A Wee Chat With…Anna Burch

words fae madeleine dunne (@kohlgrrl)
photo fae louise patterson

Michigan-born singer and songwriter Anna Burch spent her emerging years as a supporting player: first, as a band member of folk-rock band Frontier Ruckus and later in 2014, co-fronting the four-piece Failed Flowers.

The world finally got to hear Anna in all her creative agency with her powerful solo-debut, ‘Quit the Curse’, released through Heavenly Recordings and Polyvinyl back in February of this year. It’s diverse, tight and upliftingly honest – a relatable record that can rouse you from the throes of heartbreak with its catchy melodies.

I talked to Anna about the shift from band member to solo artist, musical identity and earnest lyricism ahead of her show at The Hug and Pint.

There’s quite a diverse sound running through ‘Quit The Curse’, particularly with tracks like ‘Belle Isle’ and ‘Asking 4 A Friend’. Was that multiplicity an intentional choice?

Anna: I didn’t set out to make a very eclectic sounding record. Like, we used all the same instrumentation, it’s all a four-piece rock band, and I didn’t feel like there was a wild difference between songs while I was writing them. The sounds changed when we were getting into the arranging process and making aesthetic choices along the way, like “oh, this one has got a bit more of a grungy feel, we’ll put some distortion on the guitar”. The mixing engineer Colin Dupuis put this insane fuzz on a solo in ‘Asking 4 A Friend’ and it was jarring to me when I heard it because it had been so clean before. I think I hated it at first and then I sat with it for a bit and I was like, “oh, that’s cool”.

The production stage took a really long time. First the solitary writing, then the demoing where we incorporated bass and a little bit of drums. I was on tour with Frontier Ruckus during that time, so I was gone a lot and driving four hours to work with my friends.

I think I was really frustrating to work within the demoing stage. I would get asked to pin down the vibe or for reference tracks from other artists, but I was still unsure about pinning down the sound. I wanted to stay in this nebulous stage of indie-pop-rock, without leaning too hard into anyone else’s shit.

Recording the proper album went on for a really long time because I was recording in apartments and everyone helping had their own commitments. Then the album got handed over to Colin who helped me record in Detroit. It was a big personnel shift, and it experienced a lot of phases from the different musicians who helped me. We re-tracked like three songs, but Colin mixed it all and it sounds cohesive to me, which is surprising considering the lengthy and spotty nature of that timeline.


While a lot of the tracks are lyrically quite earnest with darker themes, they’re often counteracted with bright and uplifting melodies. Is that a juxtaposition you set out to make?

Anna: I wanted to preserve a balance. When I perform I want it to be a fun live show and people to be uplifted, I don’t want people wallowing and I don’t want to feel drained after the performance. You can dig too far into the melancholic and it just drains you after a while. I like the tension between the two. When I play with a band it’s less strange because I’m more feeling the music and it’s more of a performance. I try and tap into the emotions to keep it authentic but it’s not like I’m lost in a revere of emotions. But when I sing solo, which I rarely ever do, I feel much more vulnerable. It’s not something I’m super fond of. It becomes less fun.

When I was arranging the album, I went to see an Alvvays concert in Detroit and that was a big inspiration for me. They just blew me away, the soaring elation of their melodies was really moving, and I had this emotional experience, even though it was an uplifting one.

While creating your sound as a solo artist, what inspirations did you draw upon?

Anna: A lot of the choices for the album that came through subconsciously were percolating for a really long time.  I think that came from being in a band, being around musicians and people who love and share music. I grew up in a home where my mother played piano and my dad was a big music lover. We bonded over that, and I developed a relationship with my dad which revolved around him showing me the classics, like Joni Mitchell. I had a lot that was swimming around in my brain which I hadn’t had an outlet for.

I’d been with Frontier Ruckus on and off for a long time and I felt like my identity was wrapped up in it. It was interesting being associated with it because I’m not even that into roots music on my own, so it wasn’t an expression of me. When I was younger, I was really into indie music but in general that was much more folk-oriented, so it made sense. But as my tastes changed and indie music became more guitar focused I realised I was enjoying a lot of the music I had been listening to in high school like Elliot Smith, Modest Mouse, Pixies and Smashing Pumpkins. I felt like that, the indie music that I listened to in high school before I got wrapped up, was more the direction that I could express myself in.

Moving from the solitary stages of writing, did you find it difficult to let people take control and make choices about your work?

Anna: I really appreciate the fact that I can collaborate with people and relinquish a little bit of control. It’s been kind of a lot … like, all of it. I’m not saying like “wow, whirlwind success” or anything, but my life has changed so much. My work bleeds in to my life and it’s all the time, it’s constant, be that social media, answering emails, playing gigs. A lot of it is fun and a lot of it is work. It’s nice to work with people that are talented and that I trust. We might not completely see eye to eye, but they don’t have my brain – they aren’t inside my head. It produces some really interesting tensions, and I honestly like that. It’s like, “it’s not what I would have done but hey, that’s kind of cool”. You’re never going to be able to present yourself exactly like “this is me”, because that changes all the time. I’m really grateful that I have people taking charge and making certain aesthetic decisions, because I would just be completely overwhelmed.

Have you seen yourself adapt the way you communicate with the people who work with you as a result of the role shift from band member to solo artist?

Anna: Absolutely. I think I was way more of a brat being a member of a band. I just had one opinion that was a small voice in a machine. It was easy to be a contrary nay-sayer and just be like “whatever, nah, fuck that, I don’t like that”. Now I have to be considerate of all these people who are spending their time with me, like the bandmates that come out for weeks at a time. I can’t really pay them enough to make it their full-time job, so I need to be considerate that they’ve taken time off work for me. I’m constantly trying to make sure no one hates me and they’re having a good time. I feel like I’ve had to become more of a diplomat and a leader, which is not a natural role for me. But this is the first tour I’ve worked with a tour manager and it makes it so much easier. It’s amazing, it’s so life changing. Being a solo artist, you can’t disperse responsibility because everything changes, it’s never the same line-up or the same bandmates. It’s really nice not being the first responder to everything. I like that little bit of separation from running all the minutiae of everything.


Milestones Interview: “It’s been a pretty surreal experience for us”

By Gregor Farquharson (@grgratlntc)

UK pop punkers Milestones have been on fire since the release of their debut EP, Equal Measures. Having gigged up and down the country, the band have not slowed down since the release, even touring across the USA. Recently, I got the chance to interview member Andrew Procter (vocals, guitar) about gig opportunities they have had and the state of the UK scene.


gregoratlantic: Has there been a particularly good gig you guys have played in Glasgow? Or Scotland in general? And why are they so memorable?

Drew: One of the best shows we’ve played in Scotland was in Glasgow earlier this year opening for With Confidence at King Tut’s. We’ve played in Scotland nearly every tour we’ve been on since the start of the band but that show was the most memorable for me just because of how packed the room was and how loud the crowd were for us.

gregoratlantic: Obviously, the UK Scene is at an all-time high right now guys! Is there any bands you guys are absolutely digging right now?

Drew: That’s a difficult one just with how many great albums have been/are being released recently. I’d have to say Roam, Boston Manor, Holding Absence and Neck Deep to name a few.



gregoratlantic: How does it feel to be able to tour the UK, and call this whole rock band thing your job?

Drew: It’s been a pretty surreal experience for us, especially earlier this year when everyone in the band left their jobs to fully commit to the band. We recorded our album in January then started what was 4 months straight of touring and we were on the road until about mid-June. Going from doing short runs around the UK to seeing Europe, America and then back to the UK was definitely one of coolest things we’ve done individually and as a band.


The band are recording their debut album right now, assuring us it will be out early 2018. Thanks to the band for the interview, and we can only wish them good luck for all their future work.






Wolf Alice interview: “This is the angriest we’ve ever sounded”

By Liam Menzies (@blinkclyro)

You bore me, you bore me to death” screams singer and guitarist Ellie Rowsell on Wolf Alice’s comeback track Yuk Foo, the world’s first taste of new music by the band since their 2015 debut My Love Is Cool. Blowing up seemingly overnight, the band toured extensively but are back with what’s set to be their most personal record to date with Visions Of A Life. With it set to drop later next month, we chatted to Theo Ellis (bass, synths, vocals) about what we can expect from the new LP as well as the string of intimate shows they have planned for it.

Blinkclyro: Many bands seem to falter on their second album, something people call the Sophomore curse – does that worry you?

Theo Ellis: The thing we were most nervous about on this album was our personal expectations that we had on ourselves and other external factors. We looked to see what we had achieved on our first album and what we could do to improve as musicians and songwriters. When we got it to a place where we looked back at it and collectively felt proud of it as a band then the worries stop.

Blinkclyro: The two singles that have been shown off show two sides of a coin emotion wise, is that something you sought out to do intentionally?

Theo Ellis: Definitely, we’re always trying to push and show more sides of ourselves. I suppose with the lyrical content, specifically on Yuk Foo, it’s a very angry song, the angriest we’ve ever sounded. It’s a way to vent when you’re most pissed off and want to shout. Our producer was who helped us reach that really raw point – when we wanted to be aggressive or, like on Don’t Delete The Kisses, very delicate then Justin Meldal-Johnsen (Paramore, M83, Blood Orange) would help us with that. 

Blinkclyro: Over the past year or so yourself and the band have been more politically active, especially with the rise of Corbyn. Is this something that’s bound to infiltrate your music and how was the reaction?

Theo Ellis: Nah, I wouldn’t say it has infiltrated our music at all. So far, with this record and our debut, we’ve not really written anything outwards in terms of social commentary or chatting about things that are happening. We just started to engage a bit more on our platform after Brexit happened since it made a lot of people realise what bad shit can happen when you don’t use your voice. The older you get, the more you start to define who you are as a person and what you stand for. There were definitely more positive people echoing our message than there were negative comments though there definitely were some. It seemed to be mainly older people, mainly men, who were saying we should keep our mouths shut and stick to the music.

Blinkclyro: You’ve got a line of intimate gigs planned, is there anything that fans should expect?

Theo Ellis: Some new songs (laughs). Nah, that’ll be the most noticeable thing but it will be a very high octane show that we’re gonna be very proud, playing some of the stuff off the new record and some of the older songs. It’ll be a fun opportunity to play in venues that we don’t really get the chance to play in anymore: expect music, bad banter and some larger if you want.


Blinkclyro: Despite being quite a fresh act, how did it feel to appear on the Trainspotting 2 soundtrack, a film series known for its iconic music?

Theo Ellis: That was insane man, the way it came about was crazy: I fell asleep and when I woke up my girlfriend was watching the trailer, I was like “sick!” when Silk popped up instantly. As soon as it was out I had about one hundred emails! The first film has such an iconic soundtrack and managed to sum up 90’s culture with all those bands so to be included in a modern incarnation was a real compliment.

Blinkclyro: Not only did you get to have one of your songs appear in a film but you also wrote some original music for the reboot of Ghostbusters – what was the experience like?

Theo Ellis: We hadn’t seen any footage, they just gave us the script of a scene to write to so we all went away, came up with our versions and the returned to collaborate on it. It never ended up getting used actually, it was meant to be a song that played on the radio but they ended up cutting it so fuck them (laughs). Nah but it was really cool to collaborate on anything creative, especially as we’re all big fans of cinema, and it broadens those creative horizons. Scoring something like that is something I’d definitely want to do again.



Visions Of A Life is set to be released on September 29th via Dirty Hit.





INTERVIEW: Matt Kean (Bring Me The Horizon)

By Liam Menzies (@blinkclyro)

Bring Me the Horizon may very well be one of, if not the biggest rock band the UK has to offer at the moment. The very definition of a big deal, the Sheffield band has become top tier festival performers. 2015 was undeniably the biggest year for Sheffield band Bring Me The Horizon, in no small part to their latest album That’s The Spirit which reached number two in the UK album charts after they ditched their old metalcore sound for a less aggressive rock approach. After a dramatic change to the band’s dynamic on 2013 album Sempiternal, this alteration to appeal to a wider group of music fans was inevitable and has ultimately paid off with arguably the best album of their career.

Not wanting to be an act that derails the hype train they’re currently running, Bring Me the Horizon announced a huge UK arena tour for 2016, including a show at none other than Glasgow’s very own SSE Hydro! The six-date stint that kicks off at Nottingham Capital FM Arena will reach the Scottish venue on the 9th of November as the band’s final performance for the tour. I caught up with their bassist Matt Kean to find out how they plan on dazzling the Glasgow crowd come next month and how they plan on tackling the transition from sweaty, small venue shows to a big arena performance.

 You’ve got an upcoming date at the Hydro playing a sold out show in front of thousands of fans: have you, from your experience, found playing in Scotland much different than playing back down south?

It’s always been quite good for us up in Glasgow. We first played up there back around 11 years ago, a really long time ago, and we’ve gone up through all the venues, starting off at King Tuts and gigging at pretty much every other place there. The Scottish crowd is always crazy as well!

Now, you were up here last year, starring at the O2 Academy alongside Mallory Knox. You’ve upgraded to a bigger venue now (Hydro can hold 13,000 people which is more than 5 times the amount than O2 Academy can hold): how do you plan on dealing with that transition come November?

The shows are a little bit different obviously. I think that with the smaller shows, especially when they’re really busy and packed out, it’s much easier to make them intense but in the arenas you have to make sure that you’re connecting with everyone there, even the folk who are sitting down. Oli is really good at getting the crowd involved and getting them moving about, hyping them up: it’s definitely a lot more work but worth it nonetheless.

Your fan base is pretty diverse due to the different sounds the band has explored over your 12 year spanning career. There’ll be those in the crowd who have been there since the metal core days of old and your more rock focused efforts like with the recent LP: do you find this difficult and if so, how’d you plan on balancing the set-list accordingly?

On this tour we’re doing the longest set list we’ve ever done because we obviously want to give people their money’s worth and of course, you try to please everyone the best you can. We’re a little bit selfish when it comes to the setlists though so we’ll no doubt put in what we enjoy playing the most as you do. You’d think it would be a bit harsh to do that but if those are the songs you want to play then, of course, you’re gonna do that rather than trawl through a song you don’t really enjoy playing as much.

You’ve got Don Bronco supporting you on this tour: do you get on quite well and are you looking forward to travelling around the UK with one another?

Yeah yeah! They’re on the same management as us and before we even toured with them, we had met at other gigs and award shows and all sorts of stuff like that. When it came to picking support acts for the tour, we were kind of thinking of bands and that who are easy to tour with and who we get on well with: you don’t want anyone with you that’s gonna be a dickhead!

Lastly, 2016’s been a pretty great year for music with David Bowie, Frank Ocean, Bon Iver, Biffy Clyro and more all dropping albums: what records have been on repeat for you?

Ah *sigh* now that you mention it I’ve not really been listening to that much new stuff *laughs*. There’ve been two bands recently that I’ve been listening to a lot of, the first being Fjord. There a Canadian duo who I’ve had on quite a bit but they’ve only got an EP out at the moment: really chilled out, electronic music. The Japanese House have been on quite a bit as well, they’re on tour around the same time as us so unfortunately I’m gonna miss out on seeing them. Was really looking forward to seeing them.

You can catch Bring Me The Horizon at the Hydro come November 9th. The show is sold out so be on the lookout for second-hand tickets going around Facebook +Twitter: don’t feed the touts! It’ll be a gig you don’t want to miss.










Often compared to Elbow, Radiohead and Doves, Manchester four piece Multiplier have been tipped as an English Indie band to watch out for. Their influences range from rock and indie to shoe-gaze pop and soundtracks. They’ve kindly answered a few questions about themselves and their new single ‘Love You To Death’.

For people who don’t know, what is the Multiplier’s origin? How do you know each other?

Phil Hartley (Guitar): Andy and I initially ‘met’ via a musician’s website as we both wanted a songwriting partner. I can play, but can’t sing. Andy sings but can’t play! We always wanted to form a band, so when we had a handful of songs, we found Danny and Rod using the same method. So really we’ve all come together for the music, rather than a group of mates just falling into it

Andy Gardner (Vocals): I’d just come out of a band, we’d been doing well for a time, but life got in the way as it does and the thing imploded. I was looking to pick myself up and get back into it but it wasn’t happening- the people I was meeting just didn’t “get it”… I was thinking of giving up to be honest. It was Jenny (my other half) who found the advert that Phil had posted. Up until then a lot of stuff that I’d heard was rubbish, the track that Phil had uploaded wasn’t, so I agreed to give it a go. We clicked right away…

Who are your influences? I believe you have a varied taste in music.

Phil: Yeah, our influences as a band really are all over the place. Rod is into a lot of American alternative bands like Slint, Tortoise, Dinosaur Jnr and Low, but also jazz legend Oscar Peterson. Danny’s influences include The National, Wilco, Richard Hawley, The Verve and Nirvana. My personal influences include bands and artists such as Magazine, Siouxsie and The Banshees, Television, Scott Walker, 90’s shoegaze bands such as Slowdive. I’ve also always been into film soundtrack music, especially John Barry’s 60’s / 70’s themes. Collectively, we have plenty of shared influences too, such as Doves, Elbow and early era Radiohead. We’ve never actively attempted to sound like any particular band or even genre. We just try to write good songs with plenty of dynamics and light and shade.

Andy: There are a lot of shared influences, yes. I’d add that I’ve always been bang into bands like The Chameleons, and Mark Burgess the frontman is my absolute hero. I got into them when I was a kid- and even then they were well before my time- but their music is something I always come back to. I was part of the “rock tribe” growing up; I would cite Chino Moreno of the Deftones as another hero. Most of that nu metal era stuff sounds cringworthy today but they at least still are, and will always be cool to me. On the other end of the scale I’ve always been into Massive Attack and PJ Harvey, amongst loads of others. I adore atmosphere in songs.

You have a new single coming out soon, ‘Love You To Death’, where did the orchestral element come from? Was it in the original arrangement?

Phil: I think the very first time me and Andy spoke, we talked about using strings if we ever got the opportunity to do so. For me it’s the film soundtrack thing again. David Green at PWS suggested that we could use a string section, so we were really up for that! The string arrangement was put together by Tim Crooks and he incorporated some elements from an early demo of the song, which worked really well. Hearing the strings being played as part of our song in the studio was an amazing experience.

Andy: I remember at the time we’d been talking a lot about the John Barry stuff and big vocalists like Scott Walker- I can’t remember if it was intentional but the result was LYTD, and at the time it was just an acoustic demo, which we recorded in my front room. We always dreamt that it would have a string arrangement, but we actually never expected the opportunity would come along to have that in a finished recording. When it was suggested that we would get that, we were pretty chuffed! From its inception though it’s always sounded like this, if only in our heads, if you know what I mean.

Phil: Probably worth saying that it will sound different- but still great- when we play it live. We can’t afford to bring an orchestra with us!

What was it like recording the track at Parr Street Studios with a professional producer?

Phil: Parr Street was excellent. A great environment to simply perform and be creative. Chris Taylor our producer, knew when to push us to get a better performance and when to let us get on with it. We really enjoyed working with him. We would love to do it again, soon!

Andy: Rod, our drummer usually records all our music, and previous records have been made alternately in a library and Phil’s father in law’s house! For our part it was a nice change not to have to worry about all that stuff and focus on getting a top performance…and Chris was the boss at getting the best out of you. Parr Street for me was a bit surreal. Every instrument, every bit of kit you touch has a story attached to it. There’s so many bands that we respect who have recorded there, you can’t help but feel chills. On the other hand I’ve still got that sense of pride that we’ve made our own little mark there, like we’re another (small) story in the history of the place.

I’ve always been into Massive Attack and PJ Harvey, amongst loads of others. I adore atmosphere in songs.

‘Love You To Death’ is about to be released on the Playing with Sound Label, how has being signed to PWS influenced you as an artist?

Phil: That’s a tricky one. It has certainly given us a lot of confidence that someone has believed in us enough to give us a deal, and let us loose in the studio. In terms of how that influences what we do as a band, we’ll have to see what happens next!

Andy: Yeah, that is a tricky question, aside from the beefier sound production of course, there’s that vindication that someone has seen something in you- to the point where they’re happy to invest- and it gives you a feeling of confidence that what your doing is on the right track. Funnily enough though LYTD was not the song that initially brought us to PWS’s attention. It’s quite an old song and we’d not recently played it in our set. It was actually amongst a second batch of songs that we sent to PWS as an afterthought, after they’d asked to check out more of our stuff. We’ve not yet recorded most of our material properly so the version we sent was literally a live recording in the worst rehearsal room you can imagine; the sort of cruddy recording most people would probably dismiss out of hand. Out of all the songs we sent, we never expected them to pick that one as a stand out song -we’d forgotten about it, and to be honest it might have been dropped  from our set altogether at some point. Shows you how much bands know sometimes…

What has been your best/most enjoyable Multiplier performance?

Phil: Pretty much every gig we do is enjoyable and of course we try and improve with every show. Our debut at The Deaf Institute, Manchester was obviously special and it is a brilliant venue both to play and see a band

Andy: For me, I think probably a Night and Day gig that we did last year, we’d just come off the back of a recording and we’d played quite a few shows in the run up so we were really tight and my voice felt in really good form. People who don’t know us don’t expect what’s coming, so it’s always funny when you see the reaction to this guy in glasses absolutely smashing it out. Sometimes I kind of lose myself in the music at gigs like that.

Being from Manchester, what do you think about today’s the music scene?

Phil: There are some great bands around all with different styles. I’m not sure that there is a current ‘Manchester sound’ at the moment. If you can think of it, there will be a band performing it!

Andy: It’s definitely in rude health, and everyone is going in a different direction creatively, from Slow Reader’s Club to Lucky T Jackson, from our label mates Gold Jacks, The Tapestry and No Hot Ashes. There isn’t a set scene as such; everyone marches to their own rhythm and that can only be a good thing.

What can fans expect next from Multiplier?

Phil: Well obviously, April 8th (release date for LYTD) is where our focus is at the moment. We’re busy writing new songs and arranging some shows for the spring and summer.  So keep an eye out on Facebook and Twitter!

You can follow the band on twitter here!


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INTERVIEW: Eliot Sumner

Being a child star in this day and age never seems to end well. Nine times out of ten said stars are the kin of some of the biggest celebrities in the world which makes their role as a parent even tougher, especially when said kin seem to fall into bankruptcy and dependency on substances after their time in the limelight is over.

So whenever someone like Eliot Sumner, full name Eliot Paulina Sumner, comes along, it feels like you’re witnessing a lunar eclipse. Just by being the daughter of a rockstar, your prejudices would think they’re fated to follow the footsteps of the likes of Miley Cyrus, especially when the rockstar in question is none other than Sting, real name Gordon Sumner, himself.

Sumner herself wasn’t shocked though when I had the chance to speak to her though as she sung her parent’s praises. “The fact my parents were famous didn’t have any relevance to how I was brought up. They were great parents and I loved them to bits for it”. Growing up in a small village in England, she managed to avoid the glitz and the glamour that seems to, for a lack of a better word, corrupt some child stars.

She kept a calm composure throughout and even when I mentioned the likes of Cyrus, she didn’t say anything that could be misconstrued as nasty. “I was very lucky to have the childhood that I had, not being in the limelight that much and I was a very happy child for it all and that? I couldn’t be more grateful for it.” The type of kindness and appreciation that isn’t in abundance in this era of musicians who throw petty insults and nasty remarks without hesitation.

You’d think that being the daughter of one of Rock’s most iconic front-men and solo artists would mean that Sumner would be put off of ever getting involved in music. It would be a fair enough to assume this since the non stop association with your father’s music and constantly being regarded by the media as “Sting’s daughter” would start to irritate you.

However, just in the same way Sumner avoided being like countless other child stars, she’s also made a name for herself in the music scene. In fact, she doesn’t see her father’s image as a burden at all. After all it was him that gave her a first rate musical education and unlike Green Day frontman Billy Joe Armstrong’s son who recently said The Strokes inspired him more than his father, Sumner was quick to show her appreciation. “My father’s music will always be the thing I look up to the most since I grew up with it. I always try and do my own thing but there’ll always be a bit of him in it.”

Sumner’s influencers seem obvious so far though the more you dwell into them, the more surprising they become. There’s Swedish pop which she previously stated changed her life. “When I first really listened to Abba, I thought their songs were the most amazingly mixed and produced things I’d ever heard. Swedes have a magical formula, I think.”

Then there’s the influencer that, if you’re well into your poetry, you’ll have noticed as soon as you saw Sumner’s name: T.S Eliot. During her teenage years she became obsessed with reading and even at the age of 25, this hasn’t changed. “I try and read whenever I can. I’ve really been trying to read more but I just seem to spend a lot of time just watching Netflix” she says trying to hold in her laughter before quickly backing herself up. 

“My heart is definitely in writing music but some days you lack the energy and enthusiasm, it’s normal for any musician” again showing how easy it is to forget that there is musicians out there who are as down to earth and empathetic as Sumner.

Speaking of streaming sites, it would be a sin not to ask Sumner for her opinion on music apps, especially with 2015 being the year that the infamous Tidal launched as well as Apple Music. “I’ve weighed up the pros and cons and there obviously a good thing since they’re more accessible but they don’t give musicians the money they deserve”, obviously taking a stab at Spotify who pay as little as 65p for a song being streamed 200 times. “Band camp definitely has the right approach, allowing musicians to set the price but there’s always going to be these issues.”

Back to her calm charismatic attitude, she says “YouTube and MySpace is where a lot of my success derived from and they give a fairer share of royalties” which she also credits for a lot of her success. Talking about her bond with fans through these outlets, she mentions that she has a great connection with them. “I’d say I have a very good connection with my fans, I know a lot of familiar faces that are usually there to see my gigs. They’ve grown up alongside me in a way.”

The gigs themselves are what bring Sumner a lot of her enjoyment, despite the anxiety being on stage sometimes brings. “I don’t think there’s any cure for pre show nerves. We’re just back from a non stop back to back tour and I don’t want that anxiety you get beforehand to go, it gives you a great sense of adrenaline and just makes it fun.”

Recently rocking Glasgow’s Nice N Sleazy, she excitedly rambles about how special Scotland is to her. “I love Scotland to pieces and try and come up here as much as I can! The music here is great with Mogwai being a personal favourite of mine, they’re quality!”

Sumner has already been part of a band and is now a successful solo artist. She’s played festivals all around the world like Glastonbury and Reading. She signed a multi record deal at the age of 17. It’s easy to draw comparisons to her father but she’s made a name for herself, becoming an icon in her own right. “I’ll always be searching for my sound, it’s constantly changing but it’s what keeps it exciting”. Let’s hope she never stops.