Exclusive interview with Ady Suleiman at Glastonbury

With smooth bluesy tones and sultry eyes, Ady Suleiman serenades a small crowd as a prelude to his later performance at the Pussy Parlure at Glastonbury. His tunes create a dreamy atmosphere and the muddy surroundings of the tiny tent melt away. The 23-year-old grew up in Nottingham and has been honing a unique sound ever since.

Ady Suleiman - Press Shot 1

Looking back on the puzzle pieces that have slotted together to create the singer he is today, Ady references inspiration from every era. ‘The song that got me into music was Little Wing by Jimi Hendrix,’ says Ady, grinning at the memory. ‘I remember I got his compilation CD when I was 13 and when I first listened I fucking hated it. I didn’t understand it at all I was like “what is this psychedelic shit?’’

 And then I actually put the CD back in the wrong case and went on holiday and when I opened it up I thought fucking hell I’ve only bought this CD and I’ve got to listen to it the whole time on my walkman. I thought, well, it’s better than no music so I put it on and as I got to Little Wing I just understood the emotion that he was trying to convey.

Honestly it nearly brought a tear to my eye which was fucking weird. Because I understood it I went back again and kept listening to it and I was like “Oh my god this is amazing!” Because it took me a while to get it so when i got it I appreciated it even more.’  

Ady started writing when he was 14 and music became a sizeable portion of his life. ‘When I started making music I just loved it just the same as playing football in the park. It wasn’t because I was thinking about a career,’ he says. ‘I watched DVDs of Woodstock and got involved in the whole culture. It just became part of my personality you know it was like that’s Ady the guy who fucking loves music. You’ve got the sports guys and the maths guys at school and my thing was music.’

While writing came first, performing in public didn’t happen until later. ‘I never had the confidence to go out and gig in my teenage years really. My first gig was school when they put a band around me with soul and jazz stuff but I didn’t do any solo stuff till 18/19. I’d been writing but never really playing it for anyone. I was at school and it wasn’t really my focus on the weekend. I never thought “Oh I’m gonna go and do a gig.” I thought I would chill with my mates. Being at university in Liverpool with people who are into music as a career gave me the confidence to go out and start gigging. There’s great music history and culture in Liverpool it’s a cool place for music to develop.’

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Ady attributes his return to his hometown after studying in Liverpool to finding his place on the scene. ‘I had to go home to get a fucking job to pay the rent. When I got there I just felt really at home, everyone was into hiphop and reggae and there was a fucking amazing soul scene at the time. I just thought this is the right place for what I’m doing at the moment.’

The Nottingham music scene has gone from strength to strength, with BBC Radio Nottingham’s Dean Jackson picking up on acts like Jake Bugg. ‘Dean played a massive part because he is like fucking obsessed and enjoys his jobs so when he sees talent he doesn’t just play your fucking record he’s like I’m gonna fight for you because that’s his job. The whole city got behind me and he put me forward to Radio 1Extra and Mistajam became a fan of mine and was playing my records.’

‘I come from a small town, it’s not like I come from London. Saying I wanted to be a recording artist sounded a bit stupid because it didn’t sound like a realistic thing, but my family were so supportive. People from round where I’m from would be like “Nah go and study some boring shit.” But people in school said I was a good singer and my parents were like if that’s what you love doing you should do it. Without their support and people telling me I was decent I wouldn’t have done it.’

Ady’s debut single ‘Running Away’ is out now. You can find him on FacebookTwitter and Instagram.

Words Alex Bee


Alesso sits down with FAULT Magazine to discuss success, collaborations and new music!


EDM has risen to new levels of prominence in recent years and right at the very heart of that, stands Alesso. Despite acquiring success and fame as a musician, DJ and producer at a very young age, he bucks the trend of being persistently in the media. His achievements are undeniable yet he has remained grounded and almost enigmatic as he oscillates from a reserved disciple of music to lord of the dance (music). Since 2012 Alesso has been charting gold and platinum hits with big names and has wracked up an obscene number of downloads and plays across all mediums. If he can achieve all that he has in four years and at 25 years of age, you have to wonder what he will be able to achieve in forty.


You have had well in excess of half a billion plays across all platforms with hundreds of millions of views on Youtube alone. When was the first time you felt as if you’d ‘made it’?

I don’t ever feel like I’ve made it. I’ve set goals for myself since the beginning of my career. Like I hope I get to release a track, then I hope I play at least one live show a month, I hope I get to signed to a label. So each experience for me has been incredible and I don’t take anything for granted.


You’ve played some of the best festivals and venues in the world and this got me wondering: what would you say is the best moment of your career so far?

There isn’t just one particular moment I can pick. I’ve had a few. Headlining the Sahara Tent at Coachella not only once but twice. My own show at the globe in Stockholm and now this year headlining Summerburst festival has all been monumental moments for me.


If you could choose to play anywhere in the world, where would it be?

I love going to Asia. It’s one of my favorite places in the world and I enjoy my time there so much.


You’ve collaborated with A-list music stars like Calvin Harris, Usher and David Guetta. So, in a similar vein, if you got to choose your next collaboration, with whom would it be?



Knowing what you know now, is there any warnings you would have given 16-year-old you before your music career took off?

Enjoy every moment. Don’t take anything for granted. And it’s always going to be hard work.


Similarly, what advice would you give to aspiring musicians who want to follow in similar footsteps to you?

Just stay passionate, be confident, be brave and you will find your way.


If you weren’t a musician, what would you be?

I think I would still have a job in entertainment or music in some capacity.


What should we look out for from you in 2016?

New music!


What is your FAULT?

Making people dance!


Words: Robert Baggs

FAULT 23 Cover-star Miguel releases new song ‘Come Through And Chill’

R&B superstar and FAULT 23 Music Cover-star Miguel has just released a new track on Soundcloud! It’s been a year since we all fell in love with his critically acclaimed Wildheart album and our prayers have been answered with this new track!

Produced by Salaam Remi who has previously collaborated with Amy Winehouse and The Nas, the track is smooth and suits Miguel’s seductive voice perfectly. It’s uncertain if this track is linked to an upcoming album but either way, we’re just happy to have new music from our FAULT Faves.

Listen below!



FAULT Magazine Premiere Music Video for Polina’s ‘Little Babylon’



Today we’re very proud to premiere a brand new music video for Polina’s ‘Little Babylon’. The Grammy award winning musician has been taking the world by storm, featuring Eminem’s “Legacy” and Felix Jaehn’s “Book Of Love”

The smooth vocal atop a gentle pop/folk guitar riff and brass in the chorus makes ‘Little Babylon’ perfect for any summer or festival playlist. 

Reflecting on the track, Polina tells FAULT that  ‘Little Babylon represents a happy and safe place. When I wrote this song, it was a sense of nostalgia for those care-free times, with notes of young summer romanticism. I hope you enjoy the official video, which re-creates some of those timeless memories for me…’

 Anyway, less talk more music! Do enjoy the music video below from one of the most exciting artists of 2016!





FAULT Reviews Primavera Sound Festival

The reputation of Barcelona’s Primavera Sound has grown so much over the last five years that it gets mentioned in the same breath as the UK’s Glastonbury as a festival heavyweight. Is this reputation deserved? Primavera offers something different from Glasto, which fans will tell you is always about ‘more than just the music’, hence it selling out before a single name gets announced. Conversely Primavera sells out as the line up is always amazing and there’s very little else to distract from it. The sound quality on all eight stages is always amazing and there are practically no breaks in the program. Bands start around 4:30pm and finish at 5am. And being in Spain means that the weather nearly always holds up. What’s not to love?

A delayed flight meant that this reviewer had to miss Wednesday night’s free performance by Goat, one of the best live guitar bands of the moment. Instead the festival started on Thursday with an enchanting greatest hits set by French lounge pop legends Air. Floating Points then played on the amphitheater-like Ray Bans stage. At any other festival their live-band jazz electro mash up may have fallen flat but here it’s welcomed like a hands-in- the-air dance set. Tame Impala are a band I’d never been fully convinced by before but their set blew me away, even despite a fairly long break as the sound cut out. Kevin Parker has embraced his awkward front man persona and the cuts from last year’s Currents LP sound monumental. But Thursday is really only about one band and that’s LCD Soundsystem. The reunited New Yorkers express their love for Spain before running through a set that’s low on surprises but high on incredible moments. Their longer tracks work better live for me

– Yeah and Losing My Edge really come into their own with the live band stretching things out. A cool yet unpretentious mix of dance, indie, and experimental but always with eyes on the dance floor, they may be the band that sums up Primavera best.


Friday starts with Savages and their furiously engaging live show. I saw them play the smaller Pitchfork stage three years ago but they if anything appear even more comfortable here on the main stage. Radiohead draw arguably the biggest crowd of the weekend though and they bring the kind of dedicated audience that allows them to take chances, hence starting quietly with five songs from new album Moon Shaped Pool. Pretty much everyone is enraptured though and the band seem comfortable enough so to slowly start rolling out some of their lesser heard hits… and yes, that includes a final encore of Creep. For all of Radiohead’s experimental chops they looks tame next to Animal Collective and Holly Herndon’s sets, the latter making genuine head-scratching electro whilst typing onstage banter directly onto the backing screen, which is oddly lovely. There’s one more hugely anticipated set on the Friday though. Any music fan over 25 is probably at least curious to see what the Avalanches are coming back with. Will they recreate their legendary sample-adelic debut album live? Will they play loads of new stuff? Well, no, and no. What we get instead is two of the once eight strong band doing a DJ set. There are snatches of the Since I Left You album but mostly this is ingeniously mashed-up party music, with two new songs thrown in at the end, the disappointing Frankie Sinatra and the faith-reaffirming Subways. Was it any good? I know some fans were very disappointed but I loved it. Once you got your head around the fact it wasn’t a live show it became simple the best party DJ set you’d ever heard, and no one seemed to be enjoying it more than the two guys onstage.


Saturday hosts Primavera’s answer to Glastonbury’s Sunday legends slot. Last year Patti Smith played Horses, this year was Brian Wilson’s turn to wheel out 50-year-old classic Pet Sounds in full. It’s a miracle that the elder Beach Boy brother is alive, never mind the fact that him and his band can hold a crowd like this. They end with the hits and it’s amazing fun after two solid nights of partying. Deerhunter plodded slightly but Pusha T’s bracing set on the Pitchfork stage was bracing and raw. Chairlift charmed a dedicated crowd but the big talking point of Sunday was PJ Harvey and the first full performance of her Community Of Hope show. It features an arty backdrop, proper choreography, a nine-piece band, and a marching drum intro. For some of my friends it was the performance of the festival, while to me it was impressive yet a bit too earnest. Harvey and her band are in fine voice but a crowd pleasing set this isn’t. That’s the beauty of Primavera for you though. It’s managed to become hugely popular whilst still showcasing a genuine alternative to standard festival fare. Long may it reign.


Words LXN

Issue 23 Cover-star Alicia Keys releases short film, ‘We Are Here’

We begin with Alicia Keys making breakfast for her two children in their LA home. Everything is pretty standard and I wondered where Alicia would be taking this project.  We hear over the TV that further bombings have taken place in the US and it’s apparent these are different times to which we live today, in the USA anyway…Cut to a bomb going off near the family’s home forcing Alicia and her children to flee.

We jump across the border to Mexico where the radio informs us that the Mexican people are protesting all the US citizens seeking refuge in their country. They fear that the Americans could bring violence to their land because of their love of guns…Starting to sound familiar yet?


We return to Alicia with her children boarding a flimsy boat to supposed safety however she is now minus one daughter. The music then begins and we follow the daughter’s journey. Alone and without her family, she is forced to flee border patrols, endure long and dangerous terrain all in hopes of finding safety.

We won’t give too much else away of the story but you can watch the whole feature below



It’s not hard to see this piece of fiction is based on the very real threat that refugees are facing everyday. It’s a good and well times concept, admittedly it’s not the first time we’ve seen the concept used. Save the Children UK famously released a similar film in the UK earlier this year where we follow a young girl also fleeing her war torn home. Never the less, it doesn’t take away from this body of work.

It’s becoming increasingly hard to put people living comfortably in the shoes of those who are not. Compassion fatigue has settled in and charities are struggling to find ways to connect the viewers with the tragedy of “the other”.

Alicia made a smart decision to remove herself from the video, seeing Alicia (or any) parading as a refugee would be much too unbelievable and distracting; by focussing the video on the daughter character we hone in on her story, her struggle and ultimately, the struggle of thousands of young women who are in the very same situation.

We Are Here and HUMAN present LET ME IN, a Jonathan Olinger film, produced by Mike Peay alongside Chelsea Franklin and Hannah Roodman. It ends with the key figures “There are more refugees in the world today than at any point in history. And half of them are children.”

So, does it work? I think it’d be very easy for me to write a “bloody celebrities asking for money when they’ve got millions”, type of article and the flip side I could also write a “OMG Alicia is the new mother Teresa” puff piece. This is neither. Alicia has found a cause that she feels strongly about and is using the tools at her disposal to tell the word about them. We can do nothing but support her and use the tools at our disposal to shout about them too.

At a time when a tweet & hashtag is all that is expected from famous faces, it is nice to see that some celebrities are willing to take ita step further.

Hats off to Alicia and the We Are Here Movement for bringing further light to the crisis.




Sign the pledge to stand as one with people forced to flee conflict and disaster: http://weareheremovement.com/letmein/ or text “Let Me In” to 80077. 


PUZZLE Exclusive Remix Premiere On Fault Magazine Online


Brazillian-born PUZZLE has featured on pretty much every ‘Ones To Watch’ list this year and has caught the eyes of many other notable artists. Case in point Matthew Herbert; Renowned for his surreal and wonderful electronic production, Herbert has remixed PUZZLE’s brand new single ‘Comedown’.

Listen to the brand new track below!

‘Comedown’ will be releasing on July 1st

PUZZLE on the web:

Facebook Twitter Instagram Bandcamp


Kanye West Just Announced His First North America Tour In 3 Years

Kanye West has just announced details for his upcoming tour entitles “The Saint Pablo Tour”. Kicking off on August 25th at Banker’s Life Arena in Indianapolis, Kanye will visit 50 cities performing songs from his latest masterpiece album ‘The Life Of Pablo’.

Kanye hasn’t toured since his 2013 ‘Yeezus Tour’ and that sellout tour received 5-star reviews from those that attended so we’re very excited to see what Kanye has in store for us this August. ‘The Life Of Pablo’ album gave us tracks ‘Ultralight beam’, ‘Waves’, ‘Real Friends’ and of course the much loved ‘I Love Kanye’. We can’t wait to see how Kanye works them into a live performance. The album also made history as the first album to debut at the top of the Billboard 200 album chart based on streaming only.