Lonelady

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Lonelady was born Julie Campbell in Manchester, and graduated in Fine Arts, before deciding to become a musician. She is an independent woman who has created a sound that is retro but modern, and uniquely hers. While singing in her terse manner, the flame-haired singer aggressively plucks at her guitar. She has taken punk, a genre that was considered dead and gone, and breathed her own special life into it.

Quite early on in her music career, this self-styled woman decided that being part of a band was not really her bag. She much preferred stepping out on her own. She spends hours alone just tinkering on her keyboard and writing her own material.

The indie singer started her musical career by making four-track recordings in 2004, using only her voice, her guitar and her drum machine. Filthy Home Records released her first single, Hi Ho Bastard/Fear No More, in the summer of 2005. It drew rave reviews, and Campbell played solo gigs in and around Manchester, with Lonelady ticket holders experiencing a unique and intriguing live show.

Campbell then hooked up with two other musicians, drummer Oid and China Tom, who plays keyboards, and they became a trio. Eventually Lovelady abandoned the project, preferring to work as a solo artist.

Signed to Warp Records, Campbell began working on her first album. The debut album Nerve Up was released in February 2010. She was helped to engineer the project by Guy Fixsen, producer of My Bloody Valentine and Stereolab. The album was recorded in an abandoned mill on the outskirts of Manchester, and was completed in just a few weeks. Paul Morley, the respected and influential music journalist, reviewed the album very favourably.

Campbell lists REM as one of her main influences, and says that you can hear echoes of them in the older songs on the album. When she goes on the road, Lonelady tour tickets are snapped up quickly.

She is outspoken about the label ‘female’ being attached when describing her. She says that at no time is an artist who is a male described as a male singer. Campbell states that men patronise women in the music business, and that artists should not be appreciated for their gender, but by their talent.

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