Category: Artist Interview

  • Interview with Aastha Mohapatra, the inspiring Indian opera singer

    Interview with Aastha Mohapatra, the inspiring Indian opera singer


    Aastha Mohapatra is a 24-year-old economist and operatic soprano from Odisha, India. We originally met at Hertford College, and I was delighted to reconnect with her recently to chat about her inspiring journey. I am excited to share the fascinating perspectives she gave on music, including how to engage with audiences and how music can bridge cultures, and she imparts advice for aspiring artists. 

    Since graduating from Oxford with a Master of Philosophy in Development Economics and International Development, Aastha has become a teacher of Economics and Business Management at The British School in New Delhi. Alongside her career in economics, she has featured in operas, a film, has released her first single, won international awards for her performances, and is a board member of the Centre for Peace and Performing Arts – a woman of many talents!

    Engaging Audiences

    As most musicians will have experienced, there is sadly a decline in government support for the arts around the world, leading to talent going “unnoticed and unsupported.” Aastha makes the crucial observation that to combat this, we must think carefully about how to engage audiences with music. She has noticed that 

    “people realise how important [music is] when you directly interact with them.” 

    This means presenting live performances that relate to them and paint a picture of the world around them. 

    Aastha’s innovative combination of opera with Odissi, an Indian classical dance form, achieved this. Indian audiences were introduced to the Western classical art form in a way that also incorporated their own culture, being shown that “art is not static” and “keeps on moving and changing.” 

    As the future generations of musicians, particular focus should be given to young people and how to engage them with music. Since “the age of specialisation is gone,” Aastha argues that the interdisciplinary nature of music should be emphasised, and instead of being taught in isolation from other subjects, it should be taught in relation to them, such as its inextricable link with mathematics. 

    Furthermore, Aastha suggests that young people should be involved as “active practitioners of music rather than passive listeners.” For example, with the Centre for Peace and Performing Arts, she created an ‘audience choir’ – for a viral example of this, check out Jacob Collier! She encouraged the children to listen sensitively to those around them to produce a unified sound. Not only were the children able to participate in music-making in an active way, but they were also taught essential communication skills, which, as she noted, are crucial for diplomacy.

    To increase engagement with music, therefore, live performances should be prioritised with content that is relevant to people’s lives, and the art form should be introduced to young people in an interdisciplinary and active way.

    Music as a Universal Language

    You might have heard the phrase, ‘music is a universal language.’ Aastha’s story is a perfect example of this. 

    As an Indian singer who performs Western classical music, she is in a unique position – as she highlighted, opera is seldom practised in India. Moving to the UK for her studies made this even more apparent. 

    She often received comments about how rare it was to come across an Indian opera singer and noticed that she was usually the only person of colour when performing Western classical music in a group. These experiences made her realise that 

    “I’m an Indian opera singer, and that means something.”  

    Aastha proves that anyone can perform music from any culture; if the music resonates with you, “language is no barrier.” Music has allowed Aastha to find out more about the world around her by introducing her to new cultures and new people, poignantly referring to it as a “passport,” a notion I love!

    Although she is often impressively cited as being the first opera singer of Odisha, she has made it a point to ensure she is not the last. I am certain that she will act as an inspiration for many musicians!

    Advice

    Aastha’s biggest piece of advice to aspiring musicians is not to be afraid of taking risks. 

    “If there is something that feels like it’s a little bit unconventional or something that others might not have tried before, do it if it really calls out to you.” 

    Particularly in an age where “young people are underestimated a lot”, she believes there is great merit in being brave and standing out, especially in such a competitive industry. 

    She also highlights that, 

    “as an artist, you are always rewarded for being fully yourself.” 

    Whilst this is not always the easiest thing to do (Aastha notes that she only truly became herself when she was 24 years old and that it is a continuous journey), trial and error, having people to look up to, and, when it comes to singing, finding a good teacher who understands your voice will help you distinguish yourself as an artist. 

    Aastha’s career so far has been unique and inspiring, and she has exciting plans to come. She will continue to perform around India, with a particular emphasis on bringing underperformed music by Indian composers to audiences. She also composes music for peace-building productions with the Centre for Peace and Performing Arts (which are coming to London – so keep an eye out if you are in that part of the world!) 

    She expresses articulate and thought-provoking perspectives about how to engage audiences with music, and her courage to pursue a genre that may have seemed unconventional proves how music can bridge cultures and the importance of following what ignites your passion.

    I eagerly await seeing where Aastha’s journey will lead!

  • Interview with Tarren: Pioneering ‘New-Folk’

    Interview with Tarren: Pioneering ‘New-Folk’

    Tarren, a talented and exciting folk trio based in Bristol, comprises Sid Goldsmith on cittern and concertina, Alex Garden on fiddle and Danny Pedler on accordion. The group was formed following the sharing of compositions with each other over lockdown, and their repertoire, which mostly features originals, is rooted in English folk music. They have released two studio albums, both of which have received high acclaim. Bright Young Folk, for example, have described how their latest album, Outside Time, “conveys the joyful energy of their live performances and shows why Tarren are one of the most exciting names on the folk scene”.1 The Isle of Man was lucky to have Tarren visit on their Autumn tour around the UK, playing at the Laxey Working Men’s Institute on 24th October 2025. Before they went on stage, I was able to steal a few minutes with them for a quick chat. I was fascinated to learn about their perspectives on genre and how this feeds into their music, as well as the research they have undertaken into notions of gender in the folk tradition. I’m sure you will become as entranced by their music as I was – I must admit I have played them on repeat ever since! 

    alt="Tarren at the Laxey Working Men's Institute, October 2025"
    Tarren at the Laxey Working Men’s Institute, Oct 2025. Photo: John Barker.

    The concert was unforgettable, and the music was thoroughly gripping. With melodies that ranged from joyous, for example, ‘Claudia’s,’ to those with a melancholy undertone, such as ‘Super 8,’ all created a powerful atmosphere. The strong rhythmic pulse made it impossible not to tap your foot along, emphasised with moments of syncopation, changes in time signature and the occasional replacement of a beat with a rest, which was highly impactful. There was such intensity and life to the playing, which was infectious, and it is difficult to capture the raw emotion and power of the sound they created in words. They were note perfect, and the ensemble was so tight, which, with such intricate music, was impressive. There were many interweaving layers, constant variation in sound and style, and contrasting intensities – for example, suddenly dying away then building up again. The rich and full sound created from just three people was all-encompassing, with each instrument bringing its own unique texture and dimension, such as the heavy bass of the accordion and the intense and hoarse tone of the fiddle when Alex really dug into the strings; each player getting the most out of their instruments. They were engaging and natural with the audience, coming across as down-to-earth and funny, and they detailed the stories behind the songs, many being relatable and relevant to today, as well as tying to their own personal experiences – more on that soon. Overall, the concert was enjoyable in every aspect.

    A unique component of Tarren’s music is their incorporation of classical elements; as they explained to me before the concert, they believe there can be a rub between folk and classical music. They highlighted how

    they have not limited themselves to one genre, but make use of all of the tools available to them.

    Therefore, they do not belong to one specific camp; hence, they call their style ‘New-Folk.’ They use classical techniques and features, for example, longer structural forms, but inject a folk ‘pulse.’ You can also hear minimalist influences, including repeating and overlapping patterns creating a polyphonic texture and mesmerising harmonies which slide deliciously from one chord to the next – listen out for some of these in ‘Dan-Y-Bont’ below.

    I am also reminded of Baroque music, in the way that each line has its own distinct melody and in the clarity of the sound and harmonies.

    As the trio poignantly highlighted,

    you don’t have to get the form to get the music,

    and they demonstrate this perfectly – at the end of the day, it is what resonates with listeners that is important, a sentiment that I fully support.

    I believe this flexible mindset should be adopted broadly. The boundaries between musical genres are becoming increasingly blurred; think, for example, of the use of classical timbres such as strings in popular music, and I think this type of crossover should be encouraged more. For example, despite being inspired to play violin after hearing folk music when I was young – I was obsessed with Riverdance! – as a musician who has been classically trained, I have had little to no exposure to playing folk music or using folk methods, such as playing by ear or in an informal group setting, as is folk tradition. Tarren reminds us that there does not need to be a strict divide drawn between genres and that they can (and should!) have a more fluid relationship.

    Gender in Folk Music

    The trio have done valuable and enlightening research into themes of gender in folk music, and have compellingly adapted traditional songs to align with their own personal experiences and with today’s society. In an article about their research, Danny notes that there are many folk songs, particularly from the 17th and 18th centuries, about ‘warrior women,’ which tell stories of women who disguise themselves as men and subsequently encounter feats they would never ordinarily have faced as a woman, such as entering into battle or acting as highwaymen.2 At face value, these songs might appear as the progressive subversion of gender constraints, but as Danny acknowledges, it is unfortunately not the case. By accomplishing stereotypically ‘manly’ traits such as bravery and virtue, “the woman has excelled at being a man, not broadening what it means to be a woman.” Furthermore, the motivations for these fictional women were usually to follow after a man who had been conscripted, for example, and on their return, they land safely back in their domestic role to fulfil their womanly duties. These songs, in their outrageousness, were merely intended for entertainment, rather than transgressing gender boundaries. 

    Tarren takes such songs, however, and reinterprets them, using them as a way to broaden the traditional conceptions of gender. Their original composition, ‘Neither Maid nor Man,’ does this elegantly. As Danny notes,

    “Folk music is a living tradition; it lives through reinterpretations and additions.”

    Featuring re-written versions of ‘The Female Cabin Boy’ and ‘William Taylor,’ where both female and male gender expectations are subverted, the final verse reflects the journey of Tarren’s own Alex coming out as non-binary. It is a subtle yet highly impactful spin on a historical folk tradition, making it relevant to the 21st century and their own experiences. 

    Tarren are a highly talented trio whose unique interpretation of folk music is utterly captivating. By not confining themselves to a specific genre, they have opened up a range of musical possibilities, as well as reminding us that genre does not have to be so clear-cut. Also, sensitive to the sometimes exclusionary themes of traditional folk songs, they have brought awareness to this and have reinterpreted them to bring them up to date with today’s ever-changing culture and society. Music does not exist in a vacuum – there is no reason that genres cannot be blended, or that traditions cannot be altered to align with the current times.

    1. ‘Press,’ Tarren, https://tarrenmusic.com/press. ↩︎
    2. Pedlar, D., ‘Neither Maid nor Man: Tarren explore gender variance in British Folk song,’ Tradfolk, 2024, https://tradfolk.co/music/songs/gender-variance-folk-song-neither-maid-nor-man/. ↩︎
  • Interview with OK Computer, the Manx Radiohead

    Interview with OK Computer, the Manx Radiohead


    On the 15th August 2025, I met with OK Computer, a Radiohead cover band from the Isle of Man. They were setting up for one of the last rehearsals before their concert on the 22nd. One by one, the six members trickled in, carrying their many instruments into the relatively small studio while I picked their brains. I learned about their favourite songs to play, those they find most challenging, and gained insights into what it is like to cover one of the most renowned, prolific and varied bands of the 21st century. The gig the following week was top-notch and the audience of dedicated Radiohead fans loved it – it has been fascinating to delve into why Radiohead has such a draw for so many listeners. 

    alt="Radiohead band members"
    Samuel Wiki, CC BY-SA 2.5 https://creativecommons.org/licenses/by-sa/2.5, via Wikimedia Commons


    First playing gigs in 2018, OK Computer was formed when Dave Brew, lead singer (‘Thom Yorke’), was tired of being rejected when he suggested to his other bands that they play Radiohead. He reached out to other musicians that he thought might be interested and pretty instantly had a group formed. They have since played many gigs around the Island, featuring a mix of Radiohead songs from various albums, once playing through the full OK Computer album, and have steadily amassed a strong and dedicated following. 

    With the opportunity to speak to the members, I wanted to gain some insight into the inner workings of the band, such as how they decide which songs to play. Unsurprisingly, owing to Radiohead’s vast output, they said choosing what to play requires about 20% compromise; even their band name was chosen via a referendum. There are certain songs that they have found particularly tricky to learn, including ‘2+2=5’ and ‘Pyramid Song’, due to their unusual metres, ‘The Tourist’, because of how slow it is and therefore difficult to stay in time, but they highlighted that it varies for each instrument. They have also picked up on which songs are the most popular amongst audiences, such as ‘Fake Plastic Trees’, ‘Bodysnatchers’, ‘Let Down’ and ‘Creep’. At the gig, I too noticed that ‘Karma Police’ and ‘Street Spirit (Fade Out)’ were particularly well-received, really engaging the crowd. My personal favourites were ‘Myxomatosis’ and ‘Paranoid Android’; the atmosphere they created was electric.

    OK Computer at the Villa Marina, August 2025

    The band learn the songs from live versions rather than studio ones; these would be impossible to replicate. You could therefore pick up on certain features that aren’t present in the studio recordings, for example, I especially enjoyed the extra syncopated bass idea in ‘Myxomatosis’.

    Radiohead are notorious for being ‘depressing’, and I was curious as to whether playing so much of their music can get heavy. But no, they said, 

    “they’re too hard to play to be depressed!“

    Even the ‘sad’ ones, such as ‘Let Down’, they acknowledged, are actually uplifting and often build. They captured this excellently in the gig, for example, the increase in intensity in ‘How to Disappear Completely’ was very impactful and really stood out to me. 


    At the gig, I was impressed by the sound they produced and the quality of their playing. They are superbly talented – the songs were played flawlessly and were so tight and well-rehearsed; every member knew exactly what they were doing. With Radiohead, this is crucial – with many layers, changing time signatures and unusual instruments/techniques used, their songs are complex and unpredictable. Demonstrating their versatility, the band members often switched instruments and added new instruments for certain songs, such as a drum machine for ‘Idioteque’, and their stamina is admirable – three straight hours of Radiohead must take some concentration, to say the least! They really captured the essence of Radiohead – from the clips of radio played between songs, to the pre-programmed keyboard sounds, to the tone of the guitars – and the audience loved it. People were dancing and singing the whole way through – there was even a mosh pit towards the end!

    The band has had a great turnout since the beginning, with audiences spanning generations, from as young as teens. I wondered what it is about Radiohead that has made them so popular for so long and attract such a wide variety of listeners. Asking OK Computer what they thought, they suggested it might be because Radiohead are constantly evolving – each album is unique, with something for (nearly!) everyone, and they blur boundaries, making it difficult to assign them to a single genre – OK Computer couldn’t even decide between themselves. Another point they raised is that 

    “Radiohead haven’t sold out to record companies.” 

    For example, in their rebellion against the dominance and hegemony of major record labels and the imbalanced distribution of funds, meaning artists themselves profit marginally from singles and album sales, their 2007 album In Rainbows (my favourite album, as well as Dave’s) was self-released as a download. With no set price, fans were able to choose how much they paid for the album, which could be as little as nothing (plus an administration fee of 45p). This departure from conventions and widely accepted structures is part of the reason they are such a unique band. They experiment with their music; for example, OK Computer described them as using their instruments like toys. I love this idea – it captures how, like children, they are unconfined by traditional methods and sounds, resulting in much more creative results. It also has a lot to say about what people value in music: authenticity, personality and creativity.

    OK Computer is a fantastic tribute to Radiohead, with a deep understanding and genuine appreciation of the band and their music. Individually, they are very talented, and they blend seamlessly into a band together. If you are a Radiohead fan on the Island, I would thoroughly recommend you catch them at one of their next concerts!

  • Interview With Max & Veronica

    Interview With Max & Veronica

    An inspiring Italian duo bring the acoustic blues to the Isle of Man

    On 12th July 2025, I attended a concert by Veronica Sbergia and Max De Bernardi at the Laxey Working Men’s Institute on the Isle of Man. An Italian acoustic blues duo, Max and Veronica have performed globally with their quirky, charming sets which feature a variety of country blues, ragtime, and vaudeville songs. Extremely talented musicians, they expertly play a range of instruments from the mandolin to the washboard, and through their singing, they evoke great emotion and energy. They won the European Blues Challenge in 2013 with The Red Wine Serenaders, represented Italy in the International Blues Challenge in 2015 and have recorded several albums, with more to come. In addition to watching Max and Veronica perform, I had the privilege of meeting them beforehand and chatting with them about their lives and music, which was fascinating and highly insightful. This article will review the concert and explore some of the areas we spoke about, including their genuine passion for music and how important they believe this to be; their desire for the acoustic blues to reach a wider and younger audience; and the prejudices they have faced due to their position as Italians playing American music, an intriguing issue which I will delve into more deeply.

    Concert review

    The pair were a joy to watch. Their skill and infectious enthusiasm made it a truly memorable evening. Veronica’s voice is strikingly powerful and has a gorgeous, rich tone which perfectly suits the genre. Max’s incredible skill on the guitar and mandolin is mesmerising, and this, combined with his characterful vocals harmonising with Veronica’s and her unique washboard and kazoo playing, made a thrilling sonic and visual experience. To enhance the music, they told the audience about some of the history behind the songs and the stories that are told through them, which gave us a greater understanding of the music and painted vivid imagery to go along with it. The duo also interacted with the audience by encouraging us to clap and sing along, to get maximum enjoyment and appreciation from the music. From their impressive talent to the journey they took us on through the music, it was a delightful performance to watch.

    alt="Max and Veronica performing at the Laxey Working Men’s Institute on the Isle of Man, July 2025."
    Max and Veronica performing at the Laxey Working Men’s Institute on the Isle of Man, July 2025.

    Concert review

    Max and Veronica originally met when Max was invited to play at the music nights run by Veronica in a bookstore. Some time afterwards, they reconnected and explored the possibility of performing together, for Veronica to sing with the other musicians Max played with. Over time, they played together more and more often until it became “like a routine.” Eventually, Veronica decided to create her own record with the help of Max, and this is what they referred to as the “beginning of everything.” The record garnered interest from a promoter in France, a moment that made them realise that

    “maybe it’s possible to work with this thing and to make something out of it.”

    Their achievement of winning the European Blues Challenge as a trio also helped them greatly, giving them wider recognition and allowing them to meet their agent, who booked concerts for them outside of Italy. 

    The musicians stood out by the fact that in Italy, “this type of music was not very popular” and they are “proud” of the fact that at festivals, they are frequently told that they are the only Italian artists that have played there. In fact, without claiming to be the pioneers, they noticed that more people turned to the acoustic blues in Italy, especially with a combination of guitar, washboard and other unusual instruments, after their project gained traction and they started playing abroad. They feel very “lucky” to be able to travel and play with the music they love, and are aware of the many “incredible and very talented” musicians in Italy who don’t have the chance to play abroad, as they don’t have anyone to book concerts for them outside of the country. They also highlight that the acoustic blues is sadly not very popular amongst the younger generations and are keen to raise awareness of the genre, believing that it would still have a lot of meaning to young people too. Having heard them play, I agree that more awareness should be brought to the duo, as they are incredibly talented, inspiring, and a joy to watch, but also to the genre; it has some captivating music with lyrics that tell engaging stories.

    With such an incredible career behind them, I asked them if they had any advice for aspiring musicians. They recommended to “go deep deep down and find a way to express the music, find their own language.” Also, to “be different from the others, find their own spirit in music and trust in it – even when there is nothing to trust about.” Veronica says that the best piece of advice she has been given is to

    “stay honest and humble, to never change who I am on stage, and to be as natural as I am in real life.”

    She recognises that “authenticity is what people connect with the most.” Especially if you are young, they urged, “Do it with all your effort and all your passion – you have time later to think about.” Max and Veronica’s journey is inspirational and has lots that aspiring musicians can take away from it, including the importance of finding your own unique path, having unwavering belief in what you are doing, and never giving up.

    Cultural appropriation

    The duo have faced barriers being Italian musicians playing the music they do. As Veronica explained, there is some “stigma” around it, and some people are

    “suspicious about two Italians playing American music,”

    believing they “aren’t entitled” to it. They explained how promoters tend to be reluctant to book them until they have someone directly confirm to them that they are worthy. Therefore, while they acknowledge that “it is good to be Italian because it is different,” the flip side is that “we really have to work harder.” After hearing this, I decided to delve into what the reasoning behind this might be, and whether it is a wider issue. It seems that concerns surrounding the cultural appropriation of blues music extend beyond Max and Veronica and go back decades.

    White performers have been called out for culturally appropriating the blues when its history rooted in black culture and the struggles that were faced in the 19th century are not acknowledged. As Handy wrote in his 1941 autobiography, Father of the Blues, “its 12-bar, bent-note melody is the anthem of a race, bonding itself together with cries of shared self victimization.” This is not to say that white artists cannot perform blues songs, however. As several authors acknowledge, it can be done respectfully, for example, Aburrow says to learn about the culture and history of the music being performed, and Hatua-Saar White encourages artists to “acknowledge the origins of where your inspiration is derived from.”1 Max and Veronica certainly do this; they have immersed themselves in and have a deep appreciation and respect for the music they play, and they provide ample acknowledgement to its history during their live performances and in the information about their albums. For example, Veronica’s album Bawdy Black Pearls explicitly brings recognition to the “fierce and fearless blueswomen of the 1920s and ’30s,” explaining that “these women sang openly about desire, pleasure, and personal freedom, challenging the social norms of their time with wit and courage.” It is therefore unjustifiable for Max and Veronica to face prejudice for playing blues music.

    Conclusion

    Excellent performers and fascinating people to talk to, Max and Veronica are admirable role models for aspiring musicians. They are not afraid to stand out and never give up, even when met with obstacles. I am grateful to them for introducing me to the acoustic blues and for encouraging me to investigate why there are sometimes negative reactions against musicians from one culture playing music from another culture, and how complex a topic it is. I encourage readers to explore Max and Veronica for themselves and to keep an ear out for their new gospel album coming out in November. Joined by Mauro Ferrarese and Simone Scifoni, “it’s a raw and heartfelt record – very much in line with who we are – and features a handful of lesser-known traditional songs recorded live in the studio”. It is their first album dedicated to gospel music, which they are “extremely proud of.”

    1. Aburrow, Y., ‘Cultural Appropriation And The Blues,’ Patheos [website], 9 October 2015, https://www.patheos.com/blogs/sermonsfromthemound/2015/10/cultural-appropriation-and-the-blues/, accessed 22 July 2025 ; Hatua-Saar White, R., ‘Cultural Appropriation in Music,’ Berklee Online [website], 1 February 2020, https://online.berklee.edu/takenote/cultural-appropriation-in-music/, accessed 22 July 2025. ↩︎