Stac

Off-kilter, soulful songstress Stac delivers a unique blend of intoxicating harmonies, stunning live instrumentation and intricate songwriting that belies her years.

Influences include Lewis Taylor, Jamie Lidell, Erykah Badu and red wine, all of which (especially the latter) can be heard within the myriad of layers of her much loved and highly original soulful sound. Stac effortlessly blends classic soul, folk, jazz and much more contemporary sounds to produce something truly special both live and on record.

Having been thrown out of school at the age of 14 for setting fire to her music teacher (he didnt meet her unusually high standards) the artist formerly known as Stacey Dowdeswell somehow managed to wangle a scholarship to the infamous Brit School (an institution that has so far managed to churn out the likes of Winehouse, Nash and Jamie Woon) and her path in life, it seemed, was set.

After graduating, Stac garnered gainful employment in none other than Wah Wah 45s favourite distributors (and possibly the only company of its kind left in the UK at the time of going to press) Kudos Records. It was here that she first came to the attention of Messrs Servini and Goss, and after leaving Kudos and enjoying a spate living the drug induced life of a music television producer, things really started to happen for this young lady. A chance meeting in a kebab shop in Leeds with musical genius Prod led to a fruitful partnership and the creation of such underground hits as Balls Bounce, Tip and (who could forget) the deceptively entitled Sure Aint Good.

The much anticipated full length debut, Turn That Light Out, was released June 21st 2010, and includes guest appearances from Matthew Halsall, Heritage Orchestra strings, a full 12-piece choir, Magnus Dearness from The Hackney Colliery Band, Dan Clark of The Hat fame, Scimshire (who also produced the album) and ten magnificent songs recorded live in the studio and engineered by Ben “Nostalgia 77” Lamdin.

“On first listen Stacey Dowdeswell could be mistaken for one of the many generic post-Adele, post-Corinne, post-Amy retro soul singers that increasingly clog up the industry. But as this album progresses, a deeply idiosyncratic way with song-structure, a backing band who aren’t short of funk, and an unselfconscious charm become clear. By the time it hits track eight, the aptly-titled “Glory”, you’ll be hooked.” Joe Muggs, theartsdesk.com

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