Archive for the ‘My Missy Higgins Love Affair’ Category

Joshua Radin and Justin Nozuka at Manchester Academy

First things first, I had been very excited about this gig for some time and as such, I could have a slightly biased view of it. But all you really need to know is that both artists were amazing. If you still need to know more then here are some more words to describe it…

With both Nozuka and Radin having toured with Missy Higgins before, my excitement for the concert was already heightened. Throw in the fact that I’ve previously seen Radin live at the Hard Rock Café and knew of his incredible musical talents and you get a picture of the energy that was buzzing through me before I even left my flat.

Justin Nozuka

Nozuka took to the stage for his half an hour set opening with Carried Away. His vocals were much stronger than is evident on his album and I was immediately impressed. As he continued with a mix of songs from Holly and You I Wind Land Sea I couldn’t help but find myself entranced by him. Whilst his conversation with the crowd wasn’t a patch on what Radin was about to offer, his songs were performed so well that what was said between them didn’t matter.

Be Back Soon, Golden Train and Mr Therapy Man all had the Nozuka fans in the audience singing along whilst the tracks from his newer release seemed to be slower burners. Unbroken Man brought the tempo down in the same way that his final song, Heartless, did. All in all it was a very impressive eight song set from the young Canadian.

Setlist:

Carried You
Be Back Soon
Golden Train
Mr Therapy Man
Unwoken Dream
How Low
After Tonight
Heartless

Joshua Radin

From the moment he casually strolled onto the stage, to the moment he departed through the crowd, Joshua Radin had the audience in the palm of his hand. If there’s anything that this guy doesn’t know about how to woo a crowd then it’s not worth knowing. Marriage proposals were aplenty from the females, with one ambitious guy offering his own scream of “Marry me Joshua” only for a polite refusal from the man with the guitar.

Why haven’t I mentioned his music yet? I hear you ask, or think rhetorically as the case may be. Well it’s quite simply because Radin is the epitome of an artist who (wait for it…) has a lot more than the music to offer. He crafts a relationship with the audience, be that with his questions as to the name of that guy who does a Sunday morning show on Radio 2 (“I think he’s a Sir or something, I should know his name”) or through his endless ramblings about Australia after he thought he’d heard someone say they were from there.

Vocally his talents were obvious to all – he even walked away from his microphone at the end of No Envy, No Fear, filling the room with his unadulterated voice. Each song tells its own story but Radin was always on hand to offer more insight into his mindset at the time of writing. Many of the night’s highlights were songs from his forthcoming album, The Rock and the Tide, with the title track being about the first time he had a crush. He admits that his previous two albums were written about break ups so it was different for him to venture into new territories with this third offering.

A new sound has come about with the latest songs to. Radin put aside his acoustic guitar in favour of an electric for several tracks including a personal favourite of mine, The Ones with The Light, which had the crowd parted in two to sing (or scream as it turned out) a different line in the chorus.

After telling the crowd about how people often go on dates to his concerts, Radin joked about couples arguing and finding new partners in the room, before clarifying that the song he was about to play, Today, was not about polygamy.

After a bout of rock numbers from his third album he returned to the fan favourite with his biggest UK hit I’d Rather Be With You getting the most enthusiastic reception from the crowd before his whisper rock style kept us enthralled in Winter.

As we cheered for an encore, the sound of acoustic guitars could be heard behind us so we raced to the back of the room to find Radin and his two guitarists had made their way to the middle of the venue and performed one last track for us all in his typical unplugged fashion.

Overall, I am still struggling to sum up the evening in comprehendible sentences. Radin is a sublime performer and I cannot recommend him highly enough.

Setlist:

No Envy, No Fear
Everything’ll Be Alright
Closer
Think I’ll Go Inside
The Rock and The Tide
Today
Brand New Day
One of Those Days
The Ones with The Light
We Are Only Getting Better
Here We Go
Nowhere To Go
You Got What I Need
I’d Rather Be With You
Winter
———————————–
I didn’t catch the name of the encore

Joshua Radin and Justin Nozuka
Manchester Academy 1
17/10/10

Justin Nozuka (not looking so great) and I.

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NAMA: Maddy Hay

For my second installment of ‘New Australian Music Alert’, please allow me to introduce you to Maddy Hay. Hailing from Melbourne, this jazz singing lady has a pretty spectacular voice which is used to sooth the listener.

She wrote the above song, Smoke In The City, aged sixteen and at boarding school – which reminds me a lot of how Missy Higgins started out. In fact, there’s another parallel between the two in the fact that their early works both did well in competitions. Whilst Missy’s All For Believing won her Triple J Unearthed, Maddy’s song reached the final three of the John Lennon Songwriting Contest which she has described as being an “absolute thrill”. Bless her.

I could continue this essay about the similarities between the two (they both went travelling before launching music careers in Aus), I must point out that they are musically different. The jazz roots of Maddy give her an edgier sound that I can only imagine would be a treat to hear live.

So there you go, that was a short introduction to Maddy Hay. Find out more at www.maddyhay.com

Missy Higgins’ new song – If I’m Honest


If I’m honest… I love it already.

Bran Nue Dae Soundtrack

I loved Bran Nue Dae as a film. I told you that you should love it too. Why? Read this and find out.

Anyway, after returning home from the bright lights of London and the excitement of having my photo taken with Tim Minchin (with my eyes closed, naturally), I decided I needed to get myself a copy of the soundtrack. Months passed and the day, eventually, came when I received the package (courtesy of friends as an eighteenth present!) containing the music to my new favourite film.

Twenty one songs make up this album. Ranging from just under two minutes to a few songs approaching the five minute mark, the songs were written for the original stage show created by Jimmy Chi twenty years ago. In fact, the end of the album features tracks recorded by members of the 1979 cast.

Vocals are provided by the majority of the film’s lead characters, which comes as no surprise given that Dan Sultan, Jessica Mauboy and Missy Higgins all come from a singing background. Ernie Dingo has several solo songs and even Geoffrey Rush offers his vocals on one track.

Sultan’s soul sounding voice opens the album with title track Bran Nue Dae. It’s the first of many songs that will entice you to singalong to them. A bit of religion and culture typical of Broome residents at the time is offered with All The Way Jesus, before returning to the uptempo Seeds That You Might Sow.

The first of the two songs featuring my favourite artist, Missy Higgins, is her collaboration with Ernie Dingo in Feel Like Going Back Home. It’s a happy song full of optimism and hope which does wonders for you if you’re in a bad mood!

Light A Light lets Mauboy hit the high notes though isn’t one of my favourites on the album. It’s a slower paced track thrown in for the emotional and narrative value of it, so it’s not hugely uplifting. In contrast, Nothing I Would Rather Be is contractually obliged to force a smile out of you. “There’s nothing I would rather be than to be an aborigine” the whole cast sing in chorus. It’s a quality show tune that you can really envisage being performed both in a local theatre in the Australian bush, or on a professional West End stage.  

Whilst not every track is to my liking (I find Is You Mah Baby to be too harsh on my ears), there are plenty of quality songs to make this a worthwhile purchase if you’ve seen the film. The random addition of Rolf Harris’ Six White Boomers shows a unique take on a Christmas song which is sung in the expected Harris style with varying voices and percussion.

Afterglow is truly haunting and every time I listen to it, I am taken back to the swimming scene in the film where it is used. Sung by Missy Higgins, her voice compliments the tone perfectly.

Both Listen To The News and Stand By Your Man are great show tunes once more. They start off slower before building pace and power to add to the suspense and effect of the songs.

All in all, if you’ve seen (and enjoyed!) the film, it is definitely a great album to add to your collection. Without the knowledge of the film’s storyline, I’d advise against buying this album as you’d probably end up rather confused. I’m not saying don’t buy it. I’m saying watch the film first!

Track list:

1. Bran Nue Day — Dan Sultan
2. All The Way Jesus — Jessica Mauboy
3. Seeds That You Might Sow — Dan Sultan
4. Feel Like Going Back Home — Ernie Dingo, Missy Higgins
5. Light A Light — Jessica Mauboy, Brendon Boney
6. Nothing I Would Rather Be — Bran Nue Dae Cast
7. Nyul Nyul Girl — Dan Sultan
8. Broome Love Theme — Bran Nue Dae Gypsy Orchestra
9. Long Way Away From My Country — Ernie Dingo
10. Is You Mah Baby — Ernie Dingo
11. Six White Boomers — Rolf Harris
12. Zorba’s Dance (Chooky Dancers Remix) — David Bridie
13. Afterglow — Missy Higgins
14. Listen To The News — Ernie Dingo
15. Black Girl — Dan Sultan
16. Stand By Your Man — Jessica Mauboy
17. Nothing I Would Rather Be — Brendon Boney, Geoffrey Rush
18. Road Movie Medley — Bran Nue Dae Gypsy Orchestra
19. Child Of Glory — Bob Faggetter
20. Going Back Home — Stephen Pigram
21. Bran Nue Dae — Jimmy Chi

Missy Higgins – The Sound Of White

The Sound Of White was the first Missy Higgins album to ever grace my ears. It also happened to be her debut album. Despite the title, the sounds that it produced upon my first listen were not screechy and painful; they were something of beauty.

As you listen you discover the perfect balance of heartfelt slow songs with a few upbeat numbers to mix it up. All For Believing was the first mainstream song Missy ever wrote. She wrote it when she was younger than me which makes my achievements in life seem somewhat pathetic. It’s a slow piano track, with heavy lyrics full of metaphor.

I have two versions of Don’t Ever. Whilst I enjoy the album version, it’s the live version which I find particularly impressive. The lyrics are so homely and are sung with such passion that you become enveloped in the song. She describes this perfect neighbourhood in the verses that I think we all can aspire to live in. A neighbourhood where “The butcher Mr Tims will give us discounts when he can”. A neighbourhood where you make friends with the milkman. A neighbourhood that reminds me of a less traumatic Erinsborough!

Scar is one of the few happy songs on the album. Happy probably isn’t really the right word to describe it. It’s got a quick tempo and if you were to gloss over the lyrics you’d probably think it was a ‘happy’ track. But upon a closer listen, you can hear that the lyrics are about not fitting in. Using the clever metaphor of “a triangle trying to squeeze through a circle”, it’s been widely assumed that the song is about Missy’s bisexuality although that is not what Missy wants the focus to be on. It’s a catchy song that did well in the Australian Charts because of it’s great melody.

There’s something about Ten Days that I adore. It’s perfectly paced and the lyrics are typical of Missy’s earlier style without being too depressing. A stereotypical love song it is not, but it’s a Missy love song. And that’s why I love it.

I haven’t listened to Nightminds in a while, which is a shame because I’ve just rediscovered how beautiful it is. Missy’s music is not for you if you want happy-go-lucky pop. It’s cleverly crafted to evoke emotions. Each lyric has clearly been thought through to portray deep emotions and as such can often be misinterpreted as depressing. I have never found Missy’s music to be depressing. Sure, the lyrics can be deep, heavy and sad, but they tell a story. She never writes to depress, she writes with a narrative to pull at your heartstrings so that you empathise with the story that’s being told.

Casualty has a sound that could almost be described as ‘jazzy’. Not jazzy as in ‘Jazz Hands’ or ‘All that Jazz’, but the type of Jazz that I’d imagine to be played in a small smoky jazz club on the outskirts of a large city. Having never been to a jazz club, I cannot state that this is a fact; it’s just how I like to interpret the genre. Anyway, it’s a different song to the rest of the album that matches the powerful notes with some strong vocals.

I love Unbroken. It’s not on all versions of the album. It wasn’t on my CD version so I had to download it when it finally appeared on UK iTunes. The lyrics sing of pregnancy and divorce in the most amazing metaphors; “Two line blue line tragedy” seems to sum up an unwanted pregnancy pretty vividly.

Careful piano playing and slowly sung lyrics are combined to create Any Day Now. Posing rhetorical questions (“What if what we see is all we’ve got?”), Missy knows how to make her listeners think. The verses tell a story very well with the chorus referring back to the questions that would be floating around the character in the song’s mind.

Now for the two songs on the album that I’ll admit could be described as ‘dark’. Katie and The River both appear to sing of young girls who live tough lives. In the latter it sounds as though the character has lived a tough life and took it upon herself to end it. “Somebody’s bed will never be warm again. The river will keep this friend” – It’s not music suited to radio, but both songs are incredibly dramatic and thought provoking. As opposed to literal lyrics, Missy uses metaphors (you may have realised how much I love metaphorical use of language) to describe these situations.

The opening lines in The Special Two set the tone for the rest of the song. It’s apparently a song about Missy and her sister who’d had an argument which has been embellished for the sake of the lyrics. I absolutely adore a question that is posed and answered in a verse of this song. “Is it better to tell and hurt? Or lie to save their face? I guess the answer is don’t do it in the first place.” So true. And yet it rhymes so that it fits beautifully into the song’s rhythm. How on earth Missy manages to make so much sense whilst working of the crafting of a song astounds me. She is one talented girl.

This Is How It Goes has a really lovely beat. It’s faster pace than the majority songs on the album and shines particularly strongly in the chorus. Combining the first and second person, Missy allows the listener to interpret the relationship being sung about in their own way, perhaps even comparing it to their own relationships. Oh, and I have to mention the la-di-da-da’s. They’re rather cool.

The title track was written after the death of Missy’s cousin. The Sound Of White tells of the void left after he passed and how Missy was, one day, sat in a chapel where she is “sure I felt your fingers through my hair”. The song is full of memories that must’ve made the song difficult to write but come across perfectly.

Ending with They Weren’t There, the album doesn’t disappoint at any point. Another piano based song, Missy’s vocal shines throughout. She never feels the need to use any fancy editing tricks to hide her voice. Her voice is so strong that it can be accompanied by the simplest instrument playing to create something truly powerful.

I love this album. Had it never been in the car that we borrowed to drive around Sydney in 2005 I may never have discovered Missy Higgins. And that would’ve been a bit of a tragedy.

Bran Nue Dae

Ok, so my eyes look weird. But it's TIM MINCHIN.

Have you ever seen an Aboriginal Musical Comedy? Nope? Well I hadn’t either until I turned up at The Barbican Centre on Thursday evening to see Bran Nue Dae as part of the London Australian Film Festival. I knew a lot about the film prior to seeing it, undoubtedly this was because one of the main characters was played by my favourite Australian ever: Missy Higgins.

The plot is fairly straightforward. A young guy, Willie, runs away from his religious boarding school in Perth trying to get back to his home town of Broome. (These are Australian places for those who are a little clueless) He runs into his wayward Uncle Tadpole on his first night on the run and the two of them join forces to make the journey home. Without money (Tadpole is a bit of an alcoholic) they manage to guilt trip two backpackers into giving them a lift to Broome which is “just up the road”.

Missy Higgins plays Annie, a crazy hippy chick with a slightly more prudent German boyfriend. Missy’s not the only well known singer to appear in the film, Australian Idol contestant Jessica Mauboy and another Aussie Singer (whose been likened to Elvis) Dan Sultan also have major roles. The head teacher of the boarding school who chases after Willie is played by Geoffrey Rush (Pirates of The Carribean), whilst Ernie Dingo takes the role of Tadpole. Oh, and Magda Szubanski cameos as a weird shop owner with a gun.

Songs are used throughout the film to aid the plot and generally make you smile. Whilst the two songs Missy sings on (The stunning Afterglow, and her duet with Ernie Dingo on Feel Like Going Back Home) are really lovely, the one lyric that has really stuck in my head is “There’s nothing I would rather be, than to be an aborigine”. It’s a more comical song that resulted in an interesting dance routine on screen with choreographed, synced leg kicking.

At the end of the film, Willie predictably returns home to get the girl of his dreams Roxy (Mauboy) and then there’s a bit of a twist that is rather hilarious. I shan’t ruin it for you as I genuinely recommend this film to you all and think you should watch it. Admittedly it’s not going to ever make it to general release here. Nor will it be out on DVD. But if you ever get the chance to watch it, DO.

Oh, I feel I have to add a few words about what else happened at this screening. I met Tim Minchin. Hence the photo. He had introduced the film and hung around. He was talking with friends about how they were going to arrange themselves into cars to get home when we interrupted and got a photo with him. He was very sweet and called my rather large, slow camera “Old School”. He also trod on my foot.

But yes… Bran Nue Dae is my new favourite film. It should be yours too.

Missy Higgins – Steer EP

Whilst I’m happy to admit that Steer used to be my least favourite Missy Higgins’ track, the EP that it came from is home to one of her most beautiful non-album tracks.

Like the majority of Missy’s singles; the CD title is not just ‘Steer’. No, it has those added two letters ‘EP’ that don’t seem to appear on other releases over here.  I’ve discussed the title track in my On A Clear Night album review which only leaves three other songs for me to comment on.

Before I even get started on reviewing the music I must mention the artwork on this physical release. The case is one of those cardboard ones that immediately makes it feel more special than being surrounded by plastic. The font is the same as is used on all promotional work from On A Clear Night; all capital letters with ‘HIGGINS’ being indented on the second line. In the right of the front photo is Missy in profile smiling as though she’s been mesmerised by something. Something that’s a night so totally clear perhaps? Perhaps it’s something that means you can control where you go and you can steer? Just a thought. Anyway, once opened there’s a lovely photo of a cloudy blue sky with a few birds flying around freely. And I guess being free is part of what Steer is all about.

Dusty Road seems to be about empowering women, I guess. “Sometimes men abuse your power” is a line that is followed by the chorus about how to get off the ‘Dusty Road’ of abuse. Maybe. I’m not entirely sure about this song to be honest. Don’t get me wrong, I love singing along to it (it’s one of Missy’s guitary upbeat tracks) but I don’t think I really “get” it.

A song that I do connect with is The Battle. Written about a supposed battle with another songwriter, the lyrics show Missy’s genius. Beginning with “I don’t need a slap in the face / I’m already at the bottom of the sea”, the use of metaphor is typically impressive. A slow song played on acoustic guitar, it allows for Missy to sing a few “oooohh’s” displaying her vocal talents.

The final track is asterisked as a Demo. It was produced by Missy herself and is titled Leave A Note. I love the rawness of this song. It’s full of emotion. It appears to be some sort of plea for someone to stop leaving without telling anyone. At face level that’s what I took from it anyway. Although as with most pieces of songwriting by Missy, there’s likely to be a few other more complex interpretations that could be found.

One of my favourite EPs. And definitely one of my favourite physical CDs for it’s beautiful sleeve.

Missy Higgins – On a Clear Night

I don’t know what I’ve done. Or if I like what I’ve begun.

Those are the first lines that greet your ears on Missy Higgins’ second album On a Clear Night. And already, I like what’s begun. I love these lyrics. I love these songs. I love this album.

Where I Stood is written in Missy’s classic style drawing at all your heartstrings. There’s been discussion as to whether the story that’s being told is that of a relationship that’s broken up, or if it’s a bit more complex and is actually about giving a child up for adoption. Lyrics such as “She will love you more than I could/She who dares to stand where I stood” leave it entirely up to your own interpretation. It’s the ambiguity in Missy’s craftsmanship that I love. Her songs rarely tell a straight forward story. There are always lines that mean different things to different listeners – making each song even more personal.

Missy gets her guitar out in 100 Round the Bends. It’s upbeat for Missy. I’m struggling to find a remotely depressing lyric in it. Admittedly, it’s pretty clear that Missy was, perhaps, in a better place when she wrote this album. Songs like this would never have fitted in on her debut album. It’s just too… happy. Yes, the lyrics progress to sing about how this great relationship failed and hence the happiness ends. But the chorus returns once more; the guitar kicks in and all negativity is forgotten.

I have to admit that when I first heard Steer I wasn’t entirely convinced. It was the first single off the album and I had a few versions of it on my iTunes, so it kept replaying itself. I was so excited to hear new songs from Missy that I listened to it a lot in a short space of time and the novelty soon wore thin. It didn’t astound me lyrically and so, for about a year after its release, I often found myself skipping past it on my iPod. Nowadays, I’ve rediscovered it for the great song it really is and could happily listen to it on repeat.

Sugarcane. The most beautiful song I’ve ever heard. Wow. I love every second of it. It’s the most played song on my iTunes and I can’t ever see myself getting bored of it. The lyrics are beautifully crafted to haunt you. The first verse is about abuse of a young girl. The second about an older girl in a peepshow who dances behind a one-way mirror to try and convince herself that people aren’t watching. If only the young girl had the ability to do the same. But she doesn’t. And so she must “Run. Run fast. Sugarcane”. This is, of course, just my interpretation. And as I’ve said, you can find a thousand different meanings from each song of Missy’s.  If I remember correctly, it was inspired by a photo a ballerina with a ghostly figure behind it, hence the song beginning with the metaphor of the ‘Baby Ballerinas hiding somewhere in the corner”. I can’t tell you enough how beautiful this song is. If you take anything from this review, or even this whole blog. It should be to have a listen of this song. Don’t just casually listen to it though. You need to focus on the lyrics and the vocals alike to soak up everything you can from this work of beauty.

I like the verses in Secret. The chorus has never been so appealing, but the vocal ability of Missy allows me to forget about that. It was written about a relationship that the speaker wants to be open about, whilst the other party wants it to remain as… well, as a secret. Clearly this relationship isn’t going to work out so well. Cue long contemplative lyrics from Higgins.

Perhaps the best vocal performance on the album comes on Warm Whispers. This album version doesn’t display the true capacity of Missy’s voice but this YouTube clip does it a lot more justice. The length that she can hold a note for amazes me. As do the metaphors in this song. I mean, she’s weeping “warm honey and milk”. Who else weeps warm honey and milk? Nobody I know of.

Missy can play the piano amazingly. But that doesn’t mean she’s at all bad at guitar playing either. As shown in The Wrong Girl where she casually strums away as she sings. Angela, a song inspired by a black and white photo Missy once saw in a hotel she was staying in, is also played on guitar. Missy is way too musically talented for my liking. She makes my one song that I can play on the piano (The First Noel – perfect for all occasions) look entirely worthless. Which I guess isn’t that hard. But well, she’s just all round musically talented.

The big break-up song of the album is Peachy. Each verse passes the blame around as to whose fault the break up is, with the chorus referring to how the ex says that life is ‘Peachy’ without her. It’s a great sing-along track; you can scream your heart out in the chorus and briefly regain your breath in the verses before breaking out into passionate song once more when the chorus returns.

The majority of this album was written in Broome (a town in rural Western Australia) which allowed for Missy to focus solely on songwriting. It was one evening when she looked up at the sky and saw how beautiful it was that she came up with the album’s title. The natural beauty of the landscape where the album was written comes across in the songs that were produced. Going North sings of going to explore new opportunities elsewhere. In this case, ‘elsewhere’ is north. Whereabouts ‘North’ is, I don’t know. But I reckon it’s somewhere rather nice. Apparently ‘answers fall like leaves’ there. I’d quite like that. Maybe one day I’ll find somewhere like that myself.

As the album ends, the final song is rawer than all the other tracks. It was recorded in Mitchell Froom’s front room and if you listen carefully, you can hear an airplane flying by towards the end of the song. There’s no need for autotuning or adding effects to Missy’s songs. Even in their rawest forms they are beautiful. The lyrics are about a man who is, quite literally, begging for forgiveness on his knees. Without much to focus on aside from Missy’s strong vocals and the background acoustic guitar, you can really feel as though you are able to connect with this character in the song. You can genuinely feel his desperation as she sings “Take this one fallen man on his knees. Saying please forgive me”.

So that concludes my review of ‘On a Clear Night’. It’s probably my favourite album ever. I hope that you can connect with the album as I did and see past the heaviness of the lyrics to discover their true beauty.

I recently thought to myself about how I could well be the most obsessive Missy Higgins fan to have never seen her play live. Anyone agree?

Missy Higgins – The Missy Higgins EP

DISCLAIMER: Before I begin any of my reviews of Missy I feel I need to point out that I quite genuinely adore her music. She is the reason that music became such a big part of my life. Her lyrics inspired me at times when my life lacked inspiration and I really do love every song she’s ever written. Hence, you are unlikely to get any form of a balanced or unbiased review from me. Missy’s music is one of those Marmite-esque things that you either love or hate. For me, it’s 100% the former, but I’m aware that my view isn’t shared by all and you’re more than welcome to respond with moans about her “boring” voice or “depressing” lyrics. I think she’s utterly amazing. End of.

I could quite happily write an essay about every one of the ninety six songs by Missy Higgins on my iTunes. I’m not going to. But I could. Each burst of her voice enchants me. Her lyrics leave me simultaneously astounded and engrossed. The sound of the piano chords that she effortlessly plays makes me want to learn an instrument.

If you know me personally, then you’ll be more than aware of my love for Missy’s music. You should also know how disappointed I am to have never seen her play live. She’s not visited the UK since 2006, back when my super-fandom was only in it’s youth. Alas, I was on holiday for her London dates and wasn’t yet desperate enough to travel the country to see her. This is no longer the case. I would now travel anywhere in Europe to see her sing. Anywhere. With the temptation to fly to America just for one gig becoming ever more tempting. However, let’s go back to before 2006. Before I had even heard of her. Back in 2003, Missy released her first EP.

The Missy Higgins EP begins with Greed For Your Love. Bursts of Missy’s powerful voice are intertwined with verses full of metaphors screaming of heartache.  It is a track, quite simply, about wanting to be loved. Clichéd? Maybe. But you need to realise that Missy was still young when she started out.

 In fact, All For Believing was written when Missy was just fifteen. Winning the Triple J Unearthed radio competition in 2001, Missy then took a year out backpacking around Europe before returning to her music. The song commences with haunting vocals accompanied with some piano playing. Lyrics are sung with such honesty that make it clear why it was awarded the radio prize.

Missy’s voice immediately greets you in Falling. Her voice has a power that can overwhelm you without sounding forced. “Don’t say/What you’re about to say” are the opening lyrics. The use of the second person enhances the song, making you feel as though it’s being sung to you. Missy’s music is personal. You can connect with lyrics and often find yourself completely empathising with the words that float from Missy’s mouth.

The Special Two is one of the heavier songs written by Missy. She sings of childhood dreams being destroyed. Yet all hope is not lost as the chorus tells of there being someone else who will always be there to hold your hand throughout life. Not scared of being too deep in her lyrics, The Special Two poses philosophical questions. Asking “Is it better to tell and hurt, or lie to save their face?” Missy continues by saying the best thing to do is to never have done it in the first place. Which is better than any answer I could ever come up with. Could you answer it any better?!

This EP was just four songs. Four songs that would be the beginning of a music career. A music career that would become a huge part of my life.