Personal stories of inspiration from professional composers, songwriters and musicians.

In this episode, Gareth chats with vocalist Amelia Jones about moving to the other side of the world, singing on gaming soundtracks and doing things her way.

Host: Gareth Davies

Produced by Gareth Davies at The Sound Boutique

Links

Amelia's website

Amelia on Instagram

Connect with Gareth

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Find out more about the Music Room community

Welcome to the music room.

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At this time in the music room.

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.

Amelia Jones: I used to lock myself in my room and she kind of used to coax me out

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with, you know, 2 coins and say, look,

if you sing this, this, this song, Little

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Mermaid song, you know, you can, you

can have your treat early this week and

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Gareth: Wow.

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Monetizing your art at a very early age.

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Amelia Jones: I guess it did,

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Welcome to the Music Room where I

chat with professional composers,

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songwriters and musicians about their

music lives before going back in time

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to find out how it all began for them.

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I hope this show will resonate with

you, and maybe even inspire you

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with the item and advice that will

be left in the Music Room later on.

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In this episode I'll be chatting

with singer Amelia Jones.

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I say singer rather than soprano

because Amelia is so versatile.

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She loves to perform early music, But

she's also sung on gaming soundtracks.

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So I'll be asking her about

those different approaches.

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Anyway, first up is Music Stories.

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Baranovsky has scored the music for

The Teacher, a shattering work that

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feels as current as today's headlines.

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Directed by Farah Nabolsi, The

Teacher will be shown at the San

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Francisco Film Festival on the

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Cool.

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Trent Resner has been talking

streaming inequality in gq.

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He said, I think the terrible payout

of streaming services has mortally

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wounded a whole tier of artists that

make being an artist unsustainable.

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And it's great if you are Drake and

it's not great if you're Grizzly Bear.

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Great band, by the way.

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And the reality is, take a look around.

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We've had enough time for the

whole all boats rise argument

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to see they don't all rise.

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Those boats rise, these boats don't.

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money in any means, and I

think that's bad for art.

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And Trent, I for one agree

with you wholeheartedly.

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And those were the music stories.

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Welsh born vocalist Amelia Jones is

a compelling, passionate and nuanced

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performer, known for her crystal clear

tone and expressive vocal delivery.

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Amelia is now based in Bristol in the UK

after spending over a decade in Australia.

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Amelia has become a choice vocalist

for cutting edge contemporary composers

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and her work can be heard in award

winning video games and Japanese anime

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productions, including Star Wars Visions

on Disney Plus and Eden on Netflix.

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Let's find out more from Amelia

herself and how it all began for her.

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Gareth: Amelia Jones, vocalist.

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Welcome to the music room.

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Amelia Jones: Thank you.

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It's a pleasure to be here.

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Thanks for having me, Gareth.

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Gareth: so welcome.

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How are you today?

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Amelia Jones: I'm good.

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I'm good.

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It's been, a busy day.

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I've been preparing for a performance

that I have on Saturday, um, just

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over the bridge in Cardiff, it's the,

yeah, Cardiff Gaming and Anime Con.

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So I'm singing a set there of

music from video games and anime.

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So yeah, I've just been

preparing for that really.

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Gareth: I'm sure we're going to

get into all of the Well, the stuff

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you've been doing around gaming,

because actually there's quite a

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variety of work that you do because

you're into performance as well.

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Um, so, I mean, you've got that going on.

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You've got other things going on as well.

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I know you perform, don't you?

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Amelia Jones: I do, yeah,

perform as well as record.

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Um, This week, I kind of, I had high

expectations of myself this sort of

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past week, because I had a bit of time

off like between recording projects.

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And I thought, Oh, I'm

going to get so much done.

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And I was finally going to sort

of lay down all my ideas that I've

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had for, you know, various things,

songwriting, get heaps of admin

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done, but I got quite sick and I lost

my voice, which was really weird.

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Gareth: That must be as a singer.

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I mean, that's It'd be

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Amelia Jones: it was

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Gareth: guitarist losing control

of their hands or something.

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Mm

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Amelia Jones: Yeah, I'm sure we could go

into, you know, all sorts of metaphors.

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Gareth: Has that happened to you before?

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Amelia Jones: years and years ago,

but it's, it's never been really as

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significant as it was, um, at this point

because, yeah, like I said, I was just

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so excited to kind of finally have some

downtime in my studio and really make some

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leeway and all these ideas that I, and

I, you know, you know, I have ideas at

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really strange times for, for songwriting.

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Like I'll, you know, for example, be

kind of in the sauna and I'll have

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this idea for a song and I'll have

to run out of the sauna and record

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a little voice note on my phone.

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Or I think my favorite one

recently is when I was on holiday.

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In Portugal and I got this horrible

bout of food poisoning and I was

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in bed and I couldn't, you know, do

very much of anything, but I came

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up with this whole idea for a song

and sort of recorded it and sent it

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over to a composer friend of mine.

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And he was like, Oh yeah,

this is actually really great.

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It's just, I don't know what it is.

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Um, but I kind of have these ideas

that really, at moments where I can't

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really do very much about them, if that

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Gareth: Yes, absolutely.

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It's the composer in you.

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if you, if you speak to any of the

listeners of this show, I'm sure, 90

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percent of them will say their best

ideas come from when they're out,

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you know, they're going for a walk

or they're, you know, in the shower

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or they, you know, whatever it is,

just not in their creative space.

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and I think it's just, I don't

know, distracting your brain

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and it does the work anyway in,

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Amelia Jones: Yeah.

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Maybe when your guard is, your

guard is down a little bit and

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kind of the ideas come flowing in.

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Yeah.

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So, you know, I had that sort

of, I wanted to do this week, but

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finally today, you know, my voice

has come back and everything's fine.

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And, you know, I did have to

cancel a gig and that was a

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bit of a, That wasn't ideal.

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And I put a little story up on

Instagram, um, you know, basically

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singing a song and asking people,

like, should I do this gig or not?

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Because it was a difficult decision.

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And yeah, the majority and the sort

of singers and the professional

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musicians and stuff, they all said, no.

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And I was like, you know what, that's

really, um, that's a good point.

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Yeah.

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But it's also at times like this

where I sort of realize how important

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singing technique is because I found

myself kind of like using my breath.

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Support and everything a little bit more.

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And it really, really helped.

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Um, so yeah, singing is

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Gareth: All that training

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getting into action there.

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Amelia Jones: It kicked in.

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Yeah, exactly.

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And I think I also had a lot of

expectation on this week because life

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has been really, really chaotic lately.

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Um, I, I think, you know, but yeah,

I moved from Australia to Bristol

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about just over a year ago now.

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Which Seems like a really good

amount of time to get things done,

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but it has been such a big upheaval

and I've learned so many lessons

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in such a short space of time.

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And I kind of felt like I was

finally in that space to be able

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to just kind of do things and just

create and stop overthinking it.

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but yeah, then I lost my voice, but

I've, yeah, it's kind of like, yes,

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on the one hand, I've kind of had

my whole life to write music and,

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you know, and create these ideas.

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Yeah, I've, I've, I've had time,

but it's not truly at this, until

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this point where I felt actually

ready to kind of take action.

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Yeah.

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Gareth: Cool.

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That's really good.

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And, uh, I presume that, well,

you certainly sound better.

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Are you hitting, there's this holy grail

of the high note, isn't there, in singing?

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Uh, you know, is it a gradual process

when you're training to get that high?

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Or is it, like that holy

grail to hit the high note?

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Okay.

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Okay.

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Amelia Jones: feel like.

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Sometime.

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Well, yes, of course it, it

feels amazing to hit high notes.

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Um, some people have just got it.

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They really do.

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for me, it's been a bit more of

a kind of a wonky sort of, yeah.

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Like when I was younger.

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You won't believe this, but I grew up

in, well, between Australia and Wales.

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And I think it was in year 12

for my, I Stedford in school.

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there was, uh, songs from a movie

or musical kind of, competition.

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And so I went up there and I

sang the Phantom of the Opera.

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Theme tune, um, with all

the really high at the end.

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It, it kind of goes like,

ah, and it just keeps going.

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Ah, ah, like up semitones, up semitones,

except probably about an octave hire.

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And I just, I, you know, I felt

really like, confident to go

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and do that, and I didn't win.

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And I, I think.

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Afterwards, I remember my, my chemistry

teacher coming up to me going, you know

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what, Amelia, I think if you chose an

easier song, you probably would have won.

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Gareth: Ah, but yeah, that's, don't strike

me as someone who chooses the easy route.

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Amelia Jones: That's the thing.

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That's exactly it.

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And I just remember thinking, you What

a silly thing to say, you know, it's,

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it's not really about winning and it's

not about choosing things that are easy,

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it's about doing things that you love

and things that challenge you, you know,

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um, and things that people remember.

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I mean, people remember that I

did that because it was a bit

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of a bonkers thing to do, but.

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Yeah, it was fun.

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Gareth: Yeah, we get on this podcast.

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We do like to give some credence and

credit to the people who've helped us.

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But.

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You know, in the same vein, people

who've just said really silly things.

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Prove them wrong.

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Amelia Jones: Yeah, definitely.

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Oh, well, you know, he, he meant no harm.

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Um, and I was, I was the

one taking chemistry.

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So, you

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Gareth: Well, more for you.

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Yeah.

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I mean, yeah, you should be expecting

the unwarranted advice in that case.

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Yeah.

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Amelia Jones: Yeah.

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Gareth: Nice one.

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so I was listening to some of the.

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Hollow Knight game music on your website.

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That's, that's, really quite beautiful

and haunting and, you know, um,

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I'm sure we can get into this a

bit later, but what, what drew you

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to that, gaming side of things?

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Amelia Jones: yeah.

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So I've, I recorded Hollow Knight

when I was probably about 22.

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So, um, I'm 30 now.

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And at that time I was studying at a

conservatorium of music and it wasn't

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a very easy time for me because I kind

of felt like I was being pushed into

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singing opera and singing classical

music in this like quite specific way.

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I just felt like my voice didn't

naturally kind of lean that way.

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And.

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To simplify things, I'm kind of talking

about sort of vibrato versus straight

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tone, I, I won't, I'll, I'll spare

you the, um, the example, the vocal

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Gareth: right.

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Amelia Jones: but there were just,

anyway, when I was studying in the

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conservatorium, there were kind of a lot

of things that drew me towards, singing

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like the modern composition students, um,

content, rather than kind of doing You

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know, the Puccini and all of the sort of

operatic stuff everyone else was learning.

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I just absolutely love working

directly with composers.

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I love being able to talk about someone

about the intentions behind their music.

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and I love video games as well.

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You know, I grew up playing games and

watching a lot of anime and everything.

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And so Yeah.

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When Chris Larkin, the composer got in

touch with me and asked me to record

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a song that he was writing for a video

game sort of that evening, um, I think

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it was probably only about the second

or third thing I'd ever recorded.

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I'd done one video game and, um,

like a short film before that.

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and so I was delighted, you

know, absolutely delighted.

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Um, and you're right.

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It is, it, it's a beautiful piece of

music, um, city of tears and one that

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has gone on to resonate with millions

of people, Yeah, just a few days ago,

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actually, um, well, I've been chatting

to Chris and, and saying, you know

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what, I really would love for my name

to be on Spotify because I've been

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credited, for, for the track, but for

some reason, all those years ago, we

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just didn't think to put me on Spotify.

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So anyway, now my name is there on

Spotify alongside the track and it's

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got, yeah, about 17 and a half million

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Gareth: Wow.

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Amazing.

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Amazing.

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I think I get it.

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You know, you have sides where, one

day you might be singing Purcell in a

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performance and you're acknowledging

the past and the amazing work that's

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been done by composers, of days gone by.

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But on the other side of it, you're

creating, you're creating, music that will

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carry on and you know, it's the future.

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So you're kind of

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Amelia Jones: a

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legacy.

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Hmm.

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Gareth: really it's a I

think it's a lovely way to be

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Amelia Jones: Oh, well, and you know what,

it's just an absolute honor and privilege.

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And you know, I won't lie.

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I'm extremely fortunate that I sort

of, it's not that like I fell into it,

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you know, I did make steps to, to guide

me towards this, um, this industry,

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but I do feel incredibly fortunate

because it's an amazing industry.

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It's been incredibly welcoming for me and

it has been a bit of a lifeline as well.

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Like.

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In terms of the move that I've

had, because when I was living in

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Australia, I was doing probably far

more performing than I was recording.

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Um, and you know, I had my network

there and people were phoning

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me up and hiring me for things.

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And I kind of just went with the flow

a little bit, but then with such a

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jarring move halfway across the world

and in an industry like classical music,

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where it's so important in terms of.

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Um, I just, yeah, it's, it's been quite

difficult to continue my momentum of

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performance, um, that I was creating.

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And, you know, I, I plan to keep

sort of plodding away there for sure.

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But yeah, I've been focusing a lot more

on recording because I have realized that.

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I love it.

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And I get a lot of freedom in the

studio and wherever life takes me,

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it will kind of always be there as

well, which is just so incredible.

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Gareth: Well, talking of, you mentioned

Australia, there's a whole story there.

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I think we should go back in

time and find out what it is.

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Are you ready?

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Okay, here we are, back in time.

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Um, so, Amelia, you mentioned Wales.

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there in, uh, in previous section.

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How did it all start for you?

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Um, what are your first memories

of music back in, back in Wales?

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Amelia Jones: Yeah, so well first

memories of music back in Wales.

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I was born there and then

I left when I was three

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Gareth: Right.

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Amelia Jones: But my dad's a really good

singer And so he was he probably sang the

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Eagles or Tom Jones to me or something

when I was very young Like I'm willing to

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bet that But probably Yeah, my earliest

kind of memories is when we, when we

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moved to Perth, Western Australia, my

mum started teaching piano from home.

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And so, um, that was really wonderful.

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And she'd play, you

know, Chopin and Debussy.

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And then she started roping me into these

kind of Disney songs with her whenever

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people would come and visit the house.

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And I was excruciatingly shy as a child.

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I used to lock myself in my room and

she kind of used to coax me out with,

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you know, 2 coins and say, look, if

you sing this, this, this song, Little

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Mermaid song, you know, you can, you

can have your treat early this week and

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Gareth: Wow.

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Monetizing your art at a very early age.

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Amelia Jones: I guess it did, I suppose

it did start quite early, didn't it?

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Yeah, and so for the most part

I was mortified by that, but um,

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obviously, you know, it did start.

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Sort of the cogs in my brain of,

ooh, I, I really love singing.

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Mom also had this album, which

she always played in the house,

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um, by a singer called Neil Saka.

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Have you ever heard of Neil Saka?

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Gareth: no, I'm way too

young to know who Nielsen.

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Amelia Jones: Uh,

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Gareth: Yes.

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Yeah, absolutely.

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Amelia Jones: think in my

mind, he is a, I'm sure he is.

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You know, I really need to

look into him again, sort of

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Gareth: You're kind of a

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crooner, Yeah,

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Amelia Jones: Yeah, but he had this

whole album where he was basically

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reinterpreting, um, famous sort of piano

melodies and he would add lyrics to them.

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So, um, you know, say like Moonlight

Sonata, for example, I can't remember

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what it was, but he would, he would

interpret it and add lyrics and sing it.

311

And I really loved that.

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And I think that that album really

inspired me because I'm all about sort

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of crossover and reinvention and doing

things that are a little bit different.

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so yeah, that album was

really quite good for me.

315

And then, you know, also we listened

to a lot of Led Zeppelin at home and

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a lot of Handel's Messiah and the

Beatles when I sort of really started

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becoming obsessed with them when I was

about 12 or 13, they made me realize

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like just how excellent music can be.

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Can be as well.

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So there's a lot there.

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Gareth: So you were singing

at a very early age.

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Did that then lead on very naturally

to the training, the lessons?

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Amelia Jones: not really.

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I did take some lessons and I got really

involved in sort of musicals at school

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and I played clarinet and I played piano.

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Um, but in terms of sort of deciding.

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I'm going to be a singer that came when

I was about sort of 19 or 20, which seems

328

quite, quite early in retrospect, but I

did sort of waste a little bit of time

329

attempting a law degree for a year before

I decided that I was going to sort of take

330

the plunge and, and go to a conservatory.

331

And there are so many reasons for that.

332

I remember hearing Lament by Purcell for

the first time, and it kind of hit me like

333

nothing had ever really hit me before.

334

Um, I just found it so powerful.

335

And then I, and then I heard Jeff

Buckley singing it and I was like,

336

that's really cool, you know?

337

And I think all these little puzzle

pieces, um, as well as me kind of joining

338

a choir when I was studying my law degree

and that sort of being the only kind of

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like, respite and safe haven and magical

place for me, um, in that time that kind

340

of made me realize, yeah, when I was in

that choir, I was like, I really just

341

need to sing because you just never really

know what life is going to throw at you.

342

And I could just feel like, and I

should mention as well, at that time

343

I'd moved from Wales to Australia.

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By myself when I was 18.

345

Um, and so I'd left, kind of left my

family behind and it was all sort of very

346

dramatic and there was a lot of change

and I really did feel like, you know,

347

when I would start to hum or sing, then

endorphins would just kind of rush through

348

my body and I just feel so much better.

349

And it was like this

really powerful thing.

350

So I'm really glad that I

listened to my, myself there.

351

Gareth: Yeah, yeah, fantastic.

352

So what, what was it like

learning at the conservatorium?

353

Amelia Jones: Yeah, well, when I

told my mum that I was going to study

354

classical singing, she said to me that

And this will always stick with me.

355

Um, she was like, but, but

Millie, people call me Millie.

356

Um, but Millie, you don't even like opera.

357

You know, is what she said to me.

358

And in a, in a way that was kind of

true, I mentioned that I was obsessed

359

with like Dido's Lament, which is

from an opera, but that's more kind

360

of like early opera, Baroque opera, as

opposed to what we might perceive as

361

kind of stereotypical opera, um, from

the more like classical era, it was.

362

Tough at the conservatorium for me.

363

I was not a very popular student,

I think, with my teachers.

364

Um, and I didn't do very

well in my vocal exams.

365

In fact, I kind of got worse and

worse, you know, in terms of my marks.

366

And I think I mentioned

earlier about vibrato.

367

So there's a lot of quite natural

kind of straight tone in my voice.

368

And a lot of singing teachers

don't perceive that as healthy.

369

Um, they think that sort of a big

vibrato y sound is more healthy and

370

that's what they tried to encourage.

371

Um, and so I kind of just felt like

I was being sort of manufactured and

372

tried to they were kind of trying

to change my sound a little bit.

373

The main thing that I struggled

with is that when I would hear all

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these like incredible songs, so for

example, like German leader or French

375

melody or English art song, I would

get so excited thinking about all

376

of the tonal kind of possibilities

and that I could make with my voice.

377

Whereas I think with these kinds of

art songs, a lot of what is celebrated

378

as singers is to sort of sing them

in a very you know, like all the

379

sort of the famous recordings or with

vibrato the whole time or the dynamics

380

exactly as they are on the page.

381

But for me, I wanted to sort of add in

a bit of breathiness here and there,

382

or start on a straight tone and bloom.

383

And I remember being in a

lesson once, um, singing a piece

384

called Après un Rêve by Faure.

385

And it's the most like

exquisite piece of music.

386

In French.

387

And I get so meticulous.

388

Like I translate things and I read

between the lines and this, this one

389

line of the song, um, Goes, um, return,

return, sunlight, Revia, revia, radiosa

390

And the radiosa, I kind of started on a

straight tone, and then I was going to

391

blossom into this incredible vibrato.

392

I had it all planned out, you

know, and I was really excited

393

to sort of blow my teacher away.

394

With my artistic interpretation

of, like, oh, it's gonna, you

395

know, come up like a sunrise.

396

But she stopped the entire lesson and she

got so angry at me and said basically,

397

I just, Amelia, I just cannot conceive

of why you would sing the word radiant.

398

in a straight tone.

399

I just, I will never understand that.

400

Yeah,

401

Gareth: song, would have got better marks.

402

Amelia Jones: exactly.

403

Gareth: How

404

Amelia Jones: So, yeah, I just feel,

and this is why I'm drawn to early

405

music as well, Baroque music, is

because, and contemporary classical

406

music and the soundtrack stuff.

407

Because for me, the parallels with

Those styles is that as a performer, we

408

are allowed the freedom to interpret.

409

and we are even sort of encouraged

to improvise a little bit as well.

410

Um, especially with Baroque music.

411

So basically within a Baroque structure,

there's like an A section and a B

412

section, and then an A section that

returns and performers back in the day.

413

It's called, um, historically informed

performance practice is something

414

that I'm really interested in.

415

And, and it's basically just

performing the music as it would

416

have been performed back then.

417

And we find these things out through

sort of academic resources and,

418

you know, scribbles of remnants

of sheet music and all of that.

419

But yeah, we know that you know, with

Baroque music, the performers improvised.

420

It was just something that they all

421

Gareth: Well, you know what?

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I was going to say, you are able

to have conversations with the

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gaming composers that you work with.

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Wouldn't it be interesting if you

were able to have a conversation with

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Purcell or a conversation with Fauré?

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Whether they would have agreed with

your lecturer at the time or they'd,

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you know, they're creative people.

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Amelia Jones: Hmm.

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Gareth: I'm sure there would have

been a, a back and forth about the

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interpretation of a, a line or,

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you

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Amelia Jones: Yeah, absolutely.

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And I think that that's why it's

important to just kind of stick to your.

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individual guns as well.

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Um, of course, you know, and, and, you

know, that's not to say that I didn't have

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many teachers that really inspired me and

were very encouraging and all of that.

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I did.

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But yeah, I think it's just so

important to always remember

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what you really, really love.

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as an artist and what sends that

little tingle down your spine, you

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know, to really pay attention to that.

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Gareth: Yeah.

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Speaking of which, your individuality.

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I ask all of my guests to leave

an item and a piece of advice in

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the music room for others to find.

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So, uh, I presume you have

prepared your item and advice.

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Amelia Jones: Yes.

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I

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Gareth: first of all, what item would

you like to leave in the music room?

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Amelia Jones: have this very

cute little Hollow Knight.

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figurine.

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Gareth: Well, I'll tell you what,

Amelia, if I can take a photo,

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then I'll put this on the socials.

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Amelia Jones: That sounds

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Gareth: Because it, yeah, I

mean, we can try and describe it.

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But yeah, we'll

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Amelia Jones: Yeah.

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It's like an iron on plasticky.

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figurine.

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Oh, here we go.

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Gareth: Okay,

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Amelia Jones: So cute.

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Gareth: and that'll be

available for you as well.

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Amelia Jones: Thank you.

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And the significance of that is that

someone gifted that to me at a performance

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that I had with the London Video Game

Orchestra last year, which was amazing.

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And it kind of was just a little

reminder to me of, the impact that

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we can have on people as artists and

as musicians, and that we might not

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be aware of that impact at the time.

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But it's really special what we do.

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Gareth: Yeah.

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Absolutely.

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Brilliant.

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So that will go into the music room.

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What, can you see it?

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Amelia Jones: Yeah.

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I'm downloading it right

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now.

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Gareth: Feel free to share.

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Uh, that's all fine.

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Um,

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what advice then would you like

to leave in the music room?

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Amelia Jones: Yeah.

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So like I said, I've, you know, I've

learned a lot of lessons in a very short

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space of time with, uprooting my career.

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I think the main thing that I've learned

is that if you're not where you want to

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be, then that's not the end of your story

and you're the one in control, which is

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kind of equally scary and very liberating.

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If you're not where you want to be, then

you kind of just have to keep putting

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yourself out there and sharing with people

what you can do, because people don't know

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whether or not to sort of hire you or,

you know, whatever it may be, if they,

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if they're just not aware of what you

can do, and that's on you as a musician

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to make sure that people know that.

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And it's exhausting.

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It's going to be worth it

if you just keep at it.

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Gareth: That's brilliant advice.

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Thank you.

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Amelia Jones, it's been

wonderful chatting with you.

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Thanks so much for joining

me in the music room.

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Amelia Jones: Thank you, Gareth.

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All the best..

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Gareth: Thanks for listening to

the Music Room podcast today.

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If you'd like to know more about the

show or the community that surrounds

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it, head to music room.community.

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The link is in the show notes.