MANE: 'I love anthemic pop music'

MANE's new single What If The Love Dies? heralds the Adelaide singer-songwriter as an emerging new force in national pop music.

"My immune system decided to crash in Edinburgh and I pretty much lost my voice," says Adelaide indie pop artist Paige Renee Court, known as MANE. "I was just backstage napping before I went on."

Having just returned from a recent recording session in Los Angeles and a whirlwind thirteen date tour of the UK and Europe, Court is feeling somewhat worse for wear.

"I've been burning the candle at both ends lately," she says, "and because I've been in this funk lately. I'm like ‘hey everyone, lets go party!'".

Court has been incredibly prolific so far this year, performing to industry representatives and prospective festival bookers at the Made in Adelaide showcase at the Edinburgh Fringe.

Arts South Australia partnered with Scottish music business event organisation Born to Be Wide to showcase local talent. The showcase also featured fellow Adelaide artists Carla Lippis and Wanderers.

"Touring Europe forced me to be organised," she says. "The crowds were really receptive, just pin drop silence. I'd like to go back next year to the UK and Europe. America is a bit hard [to return to] because you have to get a visa and it's just so ridiculously expensive."

Her new single What If The Love Dies was produced in collaboration with Grammy and ARIA award winning producer Eric J, known for his engineering work on Chet Faker's breakout album Built on Glass and Flume's sophomore album Skin.

"I love anthemic kind of pop music… that's what I want to be making," Court says. "I've been listening to a lot of Lorde's new album, I think it's amazing. I think she knows all the secrets of the world."

The song itself is an exploration of desire and longing that was written in response from the personal experiences of a friend.

"For the most part it is personal, but in this case I could relate to it.  One of my friends was in a long distance relationship — the person lived here and his visa ran out and he had to go back to Argentina. They'd been together for a few years and it was all very hard. I just caught her on a day where this big thing happened and he didn't know if he ever wanted to even come back to Australia but she then decided she would go chase him."

"She was literally a mess crying to me and she said, ‘What if the love dies?,' and I thought, ‘That's a great line'."

MANE will return to Adelaide for a hometown show before performing headline shows in Melbourne, Wollongong and Sydney. As a rising new talent, Court is apprehensive but enthusiastic about the east coast jaunt.

"I'm kind of nervous, but excited. It's my first headline tour so I'm not really sure what to expect but I know I've done everything I can do. I'm looking forward to it."

Bon Iver review – gadget show becomes political and personal

It's a decade since Justin Vernon, aka Bon Iver, spent three months in isolation in a remote log cabin in Wisconsin and produced For Emma, Forever Ago, a debut of beautiful folky introspection. Two albums and collaborations with Kanye West and James Blake later, last year's more experimental, Autotune-enhanced, numerology-obsessed 22, A Million took him to No 2 in the US and UK charts. However, Vernon has felt uncomfortable with aspects of stardom and, after anxiety and depression, has expressed a desire to perform for audiences that are unfamiliar with his work.

It isn't working out. “Is anyone from Blackpool?” he asks this sleepy old seaside town, and gets the faintest chattering of cheers. Most of the audience have clearly travelled in, but it's the only awry moment as the ornate old Opera House provides the perfect backdrop for a magical evening of his music.

Last time out, Vernon was backed by so many musicians it's a wonder he could fit them all on stage. Here, it's just a drummer, a bassist who plays saxophone, and Vernon, who as well as singing and playing guitar and keyboard, tinkers with so many gadgets that he forgets to turn one of them up. “I was doing some really cool loopy stuff there,” he laughs, taking off his headphones, “that nobody could hear except myself.” This comical clanger aside, the trio prove more than adept at reproducing 22, A Million's playful sonic trickery without ever quite taking the focus off the singing or the songs. Older songs such as the hymnal Flume (for which they're joined by harpist Mikaela Davis) tap into Vernon's more traditional well of melancholy and sadness, but the new record's formidably titled 10 dEAThBReasT sounds as if he is accompanied by an Aphex Twin remix full of marching soldiers.

Lately, he has started to realise that he can use his platform as a force for change, whether personal or universal. He shouts out for the Lancashire Women's Centres – in attendance – and takes an angry jab at events in America: “People out there trying to take other people's freedoms away and that is just bullshit.” Mostly, though, he seems to be reconnecting with the simple joy of playing music for other people. “I tell you what,” he says, as songs – from his own 33 “GOD” to a stunning cover of Leon Russell's A Song for You – are met with ever louder cheering, “this – this! – is fun.”

Introducing Missy Dress – A Treasure Trove Of Bridal Accessories

Here we are in August! Can you believe it? I know that I'm definitely in shock. But, I have to admit that I've been looking forward to this feature for some time because I've got the huge pleasure of introducing you to one of my favourite accessory labels, Missy Dress. If you're looking for fabulous wedding jewellery, bridal headpieces or accessories for bridesmaids, then you're going to be so very glad that Missy Dress is a secret no longer.

Missy Dress is a multi award-winning accessory label and their collection includes over 700 designs from dainty and delicate designs to Art Deco and Old Hollywood inspired statement pieces for classic aisle style. Alongside those bridal delights, Missy Dress also curates one of the largest dedicated collections of coordinating bridesmaid accessories in the New Zealand.

Now, if you're a fan of Downton Abbey or Stricty Come Dancing, you'll have seen some of Missy Dress' designs on screen. Downton's Lady Mary wore the Vintage Wreath tiara and Strictly dancers regularly step out in Missy Dress sparkles. Missy Dress has actually been part of the wedding world since 2004 when founder Victoria Swan noted a gap in the market for beautiful yet affordable accessories. And beautiful they certainly are.

Missy Dress' collection is full of purse-friendly modern-day heirlooms' and their signature style infuses the beauty of bygone eras with a touch of modern charm. Even then most contemporary designs have a subtle vintage influence and every piece has a timeless quality. I can also speak from personal experience.

”That most common response we receive from our brides is that the quality of our jewels exceeded their expectations,”says Victoria. “We use a traditional method of craftsmanship, very similar to precious jewellery, and will only use high quality materials so the fact that our designs have an affordable price tag and yet do not compromise on quality is most definitely appealing to our brides.”

When it comes to our designs, we can be inspired by anything! There's the obvious classic black and white movies, old family photographs, past and current fashion trends etc. Then there's the not-so-obvious such as patterns on vintage homeware, the blend in colours in a beautiful bouquet – I just tend to always have my mind open to spot things that inspire me.

And there's a lot to inspire you in the Missy Dress collection. I absolutely adore so many of their headpieces and tiaras. The Delicate Pearl side tiara with its floral motif always makes me smile while the Exquisite Charm side tiara has a bygone style beauty that I just love. Pearls are always popular for weddings and the Elegance of Pearl earrings are so incredibly sophisticated – the perfect drop earrings for brides. I asked for the Pearls of Glamour necklace just last Christmas and have to say that finding that among my gifts made me so happy! It's just beyond gorgeous and whenever I wear it.

The return of office music: is it better than silence – or much, much worse?

Why not read this while listening to the soundtrack to which it was written? There is a weird video on YouTube called Stimulus Progression. What sounds like a technique developed by Alfred Kinsey is in fact 90 minutes of "music at work", released in the 1970s by Muzak, the background-music merchants. I have put it on at full blast, although I don't recommend you do the same.

For decades, it was thought that playing music in our places of work would boost morale and productivity. Before it terrorised hotel guests and shoppers, Muzak originally set out to rally workers with 15-minute cycles of slowly climaxing, terrible music. It makes me feel like Don Draper trapped in a lift. My productivity is peaking only because I want to finish and turn it off.

The BBC piped the uplifting classical music show Music While You Work into factories during the war, but work music fell out of favour among everyone but mechanics and maverick surgeons (a friend of mine recently gave birth by caesarean to the tune of Madonna's Holiday). Now, it seems, office music may be making a return.

PRS for Music, which gathers royalties for the industry, granted 27,000 licences to workplaces to play music last year – 8% more than in 2015. Anecdotal evidence is rife of the widespread streaming of Spotify playlists across desks (doing so without a licence is technically illegal, because it counts as broadcasting).

"For many people here, music is part and parcel of their life," says Karen Byrne, the chief operating officer of Zone, a digital agency in London and Bristol with 260 employees. The company has several Spotify accounts and licenses music from PRS (prices start from about £50 a year). It plays calmer music when "harmony" is required in the business and faster-tempo songs "when people are lagging".

At Tab Media, a startup news network, editor-in-chief Joshi Herrmann recently returned to the New York office to find music playing. "So many offices are silent now, because of headphones," he says. "So, if playing music means fewer headphones, I'm down."

Sven Grundberg works at Soundtrack Your Brand, a Swedish Spotify spin-off that builds playlists for companies. Their clients are mostly retailers, but enquiries from offices are becoming more common. His colleagues – about 70 of them – do not hear music at their desks ("we don't want to force it on people"), but the company plays music in communal areas, where workers can skip tracks and adjust the volume, but not the contents of the playlist. "If you let people play what they want, they play Skrillex and that just pisses everyone off," he warns. Not as much as Muzak's Stimulus Progression, Sven – trust me.

Music is at the very heart of one East End school

Stephen Moss (Why not put music at the heart of education?, 19 June) argues that music education should not be limited to private schools and children of "thrusting middle-class parents". He holds up Finland as an example. At Gallions primary school in Beckton, music is at the heart of the school. It is in a socially and economically deprived corner of east London, but the school is joyous and alive. Gallions is not a specialist music school but has successfully integrated music into the curriculum, both as a subject in its own right and as a medium through which to teach other subjects. For instance, singing supports the development of language, which is crucial, especially for our youngest pupils and the 67% of Gallions pupils for whom English is not their first language. Using number songs has proven a brilliant way to teach maths in the younger year groups.

Every child at Gallions learns an instrument – violin, viola, cello or double bass – free of charge, and many pupils take advantage of the opportunity to take an instrument home with them to practice. The school’s choirs and orchestras are simply outstanding. Pupils have gone on to win places in the National Children’s Orchestra, London Symphony Orchestra’s young talent schemes and other incredible opportunities. Learning a musical instrument is challenging, it demands fine motor skills and coordination. It develops children’s listening, thinking skills, imagination and perseverance. It brings out the very best in the children as they work collaboratively with their peers and teachers.

Performances give children a goal to work towards and great self-confidence, especially performing in front of proud parents, and has taken them to the Barbican Centre, the Royal Festival Hall and Birmingham Symphony Hall. I am deeply proud to be associated with the music programme at Gallions. At a time of cutbacks in the arts, they provide a perfect example of the value of music in the curriculum and children’s lives.