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Four albums deep and on the promo run for his latest LP, W.ants W.orld W.omen, this week SoulCulture caught up with a certain Mr Andwele “Dwele” Gardner.

He needs little introduction; something of a figurehead for today’s Soul music – “neo” or otherwise – the Detroit-based singer, songwriter and producer became a staple voice in the next soul wave ever since his first single “Find A Way” dropped in 2003 from his debut release on Virgin Records, Subject.

Today’s subjects are the pros and cons of being accessible online – namely, how the singer reacts to blunt fan feedback on Twitter and how social networking sites present useful opportunities for him to connect with those who’d like to work with him, with no other means of contacting him.

He also talks about his feelings on watching the current sagas among his friends and several time collaborators Slum Village unfold publicly online.

But first, we start with the new album….

SoulCulture: Can you outline the concept of your new album, W.ants W.orld W.omen?

Dwele: The concept of the album W.ants W.orld W.omen is broken up into three sections.

The W.ants section is like my alter ego where I get to do things slightly outside of myself musically on that section of the album. I always say that part of the album is for me but I think you’ll enjoy it, it’s really just me having fun with music.

The W.orld section is like my audio time capsule of the things that have been going on. Capturing the feel of the economy. I feel like it’s our job as artists and as vocalists to capture that climate, the way that Marvin did it, the way that Donny did it back in the day. So that 15-20 years from now people know exactly what was going on in the economy – and a lot of people aren’t doing that musically nowadays.

Then you have the W.omen section and that’s the baby making music and the feel-good music for the woman.

So with this album it’s trying to cover all the bases , I’m trying to create cover different avenues so that if I want to make a political album one day I can because people are used to the idea now. Or if I wanna do a Hip Hop album… I’m trying to branch out to a few different things with this album.

SoulCulture: How does this album feel different to your previous?
Dwele: With this album right here, it’s a little different because all of the past albums I never really did too many guest features other than Slum Village. Here I felt people know enough what my sound is, that it’s a good time for me to bring on other people, other features.

This time around we have Raheem Devaughn, Slum Village of course, I got an artist out of Detroit – Monica Blaire - she’s ridiculous vocally, we got David Banner, DJ Quick - so I stretched out more on this album.

Also this album is a little bit different from past albums because I’m taking on a few different topics – there are a few songs on there that are a little bit more political, and that’s something that I’ve always wanted to do but never really had the platform to do that on.

SoulCulture: Your Raheem Devaughn collaboration was nice, I know you’ve worked together before but this is the first time he’s appeared on you albums. How did it come together this time?

Dwele: Raheem reached out first for his album, “Nobody Wins The War”. It’s like “We Are The World” 2010. After that I thought, ‘This is as good a time as any’ to bring him on and make it happen. Since we had just worked together we were already in communication.

SoulCulture: In terms of the other people you collaborated with, Slum Village aside, were they already friends?

Dwele: I met DJ Quik in 2003 when I was working on the Subject album and very time I went out to record with G1 for ‘Find A Way’, ‘Know Your Name’, ‘I’m Cheatin’ – every time I went out to record these songs Quik always came to the studio and we always talked about working – but always did more kicking it than work. This time around I sat down and talked to him about it and we made it happen.

Monica Blaire is somebody that I’ve known for a while, she’s also from Detroit. We’ve always talked about working too so this was the perfect opportunity. That’s how ‘Detroit Sunrise’ came about.

David Banner actually reached out to me through Twitter. We made a connection through Twitter. He told me he was listening, I told him I was listening. so we decided to work. It was anther barter deal – I did something for him, he did a joint for me. I most definitely look forward to working with him in future. He’s crazy.

SoulCulture: Does that happen a lot in general – have you made particular development in your career as an artist through online networking?

Dwele: Yeah, most definitely. Via Twitter, via YouTube, I’ve actually had a few offers to do videos and things like that. That’s something I most definitely wanna start doing – as of late I really haven’t had the time to jump on any projects or take on any of those projects because of touring, but once things slow down a little bit that’s something I’ll want to get into.

SoulCulture: Are you pleased with how fans have received your album?

Dwele: The reception so far has been great. People notice that it’s a different me from the past albums and the majority of the things that I’m seeing, people are really gravitating towards it; they’re loving it.

Of course you can’t please everybody all the time – I’ve seen people that just say, “Nah, I’m not feeling it. I liked Some Kinda or Subject better,’ but some people just wanna hear the jazz or the laid back Dwele. Some people just wanna hear the club Dwele.

You can’t please everybody all of the time and I understand that, but for the most part with this album it seems like people are more into it than not.

SoulCulture: Has anything you’ve read particularly stung? Does it affect you?

Dwele: It used to affect me when I first got into the game. People can be cold sometimes! I think it used to affect me. Right now it doesn’t affect me as much as it used to. I mean, I read it and I say, ‘Ooh, wow’, then I move on. For the most part it’s been good though.

SoulCulture: Going back to your collaborations… Obviously Slum Village are going through a bit of controversy this month, with Elzhi seemingly having left the group. Having worked with them for so long, is it hard for you to watch this publicly when they’re people you respect and work with?

Dwele: Yeah, it does hurt. When I first saw it surface on Twitter it really upset me to see – I’m not calling any names, but – grown men on a public platform kind of bashing their friends or people that they grew up with – and publicly making our unit not look united.

I think that’s really what it’s all about, it’s about how people see us. They can either see us as a unit, connected or they can see it as having beef within the family. I believe every family has it’s beef but I think it’s important that we handle our dirty laundry behind closed doors.

The fact that it was done publicly on the net and on radio stations and got broadcast and sent around the world for people to see a dysfunctional side? I think that was beyond. I don’t think it needed to be done. They could have handled it – they could have called each other and handled it like that. I think it was grown men acting like high-schoolers, that’s what that looked like to me. It hurts me to see that happen but unfortunately it does happen.

SoulCulture: I know a lot of people feel the same way. At least there weren’t videos this time [unlike the Little Brother/9th Wonder dispute earlier this year]… You’ve obviously still got love for them both, will there be loyalty issues working with each of them [T3 and Elzhi] in the future after this split?

Dwele: I work with them, I been working with them in the past, I’ll work with them in the future. Most definitely I feel like that has to calm down. I don’t wanna become any type of middle man. I’m gonna wait until they suss that out before I do anything, but everybody in the camp I’m still cool with. I respect their art, we’ll work.

SoulCulture: On the business side of your music, are there significant differences to your experience as an artist now that you’re signed to E1 compared to when you were with Virgin?

Dwele: I call E1 (formally Koch) a major independent record label, wherein you get some of the major label push or distribution but it’s still independent, meaning I can do my own thing. I can do what I feel, I don’t feel pressure from anybody to dress a certain way or make a certain song. I think that’s a beautiful thing and that’s really what the music business has turned into; it’s really not about major labels anymore.

SoulCulture: So what’s next? Have you thought about the next record or are you focused on promoting this one?

Dwele: Right now I’m just focused on touring. I think I’m always gonna work on albums, I never really stop making music so whenever I’m at home I’m recording and trying to fill up that vault with ideas and with music. So when it does come to time to create an album, half of the work is already done. That’s always the plan.

SoulCulture: My final question… When the so-called “Neo-Soul” explosion happened about five years ago, D’Angelo and Erykah were seen as the figureheads. I’d say you’re still one of the main names people refer to do define today’s soul, neo or otherwise. Is that something you’re comfortable with? Do you get that reference a lot?

Dwele: Yeah, I see a lot of that – people referring to me as Neo-Soul. The title neo soul doesn’t hold the same weight that it used to. Truthfully I would just call it soul music.

I think my music kinda varies… I think I have songs on my album that are more Neo-Soul then I have songs that are more Hip Hop, or R&B… So I would rather be called a Soul/R&B cat, I think that’s a little bit more of a broad horizon. I think when you’re considered Neo-Soul… It pigeonholes you.

- But if I get called Neo-Soul I don’t mind that! It is what it is… I’m not mad at it.

Dwele’s new album W.ants W.orld W.omen is out now via E1 Music.

‘…They say I’m hopeless; as a penny with a hole in it…bah,bah, bah, bahbah, bah, bah…’

Anyone remember the ‘Love Jones’ soundtrack? With contributions from Maxwell, Groove Theory, Xscape, the Refugee Allstars featuring Lauryn Hill and Jermaine Dupri protégée Trina Broussard (whatever happened to her promising career?), I recall the OST being better than the (rather pretentious) film itself starring Nia Long and Larenz Tate, as is sometimes the case.

Apart from Hill’s classic ‘The Sweetest Thing’ perhaps the most popular song from the soundtrack was ‘Hopeless’ by ex-Arrested Development member Dionne Farris. My mum’s work colleague dubbed a cassette copy of the OST back in 1997. It got played a lot in my household and ‘Hopeless’ was always one of the tunes I’d rinse. Heard it on internet radio this morning and thought it more than worthy of a nostalgic post. Thanks to the ever faithful MsHoneyChile for uploading it onto Youtube. Hers is a great channel to visit if you’re hankering to reminisce on obscure-ish 90s soul/R&B tunes. Enjoy.

London-born, Bournemouth-raised, singer-songwriter Louise Golbey works hard, very hard. Without a record company or even management behind her she has over the years steadily built a solid reputation on the live scene as one to watch. All this has been achieved whilst holding down a part-time job. Still, the hectic schedule hasn’t taken its toll on Louise’s disposition. The ever-genial songstress exudes even more warmth off-stage than she does on.

Golbey’s musical journey seemed to have been written in the stars. She comes from a long line of entertainers; a grandfather who played violin for silent movies, a pianist uncle, a mother who’s an amateur vocalist and a multi-instrumentalist father. Louise herself first treaded the boards at six years old having been exposed to musical theatre by her mum. Meanwhile her Hip Hop loving brother was introducing little Louise to pioneers such as De La Soul and her interest in soul music was piqued by her parents’ Motown collection.

In the midst of this she was also getting to grips with learning the piano. Yet a significant amount of time passed before singing became Louise’s focus. As a child and during her teens, dance was her main creative outlet. She studied ballet, tap, modern, jazz and street dance. ‘I actually thought I’d be a dancer… It was always a battle between my singing and dancing; what was strongest.’

Life gave Louise a gentle push towards the path she was eventually to take, however. Whilst studying French and Drama at University she started gigging to earn extra cash. She sang and danced throughout the year she spent in France as part of her course. Shortly after moving to London on finishing her degree, an acquaintance set Louise a challenge she couldn’t resist.

‘The reason I’m pursuing [singing] today is because a friend of mine used to put on a night for artists at different stages of their career. I did a show for her; a set of Jazz covers. She said “I’d love you to do another show for us but the point of the night is [to do] original material. Do you have any of your own stuff?” ’

Louise had written a few songs but they were yet to be tested on the public. Nevertheless, not one to pass up an opportunity, on her friend’s suggestion Golbey decided to showcase what she had at the next event. This audacious move paid off when she got a very encouraging response from the audience. ‘We had just a 15 minute set and it went really well. It was quite a moment singing my songs for the first time. So then I just started booking gigs and writing more stuff and it kind of spiralled from there’. Louise remains eternally grateful to her friend for being the unwitting catalyst for her musical career. ‘Every time I see her I say, “It’s because of you I’m doing this”!’

Recently, the mighty British institution that is the BBC has taken Louise under its wing. This most felicitous patronage got started when DJ Ras Kwame picked up on future classic ‘Same Old, Same Old’ and played it on his ‘100% Home Grown’ show. Its irresistible, undulating groove caught the attention of the listeners, beating off Mercury Prize winner Speech Debelle to become track of the week.

It’s been a rollercoaster ride of festivals and airplay ever since, Louise explains. ‘[They have] just been so supportive of me. I got to do Glastonbury on the BBC stage. I’ve been played on 1Xtra, 6 Music and Radio 1. I got invited on 1Xtra to Ronnie Herel’s show …’ At the start of 2010, Louise was also asked to record three of her tracks at the BBC’s famous Maida Vale studios, behind-the-scenes-footage of which is available on YouTube:

To garner such coverage is quite an impressive feat for anyone let alone a one-woman marketing machine. What are the most taxing aspects of being an independent-artist-cum-manager according to Louise? ‘It is hard work, balancing a day job four days a week and being out on the circuit every night. The admin takes a lot out of you, booking your own gigs and sorting out stuff. The PR side of it is hard on your own [too]. There’s only so much you can do and only so many avenues you can reach.

‘But I’ve got this crazy passion and determination which just keeps me going. Every time I get close to something, I’m like “It’s so worth it”. I’ve [also] got people around me like my brother, fighting my corner. It’s exciting and I quite like being in control of it.’

Louise’s foursquare approach to her art also extends to her work ethic in the studio. ‘I’m very hands on. I really like to be involved in the process. Some artists give their track to producers and let them get on with it whilst I like to be involved in every decision’.

In this regard, Golbey has found a kindred spirit in Drew Horley - producer for the likes of childhood heroes De La Soul as well as Estelle, Roots Manuva, TY and Nate James to name a few – with whom Louise frequently collaborates. ‘We do have really similar ideas. He’ll do something and I’d be like “That’s Amazing” or I’ll suggest something and he’d say, “I was just thinking that.” He’s brilliant to work with, so talented.’

Prior to working with Horley, Louise only had acoustic recordings of her material. He has helped her make the successful transition from a purely unplugged feel. ‘I was always looking for someone to work with who would help me create a sound I was really happy with. The tracks I’ve done with him hit the nail on the head with [what] I’m trying to find.’

Louise counts Ella Fitzgerald and Nina Simone amongst those who have impacted her craft. But whatever you do, don’t call her a jazz singer. ‘I’m trying to steer away from the Jazz title. The music I’m making is soul and I don’t want to be pigeon-holed in a kind of Jamie Cullum/Jazz way. I love what he does and he’s really talented but I’m trying to make soul music’.

She admits, nonetheless that the two genres have a shared musical history which is apparent in some of their modern day proponents. ‘Erykah Badu definitely crosses the jazz vocals over the Soul/Hip Hop thing. The sound I’m going for is Neo-Soul. I use Erykah and D’Angelo as a reference for what I want production-wise.’

It’s somewhat ironic that Louise is happy to embrace the Neo-Soul label; a term one of her icons, Badu, reportedly dislikes. Golbey is surprised to learn of this aversion. In any case, she maintains an open attitude regarding the whole categorisation debate.

‘Sometimes I might be writing new stuff and someone says “That’s got Pop-cross over [appeal]”. I’m like “Ooh, Pop? No!” But that’s good surely? You don’t want to remain underground. I enjoy performing at a lot of soul nights but hopefully my stuff fits a multi-genre night as well. It’s a good sign if I do a multi-genre night and people come up to me saying they like the stuff. That means it does cross over.’

With the exception of John Legend, Louise is sweetly patriotic when it comes to her future collaboration wishlist, keen to join forces with fellow Brits. ‘I’d love to work with Omar – his voice is just something else – and Vula (Louise has previously been a support act for both). Vula’s a good friend of mine. Her voice is incredible. There’s a singer called J’nay, he’s amazing. His voice is a cross between Bilal and Al Green. We do a lot of the same gigs and we’ve often performed together on stage. I actually said to him the other week we have to write a song together. We respect each other musically.’

Strangely enough, despite currently working on an ‘album’s worth of material’, Louise is not in a hurry to actually release one. ‘Physically I’d like to have something and call it my album but I’m also aware that I want to keep the momentum up. I want to just keep having stuff out on iTunes. People don’t necessarily buy albums anymore; they buy the singles [online]. I’m not going to spend too much time worrying about an album per se. I just want to have singles ready to go.’

Louise Golbey – How It Is (EP)

Golbey has witnessed some significant milestones in her career within the last year alone. Besides playing Glastonbury and supporting soul legends in concert she also formed part of the line-up for the opening night of the world-renowned London Jazz Festival at the Barbican in November 2009, performing with a full band in her own one-hour slot. On the back of this alone she has been asked to play some dates in Moscow this summer. Still, there’s one feather in her cap that Golbey is eager to attain.

‘My goal is to go on Later…with Jools Holland. It has always remained as a benchmark. I think the show is the only one now that has got that respect. If you get invited on, that’s a big deal. Who knows if it’s do-able?’

For someone as determined as Louise? Anything is possible.

–Tola Ositelu

Photography by Neil Raja for SoulCulture

www.louisegolbey.com /Blog / MySpace / Facebook / @LouiseGolbey

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Pop open the celebratory drink of your choice. After news of the spate of 1990s soul/R&B groups making a comeback of late, surely one of the most welcome is that of the original line-up of Groove Theory, the ludicrously good-looking duo comprised of Bryce Wilson and Amel Larrieux.

Group manager Jimmy Rosemund recently stated…

“They haven’t worked together in so long, and like most groups that break up, they’ve come into their own, so it’s almost like sharing that spotlight again, but it’s coming along…’

Click here for a very good article on the reunion which deservedly gives credit to GT for being forerunners of the Neo-Soul movement, a contribution for which they have not been properly acknowledged.

Brilliant but underrated, GT’s self-titled debut album is amongst the finest to be released that decade. Larrieux remains one of the most highly-regarded female vocalists in my book. However her solo material, as inspired as it is in places, has never quite matched the creative dynamism she shared with Wilson. So very excited about the new project. Heck I’d be happy for them just to tour with the old songs. And just to remind us of how great they are, here’s their breakthrough hit ‘Tell Me‘- sounding as good today as it did 15 (yes, I’m getting old) years ago.