FAULT Magazine Photoshoot and Interview with Miya Folick

Miya Folick X FAULT Magazine

Photographer: Tae Alvon
Creative Director & Stylist: Edith Walker Millwood
MUA: Charmanique Thompson 
Assistant: Leslie
Photographed in DUO London

Jumper – Norse Projects

Miya Folick’s debut album ‘Premonitions’ might have gone down a storm thanks to Miya’s incredible skills as a songwriter and powerhouse vocals. The artist wasted no time to celebrate, however, instead emarking on an extensive tour in support of Pale Waves and Sunflower Bean, with dates across the United States and Europe. As a natural hard-worker, touring isn’t a chore for Miya, instead it gives her a sense of purpose and brings structure to an otherwise manic and unpredictable working schedule.

We sat down with Miya Folick in London’s Duo for a photoshoot and interview to find out more about her process and plans for 2019.


‘Leave The Party’ is such a great feel good “dance like no one is watching” at home track, what was the inspiration behind it?

Miya Folick: I think it’s really exciting to move to a city like Los Angeles and become enamored with late nights and loud music and the excitement of meeting people and experiencing new things.  But, eventually, some of that wears off and you realize getting up early for your morning run is a lot more satisfying.


Can you tell us a bit about ‘Thingamajig’, the backstory of the song, the title and what headspace you were in while writing it?

Miya Folick: Thingamajig came from my subconscious.  In many ways, the day we wrote that song was a day just like any other.  I wasn’t feeling particularly sad or apologetic on the surface, but it must have been bubbling underneath.

Jumper – Norse Projects | Skirt – Topshop | Socks – Artist Own | Shoes – Artist Own

What’s the overriding emotion you felt in the lead up to the album’s release?

Miya Folick: I felt like I was ready to tour and make more music. I feel proud of myself and my team.

Top – Mango | Skirt – Topshop | Belt – Stylist Own | Sneakers – Mango

Your album is co-produced with Justin Raisen – how did you first start working together?

Miya Folick: We met on the recommendation of several different people and it just clicked. His wife jokes that their two-year-old was actually the one who convinced me to make the record with Justin.  James is very very cute, but it was actually because Justin is just a really exciting creative force.

Miya Folick FAULT Magazine

Suit – Topshop | Shirt – Scotch & Soda | Socks – Artist Own | Boots – Mango

You’ll be ending the year with a European tour- what’s your favourite part about hitting the road?

Miya Folick: Playing a show every night. Tour gives you a strong sense of purpose everyday. I have a more regular schedule on the road than at home. I run every morning before the rest of the band gets up, listen to podcasts in the van on the way to the next city, soundcheck, eat too much broccoli, show, dinner, hang with the guys.  It’s fantastic.


What do you have planned for 2019?

Miya Folick: Hopefully touring a lot for this record! Making a couple more music videos. Putting out a couple more singles.  I don’t know! Maybe i’ll be in a movie.  I want to get into acting again.

Puffer: Topshop

What is your FAULT?

Miya Folick: I am impatient.

‘Studio to Stereo’, a collaboration between Proud Camden and Sony

Last week we made our way to Proud Camden for the launch of their collaboration with Sony on an exhibition called ‘Studio to Stereo’. This is a show that brings together iconic music photography and Sony’s innovative hi-res audio technology, to bring to life some pivotal moments of recording history. Curated by Alex Proud and presented by DJ Tom Ravenscroft (BBC 6 Music), each of Proud’s infamous stables plays host to a different music icon, from Coldplay and Bob Dylan, to The Doors and Tame Impala, by way of Paul McCartney, Black Sabbath and Pink Floyd.

Alongside intimate and unseen photos of each act in the studio, Sony has laid on various devices playing re-mastered tracks from the associated albums- music landmarks such as The Doors’ LA Woman and Coldplay’s X&Y. The idea is that the Hi-Res Audio technology allows for the music to sound as if it’s fresh from the studio, showcasing subtleties apparently missed the first time round (one label noted that when recordings are converted for CD, only 3% of the original sound quality remains.)

Recapturing this ‘lost magic’ is a bold ambition, and on some tracks it was definitely more successful than others. However, no-one can argue that this show isn’t an exciting sensory experience. Alex Proud writes that he wanted to showcase “the different and unique ways that artists set themselves up in the studio […] the rooms they choose, the way they set up the instruments and spread themselves across the space, the clothes they wear and the look they project while they’re recording, it all has an effect on the end sound”. Seeing these historic photos on display, with the songs playing full-blast and the moody red lighting of Proud Camden overhead (a venue with so much musical history of its own), the exhibition came together to brilliant effect, doing real justice to the legends on the gallery walls.

Here are FAULT‘s exclusive highlights from the show.

McCartney, Lennon and Harrison tune up, Ernst Merck Halle, 1966. Photo by Robert Whitaker

McCartney, Lennon and Harrison tune up, Ernst Merck Halle, 1966. Photo by Robert Whitaker

Black Sabbath, 1972. Photo by Chris Walter

Black Sabbath, 1972. Photo by Chris Walter

Chris Martin while recording X&Y, 2004. Photo by Kevin Westernberg

Chris Martin while recording X&Y, 2004. Photo by Kevin Westernberg

The Doors' Ray Manzarek & John Densmore, 1970. Photo by Frank Lisciandro

The Doors’ Ray Manzarek & John Densmore, 1970. Photo by Frank Lisciandro


FAULT FUTURE: MTV Unsigned 2014 Winner Marie Naffah, Live at The Barfly

Last night, in the small and dimly lit (and quite literally leaking) upper room of Camden’s The Barfly, Marie Naffah– winner of MTV Unsigned Artist 2014– played an intimate showcase, debuting new material and a unique sound that goes from strength to strength. Marie’s voice possesses a raw soul and her songwriting is endlessly honest, from the betrayal of Silver & Gold (the track that won over the MTV Brand New judges) to the comic emotion of the newly-debuted David Gray. It is her personal take on life and love- the high and lows, the disappointments and false hopes, the crushes and the comedy- that have the audience hanging on every note. Given the Camden setting (and the big hair,) a comparison to Amy Winehouse feels like a lazy one, but there is truly something of the young, early-days Winehouse in Marie’s honest lyrics and raw, off-the-cuff delivery.


Marie’s lyrics are confessions strung together; nuanced observations that unfold amidst entrancing vocal runs. As clichéd as it sounds, her voice really does take the audience on a journey with each track, from whispered excuses (‘He said “honestly…nothing”’) and effortless trills (‘Even rooooocks get thrown’), to epic moments of unleashed vocal, where you feel yourself hit by the sheer power of her voice. Some tear up, some dance, some seem to end up strangely hugging themselves- in short, all are entranced. The critics have been drawing comparisons with the power-house voice of Florence Welch and, in the wake of last night’s roaring vocals, similar comments rippled through the crowd.

Special guest Archie Faulks, alias Tenterhook, is another remarkable talent, currently making waves on radio with his own track Stereo. He joined Marie on stage for Primrose Hill, having produced and contributed vocals to the track last Summer. This was followed by the debut of Hold You, a heartbreaking track of harmonies and vocal runs that, in its rawest form, already sounds like a No.1. With public support from the likes of MTV, ELLE and Levi’s, along with a consistent and invested fanbase, Marie is on her way to big things beyond being a mere ‘one to watch.’

The audience always feels fortunate to have seen Marie Naffah play live. Part of this is due to her immense talent, and part of this is due to the fact that she’s so clearly headed for big things that to watch her now, on a small stage in a crowded room on a Wednesday night in Camden, feels like a sort of strange luxury. Catch her while you can…


Happy Mondays to play a series of December shows

In recent years, we’ve seen some excellent Britpop performances and revivals, so it seemed appropriate when The Stone Roses announced their reformation and we could welcome back another great British musical movement – the Madchester scene. Now, it’s the turn of  the Happy Mondays to bask in the glow of nostalgia and adoration.

This December, the seminal Factory Records band will be playing two shows at Camden Roundhouse, supported by fellow Mancunians 808 State. Happy Mondays will return with the definitive lineup of Bez, Gary Whelan, Mark Day, Paul Davies, Paul Ryder, Rowetta and Shaun Ryder. If you’ve always wanted to get sweaty to a soundtrack of ‘Pills ‘n’ Thrills and Bellyache’, then you’re in luck and will finally be able to party like it’s 1989. Bonus points to any dedicated ravers who can get their hands on a Thermowear t-shirt or – better still – actually own an original one. Nice one, our kid!

Tickets for The Roundhouse shows on December 19th and December 20th are still available, and extra dates have just been added for Brighton Centre and Manchester’s Victoria Warehouse as well.

Burlesque After Dark: Part 2

It all started like such a benign evening. The relatively short entrance queue, the speedy table service, speedily taken G&Ts and the clandestine nudges and chuckles when one poor sucker made the ill-informed decision to check his coat into 900 capacity Proud’s individually staffed cloakroom… The only flashpoint came when casual flirting with the girls on the door turned ugly after they accused us of working for ‘Flaunt’ Magazine (“seriously, who the f*ck is that?!”… is what they were saying to us).

And then this happened:

Ok, so maybe that didn’t happen straight away. Perhaps a little background wouldn’t go amiss.

A couple of weeks ago, the FAULT team were invited to an evening of drinks, dinner and debauchery at the Proud Kitchen in Camden. Naturally, we were loathe to decline such a pleasant invitation and rocked up at 8:30ish on the dotish to be greeted by a fairly genteel sight:

Proud have decorated their dining area sumptuously (although that charming white scarf is mine, by the way; hands off), stylishly and suitably decadently for a night that appeals equally to an amusingly diverse set of people, judging by the crowd. As mentioned above, table service is sharp but unobtrusive and, as we walked in before the show, the ambience was perfectly balanced between relaxed and expectant.

After ordering starters, we found ourselves salivating after just 10minutes. However, although the foodies amongst you won’t be disappointed, the main cause for expectation was more on-stage than a la carte.

Step forward Roxy Velvet, Empress Stah et al. Frankly, the show had a bit of everything. For the Tex Avery Wolf-esque characters, the show had scintillating skin-deep performances. For those after a 1930s style ‘jolly good show’, artful performances, great music and the cheap comedy masterclass that is Frank Sanazi.

Frank’s style is not high culture. It’s about as subtle and refined as the Dad’s Army theme tune – even though his performance draws on material from the absolute opposite standpoint (which *spoiler alert* might go some way to explaining the first photo above). But it is extremely funny, to the point where, despite the audiences’ ogling of many a scantily clad female (and one male) performer, by all accounts ol’ Frankie was the only cast member to take an audience member home on the night. Frank, dear boy, we salute you. Wait, not like that…

Rather than continue to describe the rest of the evening’s attractions, we will showcase a selection of them below in more visual form. I’ll sign off with a hearty recommendation, however, that you go to Proud as soon as humanly possible for an exceptional meal, some pleasantly affordable cocktails and some delightfully unattainable tail.





All images copyright Charles Conway. Please ask permission from FAULT before use.

Freaky FAULT

FAULT’s going clubbing. For the first time in a long time, we’ve actually got the chance to leave the office and explore the big bad world of ‘outside’ (oh, the mystical appeal!). Deciding on this course of action, however, is one thing. Deciding where to go is quite another. London nightlife just isn’t as much fun in one’s 20s (dare we say 30s?) as it was as a fresh-faced, skinny-jeaned 18 year old.

Or so it would seem. Enter [be-tassled, on a pole] Proud Kitchen’s ‘Burlesque After Dark’ (when else would it be?), the gallery-cum-club-cum-stables’ latest offering to London’s increasingly stultifying night scene.

So why are we excited by ‘Burlesque After Dark’ – which, much like the girls in Alfie, willingly opens its doors to punters after work on Wednesdays, Thursdays, Fridays and Saturdays? No, not just because we can’t get the office to adopt ‘Burlesque During the Day’… Firstly because we’re actually late on the scene to this one – the after dark (9pm onwards) sessions started on 4th November – and that’s just not on. More importantly because it looks set to be a cracking night out: good food, great venue and a stylish, artful and (let’s not forget) steamingly sexy show mere metres away.

Check back after tomorrow night for our report – although it may take some time for the boys to regain control of their pens…

For more information and table bookings, check here: http://www.proudcamden.com/kitchen