My Music Podcast — Graham Coath with Jordon Anthony

In this episode of My Music, Graham Coath sits down with Australian singer-songwriter Jordon Anthony for a lively, honest and often very funny conversation about what it really takes to build a music career.

Originally from Australia and now spending time writing in Nashville after a period in LA, Jordon talks about the reality of building the right creative team, finding his people in songwriting rooms, and why the best sessions can feel almost effortless when the chemistry is there. He also opens up about the less glamorous side of the industry, including the pressure of followers, viral moments and trying to stay grounded when music and social media are constantly pulling in different directions.

There is plenty of warmth in this one too, from stories about growing up in a loud musical household, to the role his parents still play in shaping his confidence and judgement, to the artists who continue to inspire him, including Ed Sheeran, Lewis Capaldi, Michael Jackson and Stevie Wonder.

Jordon also shares what is next for him, including work on his debut EP, the search for the right tour to join, and the excitement of releasing music that feels true to who he is as an artist. The episode also spotlights his latest single, Wrong Impression, which he describes as a big, emotional, cry-in-the-car-in-the-dark kind of song.

This is a conversation about music, ambition, vulnerability, voice, family, finding your people, and staying true to yourself while the industry keeps asking for more.

A thoughtful and entertaining episode with an artist who is clearly growing into his sound.

In this episode of My Music, Graham Coath sits down with London-born singer-songwriter Col Gerrard for a conversation that moves well beyond the usual music interview.

Col’s approach to music is grounded in something increasingly rare—classic songwriting, emotional honesty, and a deep respect for real musicianship. Influenced by soul, classic pop and timeless artists, his work reflects a life shaped by movement, experience, and reflection.

The discussion weaves through the making of his self-titled debut album—an introspective twelve-track record that explores the complexity of relationships, miscommunication, longing, and the quiet weight that love can leave behind. As Col shares, these songs were written in hindsight—an attempt to make sense of moments that didn’t fully land at the time.

Recorded across iconic London studios including Abbey Road Studios, Metropolis Studios and Kore, the album was produced by Grammy-nominated Chris Potter (known for work with The Rolling Stones, U2 and The Verve). Together, they’ve created a piano-led, emotionally charged sound—blending soulful vocals, organic instrumentation, driving guitars and a subtle sense of nostalgia that feels both cinematic and accessible.

Alongside the album, Graham and Col explore:

• Why true musicianship still matters in a world of AI and sampling
• The irreplaceable energy of live performance and imperfection
• The tension between technology and human expression
• How songwriting often reveals meaning long after the moment has passed

There’s also a strong thread throughout the episode about creative identity—why artists shouldn’t feel boxed in, and how the best music often comes from allowing space for instinct, experimentation and even the unexpected.

Having recently toured with Boyzlife and building momentum following radio support and a sold-out Camden headline show, Col Gerrard is carving out a space that feels both grounded and quietly confident.

At its core, this episode is about rediscovering the human side of music—where feeling, craft and lived experience still lead the way.

There’s something quite fitting about a band forming just as the world was coming back to life.

In this episode of My Music, Graham Coath sits down with Rodrey and James from The Rogues — a band shaped by lockdown reflection, long-standing friendships, and that familiar pull back to music when everything else stops.

Starting life in the aftermath of COVID, The Rogues found their sound not through strategy, but through instinct. Years of playing, stopping, starting again… and then finally coming together at the right time.

What comes through in this conversation is honesty.

About the reality of being a band now.
About balancing creativity with the pressure to be “strategic.”
About chasing that 20-second hook without losing the soul of the song.

Their sound sits somewhere between indie roots and pop sensibility — melodic, simple in the best way, and full of those little earworms that stay with you longer than you expect.

But beyond the music, this is a conversation about building something properly:

A loyal audience.
A real community.
Not just followers… people who actually care.

From newsletters and Instagram groups to upcoming tours across the UK and Ireland, The Rogues are doing the work — quietly building momentum, one connection at a time.

There’s also talk of:

– The strange shift from albums to singles and strategy
– Why simplicity in songwriting is often the hardest thing to achieve
– Misspelling their own band name more times than seems possible
– And the ambition to step onto bigger stages… without losing what makes them work

With a new EP landing on 24th April and more music already waiting in the wings, this feels like a band on the edge of something.

Not forced.
Not manufactured.
Just… ready.

If you’re interested in how modern bands are navigating music, audience, and identity — this one’s worth your time.

My Music Podcast – Graham Coath with Rick McMurray (Ash / Burned As Witches)

In this episode of My Music, Graham Coath sits down with Rick McMurray to explore the raw, personal journey behind his solo project Burned As Witches.

Best known as the driving force behind Ash, Rick steps out from behind the drum kit and into a completely different creative space—writing, performing, and producing every note of a record that leans heavily into darker tones, big riffs, and uncompromising honesty.

What begins as a conversation about the album quickly opens into something deeper. Graham and Rick reflect on:

• The meaning behind Burned As Witches—less about history, more about judgment, metaphor, and modern-day “crucifixion”
• The influence of classic rock and metal—from Led Zeppelin to Black Sabbath—and why that sound still matters
• Recording instinctively and resisting overproduction in an age of AI and digital perfection
• The emotional thread running through the album, shaped in part by loss, memory, and creative independence

There’s also a candid look at what it feels like to front a band for the first time—juggling vocals, guitar, and presence—and the strange, almost out-of-body experience of stepping into that role after decades as a drummer

Beyond the music, the conversation moves into something Graham often returns to—communication.

Together, they explore truth, perspective, and why real human conversations still matter in a world increasingly shaped by algorithms, noise, and one-way thinking

This is a conversation about music, yes—but also about identity, creativity, and staying connected to something real.

Burned As Witches is available digitally, with a limited vinyl run handled personally by Rick himself—keeping the DIY spirit firmly intact.

My Music Podcast – Graham Coath with Joan As Police Woman

In this episode of My Music, Graham Coath sits down with Joan Wasser — a quietly influential force in modern music whose work has always lived somewhere between intimacy and experimentation.

Twenty years on from her debut Real Life, Joan returns with Real Life Evolution — not a nostalgic revisit, but a living document of how songs grow, shift and deepen over time. As she explains in the conversation, this new record captures “how the music has changed over the last 20 years… a continuation of the same dialogue.”

What unfolds is less an interview and more a shared exploration of music as a form of communication.

Graham and Joan talk about:

• Music is an ongoing conversation with yourself and the world
• The tension between autonomy and community in modern life
• Why live performance still feels like one of the last true shared human experiences
• The discomfort (and necessity) of looking back at your own work
• How stepping away from noise and platforms can protect creativity

There’s a noticeable thread throughout — that everything Joan creates, whether solo work or collaborations with artists like Iggy Pop or Damon Albarn, is part of one continuous expression rather than separate projects.

The conversation also touches on the making of Real Life Evolution, including the stripped-back, intimate recordings of Flushed Chest and The Ride, where Joan’s vocals — often recorded at home — bring listeners closer than ever to the source of the songs.

At its core, this episode reflects something Joan puts simply:
Music is connection.

Not performance.

Not content.Connection.

My Music Podcast – Graham Coath with Bea Elmy Martin

In this episode of My Music, Graham Coath sits down with one of the UK alternative scene’s most quietly compelling voices, Bea Elmy Martin.

London-born and carving her own lane, Bea’s music doesn’t shout for attention. It draws you in. Ethereal vocals, brooding electronics and a kind of emotional precision that feels less like performance and more like presence. As Graham puts it early on, it’s the kind of music you find yourself returning to when you need to feel grounded… or just a little more at peace

What unfolds is less an interview and more a conversation about feeling.

They talk about:
– Growing up on soul greats like Stevie Wonder and Aretha Franklin, and how that shaped Bea’s ear for emotion
– Writing as a form of journaling… turning overwhelming moments into something tangible
– Festival memories, community, and why music still feels almost spiritual when it’s shared live
– The reality of finding your voice as an artist… including the very honest truth that the first songs are usually terrible
– The balance between creating for yourself and not getting pulled off course by outside noise

There’s a warmth to this conversation that mirrors Bea’s music. Moments of humour, stories about early gigs and Glastonbury, and reflections on what it actually takes to keep creating when everything around you is pushing for speed, visibility and instant results.

Bea also opens up about her recent work, which includes  Anouk — a deeply personal track that captures friendship, distance, and emotional growth in a way that feels both intimate and expansive.

This is an episode about patience. About trusting your own process. And about the kind of artistry that doesn’t rush… but stays with you.

A thoughtful, human conversation with an artist who is building something real, one song at a time.

MyMusic Podcast – Graham Coath in conversation with Dean Connelly (Directed By Dean)

What happens when you turn the tables on a podcast host?

In this episode of MyMusic, Graham Coath sits down with Dean Connelly, the voice behind the Directed By Dean podcast, to explore the stories behind the storyteller.

Dean is used to asking the questions. This time, he’s answering them.

From his early love of film (sparked by watching Alien far too young) to building a podcast that has quietly become one of the highest-rated in its category, this conversation moves through creativity, curiosity, and what it really means to stay consistent in a noisy world.

Along the way, they explore:

• Why Dean started podcasting—and why he almost didn’t
• The evolution from scripted interviews to natural, unscripted conversation
• The role of film history in shaping modern storytelling
• Soundtracks, composers, and the emotional weight of music in film
• The balance between professionalism and personality when interviewing guests
• Why the best conversations often happen when the plan disappears

There’s also a deeper thread running through this episode…

A shared understanding that great conversations—whether about music, film, or anything else—aren’t about ticking boxes. They’re about creating space.

Space for stories.
Space for craft.
Space for people to be heard properly.

If you’re interested in film, podcasting, or simply how good conversations are built, this one is worth your time.

What happens when an album refuses to stay in the past?

In this episode of MyMusic, Graham Coath sits down with Jonny Collins of Modesty Blaise to explore the 25-year anniversary reissue of Melancholia — a record that never quite had its moment in the UK… until now.

This isn’t just a re-release. It’s a restoration.

Jonny shares the story behind bringing Melancholia back properly — returning to the original analogue tapes, remastering with modern clarity, and finally presenting the album as it was always intended. What emerges is something unusual: a record that feels both of its time and strangely current.

The conversation moves through:

• The idea of albums as complete journeys, not just collections of songs
• Why some records get lost… and why they deserve another life
• The tension between perfection and humanity in music production
• The role of imperfection — broken strings, analogue limitations, and “happy accidents”
• Whether AI can ever replicate the meaning behind music, not just the sound

There’s also a deeper thread running through it all — legacy.

This is about unfinished business. About giving a body of work the space it never had. And about what it means when music reconnects with people decades later, in a completely different landscape.

If you care about albums, storytelling in music, or the difference between something made… and something meant — this one’s worth your time.

Melancholia (25th Anniversary Reissue) is released April 24th on streaming platforms, with additional releases to follow.

This episode of MyMusic introduces an artist whose journey into music feels both familiar… and refreshingly grounded.

Skylar Herter joins Graham to talk about growing up surrounded by performance, creativity, and music — with a childhood shaped inside her mother’s theatre and dance school, and a natural pull towards singing from an early age.

What unfolds is a conversation that moves beyond the usual “becoming a pop star” narrative.

Skylar shares how her relationship with music has evolved — from early inspirations like Somewhere Over the Rainbow to writing her own songs, often drawn from personal experiences and everyday emotions.

But what stands out is her perspective.

Rather than chasing a single outcome, she talks openly about building a portfolio life — where music sits alongside teaching, photography, design, and creativity in its widest sense.

In this episode, you’ll hear:

• How growing up in a creative environment shaped her approach to music
• The shift from “big pop star dreams” to a more balanced creative life
• Why songwriting is more about understanding yourself than impressing others
• The difference between writing on guitar vs piano — and how it changes the feel of a song
• The reality of creating in a world driven by social media (and how she navigates it)
• The story behind her latest release, inspired by changing friendships

There’s also a thread running through the conversation around creativity without pressure.

Not everything needs to become a career.

Not everything needs to scale.

Sometimes it’s about building something that fits your life — not the other way around.

A thoughtful, honest conversation with an artist who is still early in her journey, but already clear on what matters.

🎵 Listen now and discover Skylar Herter

MyMusic with Graham Coath | The Fini Tribe Anthology (with Dave Familler and Chris Connelly)

This episode takes a different turn.

Graham is joined by Dave Familler and Chris Connelly, two musicians whose story doesn’t follow the usual script. This isn’t about chasing charts, building audiences, or “making it.” It’s about what happens when music comes first… and everything else is secondary.

At the centre of the conversation is the release of the Fini Tribe anthology—a body of work that captures a time when music was created without templates, expectations, or much in the way of resources.

What unfolds is a reflection on a very different kind of creative environment.

A time where bands rehearsed relentlessly, built instruments from whatever they could find, and treated music less like a product and more like an occupation. Where ideas were explored for hours, not optimised for algorithms. Where community existed in shared rehearsal spaces, not online platforms.

There’s humour throughout—stories of ponies in gardens, chaotic recording setups, and pushing boundaries (sometimes too far). But underneath it is something more considered.

A question about what has changed.

When did music become more structured, more commercial, more defined by outcomes?
And what might have been lost along the way?

This conversation explores:

• The difference between creating music and building a music “career”
• Why limitations often lead to more originality
• The role of community in shaping sound and identity
• How spontaneity and experimentation created something lasting
• Whether modern music culture leaves enough space for discovery

It’s not nostalgic for the sake of it.
It’s reflective.

And for anyone making music—or creating anything—it offers a reminder that sometimes the most important work happens when no one is watching, no one is measuring, and no one is telling you how it should be done.