Tag: london

  • Music, Coffee, and Creative Culture in London with Oh Wonder

    Music, Coffee, and Creative Culture in London with Oh Wonder

    LONDON. An ever-evolving music and coffee culture scene in London have shaped the city into the creative hub it is now. An interview with Anthony West and Josephine Vander Gucht of indie-pop band Oh Wonder and Peckham cafe NOLA on the relationship between music and coffee and how NOLA is bringing together communities.

    London has spawned some of the most successful indie bands over the decades. Drifting away from mainstream tunes, the ‘indie’ moniker can be categorized by its soft melodies, passionate drum beats, and home-strung instrumentals. The alternative rock music genre coincides with the independent artist ethos, taking an autonomous, homegrown appeal. Neighborhood live music venues of London have brought us today’s legends, from David Bowie playing at London’s Marquee Club in Soho to The Horrors at The Spread Eagle on Kingsland Road.

    But moving forward from the ’70s and ’80s of pop-rock culture, the ’90s and 2000s saw a surge in more acoustic melodies to soothe the soul – with indie fan favorites including The Libertines, Bombay Bicycle Club, and The xx. A more recent emergence from London’s indie scene is Oh Wonder, made up of couple Josephine Vander Gucht and Anthony West. The artists began their journey in 2014 when they were dropping one track per month for a year in anticipation of their debut album. The band became an instant hit with millions of streams, a series of tours, and four more album releases. Growing up around a live music scene was crucial in the making of the band and its influences. “We both grew up in the indie scene in London, playing super small venues and pubs to very small crowds,” Vander Gucht and West tell Paradigm Haus. Digital presence was instrumental in helping boost a loyal fan base. “Streaming services have had a huge impact on the way bands can develop and have enabled musicians to not just rely on playing shows to be noticed by fans and the industry.” The duo pointed out that it certainly helped them with forming an audience, but in-person attendance is of course, essential. “You can have many listeners and fans of your music without ever having played a show, but we both feel like it’s so important to get on stage, find yourself as a musician, and grow in a very organic way.”

    So what’s changed besides our obvious relationships with technology and an ability to ‘discover’ new artists online? London, without a doubt, has become a hub for artisanal coffee culture – one that has percolated over recent years. The spectrum of coffee options is wide-reaching with each district showcasing its own unique charm, and as a ritual stopover for many work commuters, coffee shops are embedded in the typical Londoner’s regime. It’s music that makes this daily pursuit even more uplifting – and is something that Oh Wonder has embraced with open arms.

    “London is our home,” Oh Wonder tells us, on London’s influence on the band’s creative processes, “it’s where we grew up, where we met, where our studio is – it has soundtracked our whole relationship”. They noted that the new albums are very personal and reflective of the conversations they have walking around their neighborhood. Oh Wonder had just started their first week into a world tour when the most unexpected, unprecedented call came to return home due to the pandemic. “We’d just released our third album, and put so much work into creating the live show,” they said, “it was actually really difficult to go from performing on stage and being mentally prepared to play hundreds of shows to thousands of people, to sitting inside with absolutely no prospect of live music opening back up.” This global loss of live music was undoubtedly a struggle for many bands and hindered opportunities for touring. It was at this moment that Oh Wonder decided to expand its ventures into the London coffee culture scene while being able to merge it with music.

    Opening NOLA in Peckham, London was a way to stay creative during lockdown, they added. “We became extremely grateful for our community and neighborhood…We admire that each coffee shop, whilst sometimes being a destination coffee spot, predominantly and proudly serves its local people.” Choosing Peckham as the neighborhood for NOLA was no coincidence. The South London abode is frequently overshadowed by the likes of hipster Shoreditch and Soho but it has been cropping up on more radars thanks to its up-and-coming creative scene. To the couple Peckham is, “the center of culture and cool for South London.” Adding to the buzzing appeal of the affluent area, “it’s where we walk our dog, go out for dinner, drink cocktails, see friends, visit ceramic fairs and creative markets, go to the gym, fix our bike, do yoga…it’s the best place!”

    Image Courtesy of French+Tye
    Image Courtesy of French+Tye

    The duo opened NOLA with the intent to fully welcome a neighborhood community. “Our slogan is ‘coffee for everyone’…for us, this means being able to facilitate the local coffee fans who want to enjoy our hand brew or try our rotating seasonal espressos, whilst also welcoming those who just want a flat white and a chat.” Coffee is about connecting with people, they said, “It’s a ritual, it’s an escape, it’s joy.”

    Merging music with coffee culture was a given for the duo. The chosen tunes in a coffee shop are so important in setting a mood. “It dictates the vibe and feel of the space and fills the gaps to create a flow in the store. It puts people at ease and provides a soundtrack to the ritual of a coffee. It has to be the right song at the right volume.” They shared a story about a time when the speaker system was cut out for an hour and it was “the most awkward hour ever”. Of course, the playlist matters – and it varies depending on the sun. “In the morning people need a gentle nudge, by the weekend the sun is out, everyone is a bit happier and our staff wants something to boogie to whilst they’re making hundreds of coffee.” Classics on the Nola speakers include Window by Still Woozy, Eugene by Arlo Parks, and Pink + White by Frank Ocean. On the similarities between the creative process of designing a coffee shop and curating an album, the Vander-Wests share their experiences, “in both processes, you are driven by an overall big feeling, but very focused on the details,” they said, “We have spent hours trying to find the perfect synth sound and hours trying to position the word NOLA on a cup.” The joy and the rewards are in the details. “It’s also strangely similar in the way that you make an album and it’s not yours anymore; it belongs to the listener – NOLA now belongs to the Peckham locals.”

    Image Courtesy of WatchHouse
    Image Courtesy of WatchHouse

    As creators, they are facilitating everyone else’s emotions and providing a soundtrack to their lives. The main differences between coffee and music link back to perhaps the preferences of the people. “Even if we don’t particularly like a mocha, we still have to try and serve the best one we can,” then when talking about music, “We’d never release a song we didn’t like though!” Their top recommendations for NOLA include the Ethiopian Buku espresso made by Head Barista Kyumin, or the Columbian El Carmen batch brew. “Also order a pastrami sandwich, a waffled cinnamon bun, a slice of carrot cake for later and put them in one of our ‘Don’t Cry Over Spilt Milk’ tote bags.”

    Meanwhile, out in London’s famous Bermondsey Street, WatchHouse – a popular stop for Oh Wonder – honors a community of coffee lovers in a bright-designed space. Community Manager Faye Mitchell shared her notes on the importance of music in a coffee shop. “​Experience for both customers and the team in a coffee shop is super important, and music plays a big part of that,” she told us, “For the team, it is part of expressing the identity of the café and keeping the ambiance welcoming and interesting. For customers, it is another layer of experience to connect with and enjoy.” The London coffee scene is so passionate and driven by community spirit. “There’s lots of creativity too; people take chances on projects, ideas, and collaborations that take a lot of courage and curiosity, meaning the culture in London is always evolving in new and exciting ways.”

    Oh Wonder’s new album 22 Make will be released July 22, 2022.

    This article is from our interview feature on Oh Wonder available to read in print. Get your limited edition copy here.

  • Percussionist Angela Wai Nok Hui Experimental Music Artist in London

    Percussionist Angela Wai Nok Hui Experimental Music Artist in London

    Percussionist and multi-disciplinary artist Angela Wai Nok Hui, tells the narrative of her youth spent between Hong Kong and London through her collaborative project Let Me Tell You Something. Still relevant today, the show examines identity, relationships and memory through the performance medium.

    Paradigm Haus: How did you feel after Let Me Tell You Something?

    Angela Hui: I can tell you how I felt right after the show. Wing is my producer and we are good friends as well. She told me that she had a strange feeling but she didn’t know how to describe it. However, I didn’t feel that way because I have experience performing and I don’t get this kind of “post-show depression”.

    I’m using the show as a medium to express my feelings to the world and to Hong Kong, to London and to my family and friends. The show is me and I am a person that doesn’t know how to use words as you can tell maybe.

    Let Me Tell You Something, Image Courtesy of Angela Wai Nok Hui (by Dimitri Djuric)

    PH: I saw one of the photos where you picked a branch off the street, how did you choose different mediums and how are they all tied together?

    AH: I collaborated with different composers. The composer Gregory Emfietzis has a piece called “Hestia”, which means “goddess of fire”, “goddess of home” and “goddess of a home setting”. That piece is interesting because Greg made this card game with a set of instructions. I composed the whole piece with his instructions, so the composition is the input of that piece.

    For the main component, Greg tried to make me tell a story in front of the audience and he also told me it would be great to find any objects that are related to the story. I chose a full flowerpot and a baby’s glockenspiel, which is a toy instrument used throughout the whole program. This baby glockenspiel appears in Lucy’s piece and Jasmin’s pieces. Then there were normal bricking sticks, which I didn’t choose.

    PH: What does collaboration mean to your creative process?

    AH: Collaboration is very important for me. Collaborating with people is like talking to people. Because I am a classically trained percussionist. I went to the Royal College of Music. I spent six years playing a lot of notes, marimba, timpani, Beethoven, symphony, counting bars, triangles and all that. I love them. I enjoyed the experience. But then I always find it’s a little bit lonely when I’m practicing in my own practice room. I enjoy collaborating and making stuff in a whole different way that I wouldn’t even think of before asking people to join me, to have a jam.

    This whole project started more than two years ago. Two pieces for Angus Lee, a Hong Kong composer, are actually finished. The final version finished in 2019 with Timothy Cape, where I made a very weird dance next to a bass drum. He is based in Italy, he would have come to London to work with me if not for the pandemic. We were doing videos back and forth. We were looking for weird and different sounds and we were jamming. He was making projections for me to have a feel and then I told him my feeling. But then he would say “maybe that’s not how I want you to feel, so maybe let’s do something else.” I work with composers, so I need to trust that person and open my heart to them.

    With Jasmin’s piece, This Land is Yxxr Land, people could interpret the title of the piece differently. This piece is very personal. It was basically during an interview with me. She tried to record the interview and then put it into a new looping tape. It sounds not true at all, very emotional, but whenever I play that piece, I recall all of the memories that I told her. It makes me smile. Especially the first performance in Hong Kong, lots of friends and family came. I don’t know why the first performance is mostly for friends and family. Then the second is that of more colleagues.

    The first performance is the first piece of the show as well. I did not play the pre-show cassette, so I used this piece to bring people into my world and I try to use the cassette as a gateway for them to come in.

    So when I played that piece on the first night, it really was special because a lot of people that I’ve talked about in this piece were all there in the venue. It was creepy and it gave me goosebumps. That was a special moment, I didn’t expect that. Even one of my aunties bought tickets and came. She was in one of the events or one of the memories that I talked about.

    A close-up of a musical instrument with wooden bars, reflecting an abstract image of a person playing or interacting with the instrument, illuminated with warm lighting.

    PH: Then how do you think the audience affects your performance?

    AH: Comparing day one and day two, I would say performing in Hong Kong, in general, is different from what I normally do. In London, my family wouldn’t be there. If there’s a piece that I need to be naked, I could do that. But in Hong Kong, I can’t do that. Even though I can do that, I have to go through lots of mental preparation to do that. But I haven’t really thought about why I’m having that feeling.

    PH: Can you compare your experiences in Hong Kong to the scene in London where you’re normally based?

    AH: Not to say that London is having a good time as well. I think there is the same problem everywhere in the world. It is fine, we have to deal with problems that’s kind of our life.

    Audiences in London are more open minded and willing to support artists. I don’t know if that is the case because ticket prices are cheaper?

    In Hong Kong, I didn’t know that my show could be sold at $250HKD, which is expensive. The shows I went to in London were just around seven pounds to walk in. Early bird tickets were just five pounds. I would love to do an experiment on this, for example, what if I do a completely awful show and sell tickets for $10 in Hong Kong.

    In London, people are trying to bounce off ideas more openly. I’ve been in Hong Kong for two months, including my 21-day quarantine. I have a sense of the Hong Kong music industry, which is in groups. It’s very hard from the outside to break in.

    I think the observation for me, between Hong Kong and London, is that everything in Hong Kong is very, very pretty and well presented.

    For example, the big font of Tai Kwun is so pretty. All the wordings and even some English I don’t even understand like “microwave”. Emails used in Hong Kong are different from how we do in the UK. Whereas in the UK or in mainland Europe, such as Germany, Belgium, they have more of the rawness of art. I can see some really, unprepared, ugly, and raw shows in London, but then I don’t think I will get to see them in Hong Kong. But maybe ugly and beautiful really depend on how you see them.

    PH: Are there any kinds of trends that you’ve been noticing in experimental art or in the music scene?

    AH: People all have a lot of energy, but then they don’t have the support to do it. I’m seeing this crossing of disciplines, which might be a by-product of the pandemic.

    I’m a percussionist, I’m a musician and now I’m trying to do some sound and music design, which I would never have thought of before. So my by-product of the pandemic is five short movies I made for this show. People as artists are trying to see how far we could go in different directions, which is really good.

    Sometimes I don’t have the normal knowledge of how to make a sound and then something interesting can come out from that. I don’t know the normal steps of making a soundtrack. That could be the element of why the soundtrack could be so bad, or so good. So that’s why a painter tries to do music, and play percussion or piano. Simply because they don’t have normal lessons on how to do it, something interesting that I wouldn’t think of would come out of this.

    A person sitting in a chair with their head tilted back, illuminated by a lamp in a dimly lit room.

    PH: Do you think these thematic topics of the pandemic and cross-disciplinary avenues changed how artists approach their practise?

    AH: The pandemic didn’t really change what I wanted to talk about in the show. It was more about what happened in Hong Kong during these two years that changed a little bit on this show.

    For me, it all started by asking myself who I am. The identity crisis, you know? Where is home? Do I have one term or do I need to go back to my home? Am I humble or maybe I have no home and I will never have a home. And then the whole movement happened in Hong Kong.

    It makes me think no matter where I go, I really have a very strong bond with Hong Kong and that would never change. I think I found the answer or maybe I don’t think I would ever find it. Do I have one home or do I have no home? I could have two homes. Now I’m married to an Italian Frenchman, so here’s my home as well? But it doesn’t really matter, I think I’m just going to continue this journey.

    So I think that is a little change of direction because of what happened or what is still happening now in Hong Kong, such as people leaving the country and moving away. So I’m really excited about the London one as well. I really don’t know how the audience or Hong Kongers in London would take it. What would it remind them of? Can I give them the sweetness, a bit of comfort or would I remind them of something bad? So for Let Me Tell You Something, I didn’t really tell them forcefully and spoon-fed them. I created a space for them to tell themselves something. People would get different things from the show.


    Follow Angela Hui on Instagram here: @huiwainokk

    For more of Angela Wai Nok Hui’s work Let Me Tell You Something and her debut album.


    Let Me Tell You Something collaborators on Instagram:

    Lucy Landmore

    Timothy Cape

    Gregory Emfietzis

    Angus Lee

    Jasmin Kent Rodgman

    All images courtesy of the artist.