Because of COVID-19 travel restrictions and show and festival cancellations,
no new content has been added here since February 2020.
Read more about this here. | April 2019 update
To connect with us, visit us on Facebook and Twitter.
SXSW 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | Live at Leeds 2016 | 2015 | 2014
Sound City 2015 | 2014 | 2013 | 2012 | Great Escape 2018 | 2015 | 2013 | 2012

Video of the Moment #2906: Little May

 
By on Monday, 5th November 2018 at 6:00 pm
 

It’s been 3 long years since the release of Little May‘s debut album ‘For the Company’. The Aussie trio recently unveiled their first new material since that LP. It’s a catchy little number called ‘Lover’. This is not a sweet song of puppy love. It’s the sultrier, seedier, addictive side of the four letter word that has caused so many of us pleasure and pain. Its accompanying promo was directed by famed filmmaker and photographer McLean Stephenson, who has made fellow Aussies Sarah Blasko, City Calm Down and Alex Cameron look amazing in still and moving celluloid. Watch the video for ‘Lover’ below. To read all of our past coverage on Little May right here on TGTF, follow this link.

 

Video of the Moment #2023: Little May

 
By on Wednesday, 24th February 2016 at 6:00 pm
 

Aussie trio Little May have revealed the promo video for their track ‘Remind Me’. The song appears on ‘For the Company’, the band’s debut album released last October. (You can read Steven’s review of the LP from back then through this link. Interestingly, instead of focusing on their own beautiful band members, the actual video pays attention to the movement of milk, water, oil and food dye across the screen, occasionally overlaid on top of scenes of actors. Hmm. I guess this is meant to be one for the thinkers in the audience? Watch it below.

‘For the Company’ is now available from Island Records.

[youtube]https://www.youtube.com/watch?v=i-gB9R8FNec[/youtube]

 

Live Review: Little May at DC9, Washington DC – 24th October 2015

 
By on Tuesday, 27th October 2015 at 2:00 pm
 

Through having several close Aussie friends, I’ve gained remarkable insight on just how hard it is for an Australian band to break away and out of their home country. When one manages to do so, such a secure a major label contract in the UK, it is indeed A Big Deal, no pun intended. Little May, three talented young ladies from Sydney have done just that, now part of Island Records’ pop-drenched family in blighty (think Ben Howard and more recently, Dublin band The Coronas). The trio who dabble in pop, folk and rock sounds have released their debut album ‘For the Company’ this month. (You can read Steven’s thoughts on the new LP here.)

The band are an interesting proposition live, because some of their songs don’t sound at all like the way they look, if that makes sense. Liz Drummond (sometimes lead vocals and guitar) in her leather jacket and goth lipstick and purple-haired Annie Hamilton (guitar, synths and backing vocals) wearing all black ‘should’ be punks, which fits into the harder-edged Little May songs. On the other side of the spectrum, Hannah Field, lead vocalist on some of their songs, acted as band cheerleader. Wearing a shirt with the new album cover, getting down with the groove to dance onstage and smiling a lot, she seemed the most approachable of the bunch. The sweetly twangy ‘Bow & Arrow’ and the gently anthemic ‘Seven Hours’ are a great showcase of her lead vocal talent. The band unite in harmony on older song ‘Boardwalks’, a clear standout from the night.

Hannah Field of Little May, live in Washington at DC9

The girls worked with The National’s Aaron Dessner on their debut album, and Field explained how they were incredulous when he responded to their email with a request to have him as their producer. ‘The Shine is Brighter at Night’, which they cowrote with Dessner, was dedicated to him. Field and Liz Drummond’s self-deprecating stage patter and humour will definitely help them over their career, something Laura Marling has turned into an art form. Drummond related a story about a recent practise session during which a neighbour banged on their door and complained about their 2014 EP track ‘Hide’, saying to them, “your music is repetitive and jarring”, which of course the crowd laughed at. Field also big-upped state-run, Australian radio station triple j for their support of the band, trotting out a cover of Icehouse’s ‘Great Southern Land’ that they did for their long-standing Like a Version series and enlightening us on Icehouse’s prominence in Aussie musical history. (Past memorable moments in the Like a Version series include Glass Animals covering Kanye West’s ‘Love Lockdown’ and Divine Fits covering Bruce Springsteen’s ‘Hungry Heart’.)

Little May, live in Washington at DC9

However, it wasn’t until the very end of the show when we fully felt the heft and passion of Little May’s music, when they ended with ‘Remind Me’. Heavier and with a bluesy bent, it’ll be interesting to see what direction they go in for album #2, as they certainly have the chops to hone songwriting in either of the folk or rock sides of their band’s personality. Having just released their debut album, it feels like the band are still finding their feet in performing the newer material, but I expect they’ll be quite comfortable soon enough and as their North American tour rolls on. They’ll be in Minneapolis 7th Street Entry tonight, and then it’s onto the West Coast to wow crowds there through the 3rd of November.

 

Album Review: Little May – For the Company

 
By on Tuesday, 20th October 2015 at 12:00 pm
 

Words by Steven Loftin, header photo by Mclean Stephenson

Little May For the Company album coverAustralia is synonymous with many things. Sunshine, surfing, kangaroos, etc., etc. One thing that doesn’t come to mind is dark, brooding indie music. But that’s about to change with the debut release from Sydney-based band Little May.

Consisting of three members, Liz Drummond (vocals and guitar), Annie Hamilton (guitar and backing vocals) and Hannah Field (lead vocals), Little May together they create the kind of music that marries perfect lyrical imagery with the musical equivalent of drinking just the right amount of alcohol for a buzz. Seeing these songs performed live before hearing the album in its entirety could potentially take away any preconceptions you may have or even give you false expectations before going into a proper listening session, but that’s far from the case. After seeing the band perform live in Manchester I can safely say everything is as it claims to be, and that is three musicians coming together to create music that pushes and pulls you emotionally and does it perfectly. The band takes this perfection from the studio to the stage, and delivers an exceptional performance each and every time.

Leading single ‘Seven Hours’ is the perfect example of this. A tale of a lost relationship that died prematurely, it starts with a gentle verse before going into a mildly more determined chorus. It then suddenly breaks into a rousing, pounding version of itself, utilising the most memorable form of a crescendo, with a chord change that instigates the warmest feelings in your soul. For a change of pace to the standard ‘woman gets screwed over by man, then writes song’, there are even tracks that embrace the subject of the female being the dominant heartbreaker, which can be found on ‘Sold’. Little May are certainly here to shake things up, and not in the conventional sense.

[youtube]https://www.youtube.com/watch?v=F7DK1LBJYSc[/youtube]

The record has Aaron Dessner, guitarist and songwriter from The National, on production duties, and it shows. The tonality and lyrical quality of the songs is reminiscent to that of 2013’s ’Trouble Will Find Me’, almost as if they’re the antithesis, the muses to the subject matter on said album.

Another earlier released single from this record is ‘Oh My My’. Its main premise is the fear of being alone and needing your someone. Though the words may represent the weaker side of human emotion, the track’s musical background is its strongest defence. It’s mildly hypnotic, in the way it draws you into the story and uses crashing cymbals in the later chorus that are wrapped around the pulsating drums, which then creates a sense of urgency. Then it gently places you back in your room as the track fades.

In terms of track listing, the record is paced to ensure that not everything is kept on a melancholic level. The less than positive moments that pack a lot more punch musically are put in place to stop the album feeling like a heavy listen. More tender moments include ‘Bow & Arrow’ and ‘The Shine is Brighter at Night’, the latter of which is the final track on the record and one that couldn’t be more suited to the job of closing out the album. As if using the glowing moon as a metaphor for the struggle of not being able to get a lover out of your mind at night, even though you don’t want the thoughts to fade, the song is a gentle ending to what is a dynamic and ever-growing in strength album.

Little May certainly have shown all of their strengths in this debut record, from the aforementioned darkness to the emotional depth you might not necessarily want to revisit personally. There’s not a single moment that they don’t take care of you and let you know everything’s going to be all right.

8.5/10

The debut album from Sydney, Australia’s Little May, ‘For the Company’, is out now on Island Records.

 
 
 

About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

All MP3s are posted with the permission of the artists or their representatives and are for sampling only. Like the music? Buy it.

RSS Feed   RSS Feed  

Learn More About Us

Privacy Policy

Keep TGTF online for years to come!
Donate here.