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‘HERE IS EVERYTHING’ DELUXE

‘here is everything’, ‘walking like we do’, ‘love in the 4th dimension’.

The Big Moon Announce US Live Dates & Share 'Summer Still Comes'

The track is taken from the upcoming deluxe version of their acclaimed third record Here Is Everything, due for release on October 13.

Following a storming summer of festivals, including a packed Glastonbury performance in June, the Mercury Prize-nominated London quartet The Big Moon have announced a November run of US dates, which precedes a UK and EU headlining tour.

The London quartet also share “Summer Still Comes,” a waltzing rumination that further showcases the band’s innate ability to write smart, sharp alt-pop triumphs. 

Says front-person Juliette Jackson, “It’s a song about longing for your friends and loved ones. Experiences just don’t really mean anything to me unless I can share them with someone else. And the changes of the seasons feel so relentless and unforgiving when your life isn’t moving at the same speed.”

The track is taken from the upcoming deluxe version of their acclaimed third record Here Is Everything, due for release on October 13 (a year to the day of the original release of Here Is Everything) which will also include a further bonus track “Round Forever” (which features lead vocals from bassist Celia Archer), and remixes from Marika Hackman and Art School Girlfriend.

The Big Moon’s third album, Here is Everything, found Jackson documenting the excitement and trepidation of new motherhood. Her bandmates took Jules’ raw, unvarnished story-songs and  doubled-down in the studio, reveling in an innate, giddy togetherness and emerging with a clutch of genuinely fantastic tunes.

Here Is Everything was mostly self-produced, with the expert guidance and expertise of co-producers CECIL (Self Esteem, Jehnny Beth, PJ Harvey) and the GRAMMY Award-winning producer Ben Allen (Gnarls Barkley, Deerhunter, and the producer of The Big Moon’s 2020 album Walking Like We Do).

THE BIG MOON TOUR DATES

November 13 – Washington DC – DC9 November 15 – Brooklyn, NY – Music Hall of Williamsburg November 16 – Toronto, ON – The Garrison December 5 — Genk, BE — Effort December 6 — Paris, FR — Backstage December 9 — Glasgow, UK — SWG3 Warehouse December 10 — Manchester, UK — New Century Hall December 13 — Birmingham, UK — The Mill December 14 — Bristol, UK — The Marble Factory December 15 — Oxford, UK — O2 Academy 1 December 18 — London, UK — Union Chapel (stripped-back performance)

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The Big Moon: ‘If venues want a cut of our merch sales, they can give us a cut of their bar takings’

Brighton band the big moon discuss the changing face of rock stardom and how a lockdown pregnancy shaped their new album here is everything.

The Big Moon are sitting with cups of tea on a blustery morning in King’s Cross, talking about crosswords. It’s perhaps a sign of the current reality of being in a band – hard work, health, and earning a living, as opposed to a gilded life of debauchery, first class and class As. “It’s a very old-fashioned way of thinking of pop stars,” says lead singer Juliette Jackson. Especially now, one pandemic – and, for Jackson, one lockdown baby – later.

Besides, it’s been a stressful month. The four-piece lost their equipment in Spain, and had a set-to with one of their main UK tour venues over merchandise (it resulted in them selling it in a pub down the road instead, which we’ll get to later). Fittingly, these stressful times follow in the footsteps of a new record that was born out of a very traumatic period. Even the title itself feels as if Jackson is laying it all out for us to see.

Here is Everything – a vulnerable, hook-laden, world-weary record – was made not only in a pandemic, but around Jackson’s pregnancy and the birth of her first child. “The whole time I was writing, it was either lockdown or I was pregnant, or some of it was five months after the birth,” says Jackson, “so a whole chain of life-flips all at once. It was a lot to process, and I feel like writing songs is my way of processing things.”

I tell her that the line that grabbed me the most is in the piano-laden closing track, “Satellites”, where she sings, “I wonder which part of me my kids are going to hate”. It’s raw to the point of being uncomfortable. “​​But they’re gonna hate something, right?” she replies. “That was quite early on when I was probably feeling quite unwell. I was so sick when I wrote that song… I didn’t expect to feel so weak and breathless… just lying on the floor of the toilet, ‘arrrrgghhh’, and I remember thinking of all the mothers behind me, in this constant infinite chain of women who’ve done that. I can’t believe it took me until that moment… I guess I was just selfish ’til I experienced it myself.”

Drummer Fern Ford – who built a mini-studio in her house during lockdown, in which the band would go on to record most of the album – had her own visceral reaction to that track. “When Jules sent me that demo, it was just on repeat for two hours… I was so taken aback by how honest and raw it was. You think you have an idea of what your friend’s going through…”

Formed in Brighton in 2014, The Big Moon were Mercury-nominated for their 2017 debut Love in the 4th Dimension – Elastica meets Echobelly, only with sweeter harmonies layered on top. The more widescreen and synth pop-tinged follow-up Walking Like We Do dropped just two months before lockdown, which put paid to… well, everything, but more specifically to a proposed gig at the Royal ­Albert Hall, and the opportunity to play the catchy second album live on the festival circuit. “We were on tour solidly until the day our management said ‘come home now’,” says bassist Celia Archer.

The band grew sick of hearing how it was “all going to happen” for them that year – Blondie-influenced “Don’t Think” was sure to be a festival favourite – but are now more philosophical. “When it happened, we were just so worried about the people in our lives… it was like, ‘Whatever, we’ll come back to it,’” says Soph Nathan, “and then we did, but now we’ve worked so hard on this record…”

Here is Everything , then, had a difficult incubation. “The issue was that we didn’t see each other for a year because of lockdown,” says Jackson, “and then we went to the studio with not very much time and I was six months pregnant, and we put a lot of pressure on ourselves. We needed time to put our personalities into it.” So, they took a long break, Jackson had the baby, and then they descended on Ford’s studio with a new mindset.

“We opened the metaphorical box, got all the stuff out, and spent weeks just playing with the music, and finding a space where we could all f**k around with it.” Ford continues: “The most interesting bit of our songs is when we have free rein… ‘What about [using] a baking tray? What about crisps?’”

The songs are vulnerability fashioned into guitar pop brilliance – from opening track “2 Lines” (about a pregnancy test rather than a Covid one) to piano-led ballad “High and Low”, written in a second, postnatal “hormonal love song” bout of songwriting featuring the lyric, “You were born into this mess.”

“When I got pregnant [during the pandemic] it took on a whole new angle,” Jackson says.  “We were all wondering what would be left at the end. It felt very apocalyptic, and I thought, ‘What the hell am I doing?’ It was a difficult feeling to digest.”

And speaking of mess, what are the band making of post-pandemic life? This is also the first time they must have come up against Brexit proper, and domestic live venues seemingly in terminal decline.

Archer has thought long and hard about this. “Only certain kinds of people can now afford to do this job. The whole point [of art] is to say, ‘I feel like this; do you feel like this?’ And that doesn’t necessarily have a financial result, but [the Government] doesn’t understand it – they hold so many people in contempt. It’s so expensive, and that demoralises people to the point where only some feel they can stand on stage, or that their story is worth telling.”

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It was also money that put them at loggerheads with, in particular, the Kentish Town Forum, resulting in the band announcing on social media that they would instead sell their merchandise pre-gig at a pub a few doors down. “. “Merch is actually the main way that you make anything,” explains Jackson, “and then to have venues go, ‘Oh we want that too,’ I’m like ‘F**k! Give me 25 per cent of your bar takings because everyone’s here to see our band!’”

This isn’t to say it’s all doom and gloom with The Big Moon – far from it. They are rightly excited about their new album, buzzing from having finally got out on the road – despite the lost equipment (“I’m tweeting FedEx every day,” says Jackson). So, I ask, are they planning the next album? They all recoil.

“​​I feel comfortable saying we’ve worked harder on this record than we’ve ever worked on anything before,” answers Nathan, “and I would like to just enjoy it being received.”

Jackson agrees: “It’s always looking to the next thing, and after the last few years I just want to soak it in and enjoy it.”

The bit now firmly between her teeth, Archer says: “It’s that productivity thing again isn’t it? More content! Churn it out! Churn it out!”

They’ve put the work in. It may now finally be time for The Big Moon to reap the rewards.

Here is Everything is released on Friday October 14 on Fiction Records

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‘Giant fizzy tangled strings of feelings’: The Big Moon’s postnatal LP

Covid and parenthood have added deep new dimensions to the telepathically entwined indie rockers latest, Here is Everything

J uliette Jackson is describing the song that made her feel human again. “It makes you feel like you’re not a fucking weirdo,” she says. “I got messages from people who get it. You find out that you’re not the only person who has Googled: ‘Can you die of sleep deprivation?’”

The track in question, Wide Eyes – released in July – was the first single from the Big Moon’s third album. Where the first two records from Jackson and her bandmates cocked a snook at bad men and the trials of twentysomething life (Jackson once described her aesthetic as “trying to seduce but stepping in dog poo”), the single found them in their rawest state yet. It’s the kind of slowly swelling, minor-key love song liable to make listeners’ bottom lips tremble, charting a bond that makes you ”want to dance” and “want to cry” at the same time.

That love, of course, is the new baby kind. Having got engaged (in true indie frontwoman style) on stage at Green Man festival in 2019, Jackson ticked off another milestone with the birth of her son last year. Channelling it into her output might seem challenging, given the often insouciant quality of the Big Moon’s music. Indeed, on the Mercury-nominated Love in the 4th Dimension – released in 2017 – Jackson and guitarist Soph Nathan, drummer Fern Ford and Celia Archer, the band’s bassist, made retro-flecked bangers on topics including a man trying to improve the taste of his semen, with more than a hint of Blur-ish sardonicism. On their 2020 follow up, the Top 20-bothering Walking Like We Do , stylish synthpop crept in, but levity still bubbled just below the surface (see: Take a Piece’s boyband-inspired video , or the quietly compelling Your Light ). And yet, their new effort, Here Is Everything, sounds like exactly what it is: the same Big Moon but older, wiser and no longer sleeping on sofas on tour. “When you’re in your early 20s, you don’t really need personal space,” deadpans Ford.

Despite a marked reduction in side-eye, in person they retain the same fizzy energy, not only finishing one another’s sentences but often taking turns to form one full thought together, as though playing the childhood game where you write a sentence and fold over a piece of paper before passing it on. On the subject of folding birth-related trauma into music, it’s intriguing to see how they respond. “I should be allowed to [write songs] how I want, and have some distance from their subject matter,” says Archer. “I don’t need to let you assess my therapy.”

“That should be the whole point,” Nathan adds. Although it was Jackson who became a mother – and is the band’s lyricist – as everyone slips into first person over a coffee it feels like something of a shared experience.

Armchair psychology aside, one thing is certain: the band are very, very grateful to be back. The pandemic hit just after Walking Like We Do was released, and threw their plans – along with those of most of the music industry – off course. “We were gonna play the Royal Albert Hall?” asks Jackson, bemused, when reminded of plans that were junked overnight. “Every now and again someone says: ‘It was all coming for you that year’, and I hate it. It’s like, I actually didn’t realise all the things that might have happened until you just told me.” Other jobs were found (Archer worked on a farm, Ford and Nathan did delivery jobs and, er, Jackson covered a Woody Guthrie song with Courtney Love). Music lessons were taught online and further side hustles established, until the band could reunite. They admit that they weren’t happy with their initial attempt at the new album. (“It was this lumpy thing from the past we weren’t dealing with,” says Jackson.) Luckily, Ford had constructed a studio in her flat during the pandemic, and the band self-produced their second run at the album, fuelled by an endless supply of tea and with the baby by their side. “Building it was a fucking headache,” says Ford of her home setup. “But I’m glad I did it.” Jackson bigs her bandmate up. “ That’s the stuff of dreams. That’s pretty major.” “Let us know if you need a carpenter … or a producer,” adds Nathan with a laugh.

The process was, says Jackson, “really special. The freedom to be able to make what we wanted to and have enough time to do it felt really good”.

The joys and despairs on the record are often as overt as Jackson’s Beyoncé-esque pregnancy shot on the album cover. On Wide Eyes, songwriter Jessica Winter helped her tease her love and exhaustion into stark verses and a singalong chorus, while 2 Lines is a tense, slacker-rock contemplation of the early phase of parenthood when “it’s too soon to shout, no fanfare yet” – and High and Low does indeed pose that million-dollar question about sleep deprivation. On Ladye Bay, the baby’s “bowling ball head” is a memorable punchline, but in other places the concept of motherhood is more oblique. “There are tracks that just sound like a pop song but which, to me, are wrapped in giant, fizzy, tangled strings of feelings that are so much more than that,” says Jackson. “Daydreaming is about breastfeeding – sitting there in a daze and just spending all day exhausted for months.” That’s all you do, day and night. I had such a bad experience breastfeeding – I couldn’t do it – and I was going through this period of loss. It was like a grief. With the song, I was trying to make it nice for myself and, I guess, recover a bit. Get some distance from it by writing a song that I wanted to dance to.”

Jackson is candid about how tough she has found things at times, and the dearth of help for new parents. “The official care you’re given isn’t enough,” she says. “You’re going through this massive hormonal crash, and it’s dark.” She quotes an interview Olivia Colman gave to the Guardian, where the actor said that she didn’t know anyone who hasn’t had “a little bit of postnatal depression”. “I really understood that,” she adds. “It’s really hard to stay on top of things. There needs to be more support.” The conversation continues for some time, with Jackson’s bandmates as passionate as her about making the music industry – and the world at large – more manageable for new parents.

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You get the sense that, while challenging, the past few years have ultimately brought the band closer. While Wide Eyes is a song about their unofficial fifth member, the video is centred on the Big Moon coming back together – sans hand sanitiser – to perform an elaborately choreographed handshake masterminded by frequent collaborator Louis Bhose. “After all the hard work, it was perfect timing for something like that,” says Nathan.

Archer nods: “When you play together, you get oxytocin, that cuddle hormone. Gazing into each other’s faces, singing these really beautiful words and holding each other’s hands … it was really nice.”

Jackson continues the theme, as is the band’s habit. “You wouldn’t believe how many times we slapped each other’s hands,” she says with a laughs. “I had bruises down my arms from trying to get it right. It was great. I absolutely loved it.” Here Is Everything is released on 14 October; The Big Moon tour the UK from Monday 19 to 28 September and 12 to 20 October.

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Really nice small honest concert in Nottingham. It was somewhat of a promotion for their first/new album, fine balance between "newer" and "older” songs. The venue was rather tiny (with the obvious plus and minus from that). Nevertheless, the sound quality was overall good and the band performance was solid, didn't notice any particular issues. Can't say we were the most energetic crowd, but that’s to be expected on a Sunday afternoon I feel (and that was perhaps more fitting for the venue). Would also like to mention that the signing of records/posters afterwards was really appreciated. So, overall a pleasant experience and an afternoon well spent.

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Where do I start it was awesome. The venue was great very well planned out. And the concert was great. It was intimate and still felt massive. The band were awesome they signed my record and took pictures with me they wanted to chat and find out about about everyone also they could not thank me enough for coming. I loved it.

I've been to two of their concerts, both in Brussels but in different venues. Both of their shows were great! I hope they come back to Belgium soon. Can't wait to see them again.

Loved the show, the ladies are down to earth and a lot of fun. Terribly Yours was good as well. The venue was small and 5he sound wasn't that great but they still rocked it out.

Ah me! A rather dead crowd was treated to a beautiful set of old and new, to welcome the biggest album of 2020. What an honour to have been there. Fabulous xx

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Lil pump predicts jake paul victory over mike tyson, liver punch messed me up, lil pump jake paul's gonna beat mike tyson.

Lil Pump is picking a side ahead of the big Jake Paul and Mike Tyson fight ... telling TMZ Sports he thinks the Problem Child is gonna beat the boxing legend!!

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Pump thinks Paul will come away with his hand raised, but that doesn't mean he thinks 57-year-old Iron Mike is washed ... 'cause when we asked if he'd take a punch from the legend, he explained he'd fear for his life.

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