Emma-Jane Thommen – UK to LA

From upbeat, mysterious funk to sweet, emotional soul – Emma-Jane Thommen has it all. This Gigmor artist has mastered strong range of style, and with each song, she tells her story with her smooth, simple harmonies. Perfect, limited accompaniment grooves with her in every song, and her sounds are easy on the ears – perfect for a long car rides or even meditation! Listen to her performing her original “Running with my Eyes Closed” at the Greek Theater in Los Angeles.




Emma-Jane has performed at some pretty notable venues around the world. A few of these venues include the Pyramids in Egypt, many US and UK festivals, on board the Queen Mary II on a cruise to New York, as well as at LA’s Greek Theater opening for Norah Jones & Corinne Bailey Rae. Watch this moody performance of another on of her original songs, “Open Eyes,” at The Hotel Cafe in LA.



She enjoys writing her own music, but also loves has quite a knack for covering songs. She covers many different artists but her recordings are always infused with her unique mysteriousness and sentimentality.  Her melodies are dark, beautiful, and smoky, and keep listeners hooked, as she evokes something in sound much deeper than her lyrics. Watch this artsy video with her chilling cover of Nina Simone’s “Feelin’ Good.”



Emma-Jane is currently stationed in LA, and performing regularly at Hollywood’s famous music venue, The Sayers Club. She is also on her way to a milestone moment, as she’s currently working on a soon-to-be-released EP with Elton John’s Rocket Music in London & LA. If you’re in London or LA, check her page for gigs and definitely look out for her to try to see her in concert; from her videos, it sure seems like she is a marvel live. Watch this last clip of her performing her original song, “Halfway House” at the Sayers Club.



What You Need to Know: Spotify and SoundCloud Might Elope

It’s with hushed voices and dashing glances that most discuss the tumultuous love affair that exists between streaming music sites and the modern music industry.

The argument is complicated, detailed, layered — all around heavy. On one end of the argument, artists and musicians are in arms against the streaming music sites. Taylor Swift and Thom Yorke live on that end, petitioning against the low, low royalties that most artists (especially the independent or young ones) manage to accept. It’s not unwarranted criticism. The up and coming artists of the present, past, and future have to find other places now to find money to continue their craft. CD sales are nearly nonexistent. The cool kids still buy vinyls, sure, but that’s still an unreliable market. Because of the market that music streaming sites like Spotify, Tidal, and Apple Music have created, musicians must rely on merchandise and touring in order to make a living off the actual buying and selling of their records.

SoundCloud is (was), in many ways, no better than Spotify. It wasn’t until recently that they made strides in aggregating a credit card bearing, paying audience of users. Until very recently, when the in-between advertisements became too obvious and annoying to its users, did SoundCloud make strides in producing paying customers.

But I’d argue that SoundCloud was never the place for paying customers. I would argue that SoundCloud is, and I wishfully hope will remain, the random, difficult to navigate streaming music site filled to the brim with random 30-second tracks of something your skinny cousin made in his basement. SoundCloud was a haven for those just getting started, the easy to access music streaming site that required very little to put your podcast, songs, or mixes up on a website. Independent artists thrived in SoundCloud. Without SoundCloud finds, our world wouldn’t have Jai Wolf or Chainsmokers or Ryn Weaver (to name just a few). If SoundCloud is acquired, the hope of the one in a million chance dies evermore.

My opinions aren’t absolute. When and if Spotify acquires SoundCloud, very little will change for artists. The schema that they currently work within is already perilous, low-paying and competitive enough. I hope instead that the market fills the empty void left behind by SoundCloud with something similar (or better). Some functioning avenue for the quiet, closeted artists of the future who need the powers of the Internet to find, augment, and broadcast what talent they may or may not have. I am nervous for the impending acquisition because of the loss of faith it may incur. I fear for the little man, those less lucky than Jai or Ryn, who may never be found as a result of these changes.