yeah.
Yep.
I like you I think singing, lesson, singing training is really important.
Um, and like you see, you know, people say to me, why do you get singing lessons? You know, you sound amazing.
I'm, well, a guy must wanna improve my technique.
I wanna make sure that I'm seeing it in the right way that's gonna damage my voice.
I've got longevity.
Um, and then it's just good to always be reminded of things, you know, especially if you're singing a lot.
Um, yeah, so singing lessons, Do you think that there's an element? Oh, sorry.
No.
I was just I was thinking, think it's definitely networking.
How did I do it? I don't know.
I've just always been around musicians.
Well, that's the networking, isn't it? I was connected by friends.
Yeah.
If everything, once you start, then you're kind of in the scene, But there are those, um, like, what is it Brisbane? There's a Brisbane band, musicians page.
That people post on.
Especially just depends on the genre.
Yeah.
I think that has seen relationships blossom, musical relationships blossom, through, like, JMI, um, night courses.
And it seems that, you know, you can see it happening.
Like, uh, when I say, when you go to uni, like, that's your people, that's your network, you know, your year as your cohort is who you'll probably have it in and out of your musical life, you know, forever or a long time.
Yeah.
I think it's just finding those communities.
Yeah.
And just getting in there and teamwork and Yeah.
Just finding those groups.
And not to not to do a a massive plug, but you can join the fearless singer community.
See.
This is perfect because what you do, Mel, is you connect people.
Yeah.
Yeah.
Yeah.
Oh, I said I'm just gonna sing, you know, Oh, I wanna be in a band.
I'd come and I'd have some lessons, feel confident, get my voice sorted out, do some training, come to the fearless singer sessions, um, like, you know, showcase nights, get to sing with a live band, and I've started my journey.
Right? Yeah.
And then you connect people with people when we talk to the band, the band and yeah.
Yeah.
Yeah.
Well, that's that's I guess, yeah, I saw definitely a need there in terms of, you know, some some of us don't we have the opportunity or the capacity to go back to uni to create those networks.
I agree.
Uh, and Yes.
I just need you just need, like, a little way in, like, in, you know, so that that's why those fearless singer jazz jams and the fearless singer showcases a minute.
Because you are you are getting connected with, um, you know, those for musicians.
Yeah.
Uh, and then you're connecting with other singers.
Yeah.
Yeah.
Exactly.
People say to me, uh, chico to JMI at the tournament, no.
No.
Have you done formal training with Well, I've done lots and lots of training.
Um, and I haven't been to jazz school.
I'd love to go to JMI, but I work full time.
I have financial commitments.
It's not possible for me right now.
So I've tried to choose and go to the, uh, the the jazz school of Miller Forest.
That's nice.
Which has been great.
Yeah.
Yeah.
Oh, thank you.
Yeah.
And, also, just a bit of a, uh, heads up.
I'm I'm gonna be relaunching the fearless singer jazz club in the next couple weeks.
Cool.
Which Paul has done.
And you'll get access to again, Paula, um, because you're a caregiver.
Yeah.
So it's all gonna be there, um, as modules.
So, yeah, just to get again, because it's just comes back to confidence, doesn't it? Like, it's like It really does.
It's gonna say that.
Knowing the songs, you know, just having a handful songs that you know, you could just pull out at a jam, you know, something self started, just those real practical, yeah, tangible things that help them in, you know, and then that grows legs.
It has momentum.
You start meeting the people.
You start, you know, um, being a bit of a I guess, a magnet for the opportunities.
You start to think about them.
And then when the opportunities come, you can actually do something about it because you've got repertoire.
Like, um, a year ago, uh, Catarini and I were getting off at all these Greek gigs, and I just felt like I couldn't do it.
I knew one Greek song, Willow Sam Moore.
So, you know, now it's like, yeah, I'm ready, you know, that kind of thing.
Um time in and you learnt them, right? I see, um, you're asking about my time management.
I think I'm getting better at saying no.
And I'm getting better at going, I'm just gonna heart those new songs I've discovered and put them over there until I learn these songs properly.
Because there's plenty of time, like, there's so much to it.
That's it.
The other thing too is just that belief that there's no time.
It's like reframe that, you know, because we we can just you know, we can borrow little bits and pieces of time throughout the day to learn songs or learn lyrics.
Yeah.
Exactly.
It's just 10 minutes just.
Yeah.
That's all you need.
You know, this is our regular ones.
Paula, I just you're so inspiring to me.
I'm just in awe of you, you just You really the other thing too is I just wanna mention that Paula not only does all of this, but she's the band leader.
Uh, in all of her projects.
And she is a gun at finding incredible opportunities for you and your band.
So We're talking festivals.
You just recently came back from a beautiful festival in Marabara, um, where you popped up for the weekend.
Um, you've been booked for Um, well, you've definitely been booked for something.
Yeah.
Um, the jumps and chairs in July, Veronica.
I just thought I'd be vague about that in case I No.
The answer now.
There's a few that we're working on, but yeah.
Yeah.
Yeah.
Yeah.
Yep.
So, you know, you you really are a a wonderful leader as and, you know, and you find Thanks, Mel.
Thanks for answering these.
Yeah.
Thanks.
So yeah.
But, you know, I couldn't do it on my own.
So, you know, I really do acknowledge all the amazing people that I work with, like, in these musical projects.
Like, I'm just like the dry I'm like I'm like a little dog at the top of the mat truck.
But, you know, it's sitting behind me, all these people working away and doing their thing and the magic.
You know? Like, I'm I'm just a little doggy on there.
Go.
Yeah.
We're heading this way.
Come on.
Yeah.
You're the cute doggy, and you got the vision.
You know? So Yeah.
I've got the vision.
And yeah.
Yeah.
Not really.
I'm so sorry, though.
I know Thank you so much.
I do recall how this kind of started as well.
Um, and, like, I'm not knocking ukulele.
I love right, ukulele, especially as played, like, a really well authentic and stuff.
But I did, like, picked up a ukulele about 15 years ago.
I actually used used to teach at Audrey's music shop adult classes.
I don't know if you knew that.
I didn't know.
I didn't know that.
Um, and that was, like, my gateway into playing guitar, you know, like, 6 string guitar.
And, yeah, um, anyway.
So I had this vision.
Oh, cool.
So when I retire from working full time in corporate world or whatever.
I'm gonna, like, you know, be a traveling musician.
It's my ukulele.
Playing at festivals.
This is groovy granny.
Which now I'll still be doing, but I won't be playing with Nicole Ally.
No.
I was gonna say.
I was like, uh I was like, have you ever seen, uh, that lady on Instagram go around she I think she finds the accordion, and she has, like, a little dog's work that dances.
I couldn't find it, but that could be you and Sebastian.
Copy.
That's so cool.
I know that's funny or scary, though.
It's pretty gorgeous.
It's pretty spectacular.
So okay.
So let's, um, let's tell everybody about Saturday again.
So this Saturday, the Jazz hive, uh, is gonna be playing at the Brisbane Jazz Club so that's 7:30.
It kicks off, but get there around about 6:45, you know, just to Could you have a one and sit down and get a nice dinner? Uh, it's gonna be phenomenal.
Paula Hackney is singing Charlotte McLean, Tenil West, and Steph Larman, and you've got a killer band led by Paula Gervin.
You've got Evan Evans, uh, um, James Vicente and also, um, Beck.
And we won't say her last name.
McCutcheson.
McCutches.
Yes.
Who is incredible.
It's just gonna be beautiful.
I love that you've you've themed it too with the with, you know, the singing, um, sensations that you're inspired by.
Uh, and, yeah, it's just gonna be such a beautiful night of vibrant jazz.
And, like you said, camaraderie.
And Comaraderie.
And you're all it's fantastic.
Thank you.
Yeah.
And I'm just hearing the different voices, right? Um, that's just fascinating.
Yeah.
All those different styles, like, together.
So cool.
I love that.
So I'm gonna pop the link here on the screen, um, in the replay, um, but I'll pop all the links below just because this will be on Facebook.
Um, yeah, if you're watching this from Instagram, if you pop over to melatheris@facebook, have all the links there.
So you can have a look.
I'll also put in Melody Graves, the hoke and redemption, all the follow links.
So Instagram, Facebook, Uh, so, yeah, please say connected to Paula and her journey because I just, yeah, things that I reckon I just have big vision for you, Paula.
I just know that's all.
Thanks, Mel.
It's all unfolding and it's so exciting.
Um, so please go and follow, Paula.
And if you came to join, if you're going, yeah, I do would like to get started on my singing journey.
Um, check out the fearless singer membership.
So it's just www.
fillersinger.
com/membership.
We we meet weekly.
Uh, we have a vocalizing session, a coaching session.
And then once a month, we have a themed class, which goes longer, and you can learn anything from vocal anatomy function to singer business, to learning how to chat something up Uh, and then in the next couple of weeks, I'll be also relaunching the fearless thing at Jazz Club, which just for this year because, you know, because we're just getting started will be part of the membership.
Uh, you'll get access to that course.
So, uh, it's all happening.
And if you're also a mentioned uh, about the primal sound singing that that, um, Paula was inspired by.
I actually have a workshop this Saturday a face to face workshop, um, going through primal sound.
So if you're keen to come and explore that, if you just go again onto fearless singer.
comforward/programs, you can find all the information about that.
Um, but again, coming back to Paula, please get to the jazz club on Saturday night.
4th May tickets left.
There's not many.
I went on there.
Don't you worry.
I I I love data.
I love seeing my friends, um, packed places out.
It's like my family.
Oh, yeah.
Sometimes I just like, you know, for the heck of it, if I can't come, I I buy tickets to be there in spirit.
Oh, did you just set up those? What you haven't? Did you do that? No.
Can you do it again? Um, but yeah.
So, yeah, get to the jazz club and see the jazz hive.
You won't be sorry.
It's going to be such a beautiful night and follow Paula over on, um, Facebook Melody Graves, token redemption, and on Instagram.
Uh, because, yeah, uh, they do a regular gig at the bearded lady as well, so they've got their residency.
That's every what For for Sunday.
Sunday? For Sunday.
Yep.
Yep.
Um, that's all.
No.
I'm in August.
It's our 50th show there.
Oh, yeah.
So I'm gonna put on a big party.
We'll put it on a huge party.
Yeah.
Get some guest people you might even be invited, Miss Lathouris.
Oh, please.
Uh, please.
Can is it gonna be a cake? Yes.
Let's have cake.
Yeah.
We have 2.
I'm sorry.
Remember when I got you, um, helped me organize Greek biscuits for a spring dancing meal and how successful that was? I know.
Food music.
It's so good.
Uh, it's been such a bloody delight talking to Thanks so much for joining us this week