Amelia Jones talks about moving to the other side of the world, singing on gaming soundtracks and doing things her way

Gareth: 00:00:00

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

th of April,: 2024

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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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: 00:17:07

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.

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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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: 00:17:21

of crossover and reinvention and doing

things that are a little bit different.

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: 00:17:26

so yeah, that album was

really quite good for me.

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: 00:17:30

And then, you know, also we listened

to a lot of Led Zeppelin at home and

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: 00:17:34

a lot of Handel's Messiah and the

Beatles when I sort of really started

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: 00:17:39

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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: 00:17:54

Did that then lead on very naturally

to the training, the lessons?

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Amelia Jones: not really.

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: 00:18:01

I did take some lessons and I got really

involved in sort of musicals at school

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: 00:18:06

and I played clarinet and I played piano.

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: 00:18:09

Um, but in terms of sort of deciding.

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: 00:18:12

I'm going to be a singer that came when

I was about sort of 19 or 20, which seems

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: 00:18:18

quite, quite early in retrospect, but I

did sort of waste a little bit of time

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: 00:18:24

attempting a law degree for a year before

I decided that I was going to sort of take

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the plunge and, and go to a conservatory.

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: 00:18:34

And there are so many reasons for that.

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: 00:18:36

I remember hearing Lament by Purcell for

the first time, and it kind of hit me like

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: 00:18:45

nothing had ever really hit me before.

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: 00:18:47

Um, I just found it so powerful.

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: 00:18:48

And then I, and then I heard Jeff

Buckley singing it and I was like,

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: 00:18:53

that's really cool, you know?

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: 00:18:54

And I think all these little puzzle

pieces, um, as well as me kind of joining

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: 00:18:59

a choir when I was studying my law degree

and that sort of being the only kind of

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: 00:19:04

like, respite and safe haven and magical

place for me, um, in that time that kind

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: 00:19:13

of made me realize, yeah, when I was in

that choir, I was like, I really just

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: 00:19:18

need to sing because you just never really

know what life is going to throw at you.

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: 00:19:23

And I could just feel like, and I

should mention as well, at that time

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I'd moved from Wales to Australia.

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By myself when I was 18.

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: 00:19:32

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

family behind and it was all sort of very

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: 00:19:36

dramatic and there was a lot of change

and I really did feel like, you know,

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when I would start to hum or sing, then

endorphins would just kind of rush through

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: 00:19:48

my body and I just feel so much better.

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: 00:19:52

And it was like this

really powerful thing.

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: 00:19:53

So I'm really glad that I

listened to my, myself there.

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: 00:19:57

Gareth: Yeah, yeah, fantastic.

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: 00:19:58

So what, what was it like

learning at the conservatorium?

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: 00:20:04

Amelia Jones: Yeah, well, when I

told my mum that I was going to study

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: 00:20:08

classical singing, she said to me that

And this will always stick with me.

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: 00:20:12

Um, she was like, but, but

Millie, people call me Millie.

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: 00:20:15

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

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: 00:20:17

You know, is what she said to me.

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: 00:20:19

And in a, in a way that was kind of

true, I mentioned that I was obsessed

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: 00:20:25

with like Dido's Lament, which is

from an opera, but that's more kind

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: 00:20:29

of like early opera, Baroque opera, as

opposed to what we might perceive as

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: 00:20:33

kind of stereotypical opera, um, from

the more like classical era, it was.

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: 00:20:39

Tough at the conservatorium for me.

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: 00:20:41

I was not a very popular student,

I think, with my teachers.

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: 00:20:44

Um, and I didn't do very

well in my vocal exams.

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: 00:20:49

In fact, I kind of got worse and

worse, you know, in terms of my marks.

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: 00:20:54

And I think I mentioned

earlier about vibrato.

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: 00:20:57

So there's a lot of quite natural

kind of straight tone in my voice.

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: 00:21:01

And a lot of singing teachers

don't perceive that as healthy.

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: 00:21:06

Um, they think that sort of a big

vibrato y sound is more healthy and

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: 00:21:10

that's what they tried to encourage.

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: 00:21:12

Um, and so I kind of just felt like

I was being sort of manufactured and

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: 00:21:17

tried to they were kind of trying

to change my sound a little bit.

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: 00:21:21

The main thing that I struggled

with is that when I would hear all

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: 00:21:24

these like incredible songs, so for

example, like German leader or French

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: 00:21:28

melody or English art song, I would

get so excited thinking about all

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: 00:21:32

of the tonal kind of possibilities

and that I could make with my voice.

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: 00:21:38

Whereas I think with these kinds of

art songs, a lot of what is celebrated

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: 00:21:44

as singers is to sort of sing them

in a very you know, like all the

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: 00:21:51

sort of the famous recordings or with

vibrato the whole time or the dynamics

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: 00:21:56

exactly as they are on the page.

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: 00:21:58

But for me, I wanted to sort of add in

a bit of breathiness here and there,

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: 00:22:02

or start on a straight tone and bloom.

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: 00:22:04

And I remember being in a

lesson once, um, singing a piece

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: 00:22:08

called Après un Rêve by Faure.

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: 00:22:13

And it's the most like

exquisite piece of music.

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: 00:22:16

In French.

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: 00:22:17

And I get so meticulous.

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: 00:22:19

Like I translate things and I read

between the lines and this, this one

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: 00:22:23

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

return, sunlight, Revia, revia, radiosa

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: 00:22:36

And the radiosa, I kind of started on a

straight tone, and then I was going to

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: 00:22:41

blossom into this incredible vibrato.

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: 00:22:43

I had it all planned out, you

know, and I was really excited

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: 00:22:46

to sort of blow my teacher away.

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: 00:22:50

With my artistic interpretation

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

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: 00:22:54

know, come up like a sunrise.

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: 00:22:56

But she stopped the entire lesson and she

got so angry at me and said basically,

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: 00:23:02

I just, Amelia, I just cannot conceive

of why you would sing the word radiant.

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: 00:23:09

in a straight tone.

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: 00:23:10

I just, I will never understand that.

400

: 00:23:11

Yeah,

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: 00:23:15

Gareth: song, would have got better marks.

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: 00:23:20

Amelia Jones: exactly.

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: 00:23:22

Gareth: How

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: 00:23:23

Amelia Jones: So, yeah, I just feel,

and this is why I'm drawn to early

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: 00:23:27

music as well, Baroque music, is

because, and contemporary classical

406

: 00:23:31

music and the soundtrack stuff.

407

: 00:23:34

Because for me, the parallels with

Those styles is that as a performer, we

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: 00:23:39

are allowed the freedom to interpret.

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: 00:23:42

and we are even sort of encouraged

to improvise a little bit as well.

410

: 00:23:47

Um, especially with Baroque music.

411

: 00:23:49

So basically within a Baroque structure,

there's like an A section and a B

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: 00:23:54

section, and then an A section that

returns and performers back in the day.

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: 00:24:00

It's called, um, historically informed

performance practice is something

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: 00:24:04

that I'm really interested in.

415

: 00:24:05

And, and it's basically just

performing the music as it would

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: 00:24:09

have been performed back then.

417

: 00:24:10

And we find these things out through

sort of academic resources and,

418

: 00:24:15

you know, scribbles of remnants

of sheet music and all of that.

419

: 00:24:19

But yeah, we know that you know, with

Baroque music, the performers improvised.

420

: 00:24:25

It was just something that they all

421

: 00:24:26

Gareth: Well, you know what?

422

: 00:24:26

I was going to say, you are able

to have conversations with the

423

: 00:24:30

gaming composers that you work with.

424

: 00:24:33

Wouldn't it be interesting if you

were able to have a conversation with

425

: 00:24:36

Purcell or a conversation with Fauré?

426

: 00:24:39

Whether they would have agreed with

your lecturer at the time or they'd,

427

: 00:24:43

you know, they're creative people.

428

: 00:24:45

Amelia Jones: Hmm.

429

: 00:24:46

Gareth: I'm sure there would have

been a, a back and forth about the

430

: 00:24:50

interpretation of a, a line or,

431

: 00:24:52

you

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: 00:24:53

Amelia Jones: Yeah, absolutely.

433

: 00:24:55

And I think that that's why it's

important to just kind of stick to your.

434

: 00:24:59

individual guns as well.

435

: 00:25:02

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

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

436

: 00:25:06

many teachers that really inspired me and

were very encouraging and all of that.

437

: 00:25:10

I did.

438

: 00:25:11

But yeah, I think it's just so

important to always remember

439

: 00:25:14

what you really, really love.

440

: 00:25:16

as an artist and what sends that

little tingle down your spine, you

441

: 00:25:20

know, to really pay attention to that.

442

: 00:25:23

Gareth: Yeah.

443

: 00:25:24

Speaking of which, your individuality.

444

: 00:25:27

I ask all of my guests to leave

an item and a piece of advice in

445

: 00:25:30

the music room for others to find.

446

: 00:25:32

So, uh, I presume you have

prepared your item and advice.

447

: 00:25:36

Amelia Jones: Yes.

448

: 00:25:37

I

449

: 00:25:37

Gareth: first of all, what item would

you like to leave in the music room?

450

: 00:25:40

Amelia Jones: have this very

cute little Hollow Knight.

451

: 00:25:43

figurine.

452

: 00:25:45

Gareth: Well, I'll tell you what,

Amelia, if I can take a photo,

453

: 00:25:50

then I'll put this on the socials.

454

: 00:25:52

Amelia Jones: That sounds

455

: 00:25:53

Gareth: Because it, yeah, I

mean, we can try and describe it.

456

: 00:25:57

But yeah, we'll

457

: 00:25:57

Amelia Jones: Yeah.

458

: 00:25:57

It's like an iron on plasticky.

459

: 00:26:00

figurine.

460

: 00:26:02

Oh, here we go.

461

: 00:26:03

Gareth: Okay,

462

: 00:26:04

Amelia Jones: So cute.

463

: 00:26:05

Gareth: and that'll be

available for you as well.

464

: 00:26:07

Amelia Jones: Thank you.

465

: 00:26:08

And the significance of that is that

someone gifted that to me at a performance

466

: 00:26:12

that I had with the London Video Game

Orchestra last year, which was amazing.

467

: 00:26:17

And it kind of was just a little

reminder to me of, the impact that

468

: 00:26:21

we can have on people as artists and

as musicians, and that we might not

469

: 00:26:24

be aware of that impact at the time.

470

: 00:26:27

But it's really special what we do.

471

: 00:26:29

Gareth: Yeah.

472

: 00:26:30

Absolutely.

473

: 00:26:31

Brilliant.

474

: 00:26:32

So that will go into the music room.

475

: 00:26:33

What, can you see it?

476

: 00:26:37

Amelia Jones: Yeah.

477

: 00:26:38

I'm downloading it right

478

: 00:26:39

now.

479

: 00:26:40

Gareth: Feel free to share.

480

: 00:26:41

Uh, that's all fine.

481

: 00:26:43

Um,

482

: 00:26:44

what advice then would you like

to leave in the music room?

483

: 00:26:49

Amelia Jones: Yeah.

484

: 00:26:49

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

learned a lot of lessons in a very short

485

: 00:26:53

space of time with, uprooting my career.

486

: 00:26:55

I think the main thing that I've learned

is that if you're not where you want to

487

: 00:27:01

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

and you're the one in control, which is

488

: 00:27:08

kind of equally scary and very liberating.

489

: 00:27:11

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

you kind of just have to keep putting

490

: 00:27:15

yourself out there and sharing with people

what you can do, because people don't know

491

: 00:27:20

whether or not to sort of hire you or,

you know, whatever it may be, if they,

492

: 00:27:24

if they're just not aware of what you

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

493

: 00:27:29

to make sure that people know that.

494

: 00:27:31

And it's exhausting.

495

: 00:27:33

It's going to be worth it

if you just keep at it.

496

: 00:27:36

Gareth: That's brilliant advice.

497

: 00:27:38

Thank you.

498

: 00:27:39

Amelia Jones, it's been

wonderful chatting with you.

499

: 00:27:42

Thanks so much for joining

me in the music room.

500

: 00:27:44

Amelia Jones: Thank you, Gareth.

501

: 00:27:45

All the best..

502

: 00:27:53

Gareth: Thanks for listening to

the Music Room podcast today.

503

: 00:27:56

If you'd like to know more about the

show or the community that surrounds

504

: 00:27:59

it, head to music room.community.

505

: 00:28:01

The link is in the show notes.