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Frazey Ford celebrates Indian Ocean album with new releases

Canadian singer had been set to perform at Black Deer In The City festival at Tobacco Dock before its shock cancellation

Singer songwriter Frazey Ford - image by Lauren D Zbarsky
Singer songwriter Frazey Ford – image by Lauren D Zbarsky

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**This interview with Frazey Ford was conducted before the cancellation of Black Deer In The City festival, which will now not go ahead at Tobacco Dock on October 25-26. All those who bought tickets should contact the organisers for a refund**

“My mum sang all the time when I was a little kid,” said singer and songwriter Frazey Ford.

“She sang harmony so she got me to sing melody, probably from when I was three years old.

“Music was just part of life growing up in Canada.

“When I was a bit older, I went through a difficult period and it was the only thing that kept me tethered to the world.

“That was when I committed to playing and singing more intentionally.

“From my early adult life I had groups including an Al Green cover band.

“The Be Good Tanyas was one of the six or seven bands I had in my 20s and that one randomly took off.”

Having met on the tree planting trail, Frazey teamed up with Samantha Parton and Trish Klein to release three albums of gothic, folksy Americana in the noughties.

“I was planting cedar, fir and pine,” said Frazey.

“If you grew up in this part of the world, tree planting is hard labour in the forest. It’s kind of like a cult, an alternative lifestyle. 

“You work hard for a couple of months, then you go to school or go travelling. It was a great way to get exposed to different things when I did it in the late 1990s.

“As a young person growing up in the mountains in a small community there were a lot of musicians but it was before social media and I didn’t know I could potentially make a living playing and singing.

“That wasn’t my plan. I just intended to find a job that would enable be to do art on the side – I knew I needed to write and play for my own wellbeing.

“It was a surprise when a band I was in took off, because it wasn’t what I had planned for at all.”

Frazey Ford is set to perform at Black Deer In The City festival at Tobacco Dock in Wapping - image by Lauren D Zbarsky
Frazey was due to perform at Black Deer In The City festival before its cancellation – image by Lauren D Zbarsky

Frazey Ford: solo artist

Frazey has continued to find success as a solo artist.

Heading in a more soulful direction in 2010, she released the album Obadiah – her middle name, chosen by her brothers in honour of a pet cat who’d run away – following up with Indian Ocean in 2014 and U Kin B The Sun in 2020.

Ahead of her London show, it’s the second of these two records that demands most attention, following the decision to release an Indian Ocean Deluxe Edition on vinyl and digital last month, a decade on from its creation.

In celebration, three unreleased covers from the same sessions are also getting a public airing.

For Frazey, it’s an opportunity to look back on a “strange, scary and surreal” time where she got to make music with some of her heroes.

“For me, bands and projects are all about different sides of myself,” she said.

“The stuff I wrote for the Be Good Tanyas is not very different from my solo work – it’s just the instrumentation that changes. 

“My parents were hippies so there was a lot of folk music around, but I also had a deep love of soul.

“When I moved away from the band, I spent more time exploring how to marry country and soul.

“More recently I’m influenced by funk.

“Sometimes things evolve and you don’t know what direction you’re going in.

“For Indian Ocean, a filmmaker and writer, Robert Gordon, reached out to me from Memphis.”

Frazey Ford's Indian Ocean Deluxe Edition - image supplied by Nettwerk
Frazey Ford’s Indian Ocean Deluxe Edition – image supplied by Nettwerk

recording in Memphis

At that time, Robert was working on a documentary on Memphis soul, which focused on Al Green and long-time producer Willie Mitchell’s creative home base, Royal Studios. 

“Robert had heard a song from Obadiah on the radio and recognised I was heading more towards soul and he emailed me to say he could set up a recording session with Al Green’s Hi-Rhythm Section – the musicians who played and co-wrote those songs I once covered,” said Frazey.

“I’ve always been obsessed with the sounds on those 1970s soul records.

“It’s the intimacy and sensitivity – the arrangements of the bands.

“You can hear everything separately but it’s all together at the same time.

“For the sessions, I didn’t just want it to be me with their sound – I wanted it to be a mid-point between the way I tell a story and the way they do.

Indian Ocean was born of that collaboration and I felt we married the sounds together – it was such an interesting experience for everyone.

“It was so strange, scary and surreal – it took me a while to feel comfortable, but they were so kind and welcoming.

“They said they had always wanted to collaborate with a country-folk musician – something they hadn’t had the opportunity to do before.”

Recorded at Royal Studios with brothers Charles Hodges on organ, Leroy Hodges on bass and Teenie Hodges on guitar – the architects of Al Green’s sound – the sessions yielded more than just the songs on the original release of Indian Ocean.

“It was wild to be with them – overwhelming and magical,” said Frazey.

“Whatever I brought to them, they responded with a lot of emotional feeling.

“I always record more than I release, and Indian Ocean was a career-defining album, so somebody suggested I do a 10-year anniversary release.

“I was poking around and found tracks that hadn’t been released, so I thought we should put out these B-sides as part of that project.

“I don’t release a lot of covers or love songs but this is a triptych – a nice little package from that era.

“About six weeks after the recording sessions, Teenie – who co-wrote Love And Happiness, one of the most beautiful songs I’ve ever heard and the reason I became obsessed with Al Green and his band – passed away.

“For this project, it was really special to go back to some of the memories of that time and to edit his parts and put out some more of his work posthumously.”

a trio of covers

The three bonus tracks listeners can now enjoy are covers of Otis Redding’s The Happy Song (Dum-Dum), Van Morrison’s Crazy Love and Ann Peebles’ Trouble, Heartache And Sadness.

“Teenie loved our version of Happy Song in particular,” said Frazey.

“That’s a big part of why I’m including these.

“It felt like I had his ghost on my shoulder saying: ‘You gotta put these tracks out’. It feels like we’re honouring him.

“I’ve been in the industry since the early 2000s, and it’s just got weirder and worse the whole time.

“It’s always been perilous and a potentially bad decision as a career no matter what, but you’ve chosen that path.

“I’m fine, I’m living a great life and getting to do what I love to do, so I don’t spend much time worrying about it.

“I ran into a friend recently and she was performing this beautiful show in a small cafe and she said that music is just music regardless, and we’re out there making art, because that’s what we do, and we’re going to do it no matter what happens.

“There might be all kinds of bullshit, but we’re still going to create things.

“Now I’m at a riper age, I get interested in other bands and young talent.

“I’ve started producing and want to help people. I’m a mum and I tend to mother these young artists. 

“There are really cute scenes with funky performers – 20-somethings – starting it all over again, and that’s inspiring.”

Frazey Ford’s Indian Ocean Deluxe Edition is out now on vinyl and digital via Nettwerk.

The three bonus tracks are only available as digital downloads.

key details: Black Deer In The City

Black Deer In The City at Tobacco Dock in Wapping, which Frazey had been due to perform at, was cancelled on October 1, 2025, after the last issue of Wharf Life went to press.

You can find out more about Frazey Ford here

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Wapping: How Festa is set to bring Portuguese wines and flavours to London

Tobacco Dock will host the inaugural gathering of winemakers, organised by Bar Douro’s Max Graham

Festa creator and Bar Douro founder Max Graham
Festa creator and Bar Douro founder Max Graham

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BY LAURA ENFIELD

As a child, Max Graham would dip his fingers in glasses of wine and port made by his family in the Douro Valley near Porto.

His passion for Portuguese food and drink followed him to school in England where he later founded Bar Douro to offer Londoners a taste of his homeland.

Now the 35-year-old has created an entire festival so those in the capital can fully submerge themselves in Portuguese flavours.

Festa, set to be held at Tobacco Dock in Wapping from June 24-25, will offer the chance to meet 54 winemakers from across Portugal, with a line-up of established names and young pioneers. 

A £35 ticket grants visitors unlimited access to the 300 varieties of wine on show with a backdrop of Portuguese food, music and crafts.

Once I get Max talking about the winemakers he has gathered for the event, he can’t stop.

“Every single one of our producers has a story,” said the Highbury resident.

“Portugal’s wine scene has been evolving at such a speed over the last 20 years and now what we’re seeing is the fruits of that. 

“There are some really cutting-edge projects exploring and expanding what Portuguese wines are. They have a character of their own.

“All of these winemakers are proud of their vineyards and their regions and they’re trying to be as true to that place as possible.”

Festa is being held to coincide with São João, a wild annual celebration in Porto, where Max grew up.

His dad, Johnny, will be in London to show off the port made by the family business – Churchill’s – which he set up in 1981 and named after his wife. 

“He was the first person to set up a port company in over 50 years,” said Max.

“But my dad’s side of the family have made Graham’s port wine in the Douro for more than 200 years.

“As a child I’d often just put my whole hand in a glass of wine at dinner – it was normal from a young age.

“I’d go to the lodges in Gaia where the wine is stored and play hide and seek in these vast rooms full of barrels.

“Every birthday, Christmas and Easter the vintage decanter would come out and you had to guess who made it and what year it was.

“I’ve got lots and lots of memories like that and, while I’m not a winemaker, I know how it all works and love tasting wine.”

Churchill's port, was set up by Max's father 40 years ago
Churchill’s port, was set up by Max’s father 40 years ago

The married father-of-two almost took another path. After completing boarding school in England, he studied for a degree in fine art and then a Masters at the Royal Drawing School.

“I was living in London trying to make it as an artist for a while and realised it wasn’t the right direction,” said Max.

“I was working at bars and restaurants and put on a big event called the Art Cellar, a mini festival of emerging art and food and then launched a pop-up for our family during  2012 to engage the younger generation.

“It was during that period I really became aware of the lack of representation of Portugal in London. 

“There was nothing reflecting the energy of Porto and Lisbon. That’s when I started building my business plan for Bar Douro.”

He launched the first bar in London Bridge in November 2016 and the second in Finsbury Park in 2020, just before Covid hit.

“The timing couldn’t have been worse,” said Max. “When lockdown happened and our restaurants closed, we said: ‘What are we going to do with this?’.

“We import a lot of wines directly from producers across Portugal, so we decided to set up a wine shop – and that quickly led into a wine club.”

The shop sells more than 100 Portuguese wines while club subscribers receive six on a quarterly basis, curated by Bar Douro’s wine guru Sarah Ahmed, who is also Festa’s co-founder.

“We had the idea for it back in 2018,” said Max. “But we were thinking about doing it in a much smaller way.

“Launching the shop and club brought us into even closer contact with the traders and we realised we wanted to put on a proper wine festival for them.

“There have been Portuguese trade fairs but never a wine festival and it was important to put the products in the cultural context, so the festival will have aspects of Portuguese culture, music, food, wine and crafts.

“It feels like we had been gearing up to this as everyone’s been at home and needs to have a bit of a celebration. The winemakers are gagging for it and I hope London is too.”

Max with wine guru Sarah Ahmed
Max with wine guru Sarah Ahmed

The event is expected to attract 3,400 people with Sarah leading four red carpet-themed tastings for rarer wines and visitors able to buy some of the wines through pop-up and online shops.

“Sarah and I chose the most exciting parts of Portugal’s wine scene, which is really exploding,” said Max.

“There are some famous wines from the 1960s, but the majority of producers have only really been working for 20 years. 

“Then you’ve got a new generation, who have worked at some of the great wine regions of the world and brought back a wealth of experience to Portugal.

“So you’ve got this really exciting melting pot of creativity and exploration.

“We don’t feel this is fully translating to the UK, so we’re trying to bring all that energy here and give those guys a platform to show their wines in London.”

Max hopes the event will change people’s view of what his homeland has to offer.

“There’s very much a preconception in the UK of Portuguese wine as being really good value, which is great but it’s also quite limiting,” said Max.

“Sometimes I don’t think people appreciate that there are some slightly higher-end wines.

“These winemakers are not holding back, they are showing the top end of their portfolio and our line up is unparalleled to anything seen in the UK before.

“It covers absolutely every single wine growing region in Portugal, including the Azores and Madeira and really obscure regions like Távora Varosa, where Titan is made to Beira Interior where Quinta Da Biaia is made.

“We’ve also got really good representation from the big areas, like Herdade do Rocim from Alentejo which is a more established company.”

Max said the experience of creating Festa from scratch has been a sharp learning curve. It has been entirely funded by Bar Douro and he is expecting to make a loss.

“But for him, it is about something bigger than profit.

“Whatever happens at the core, we know that we’ve got an unbelievable lineup and we’re doing something that hasn’t been done before, for Portugal, that we’re all proud of,” said Max.

“It might not be the most financially sensible decision, but it’s worth it for the bigger picture.

“This is an event to make Portugal bigger and better and that’s going to benefit everyone, I hope.”

MAX’S MAKERS – APPEARING AT FESTA

BIG NAMES

  • Soalheiro, Filipa Pato, Wine & Soul. 

PIONEERS

  • Niepoort: “They trained a new generation of winemakers who are now at the cutting edge of Portugal’s wine scene.”
  • Pierre de Rocimhas: “He’s really led the charge on Tahlia wine made in clay pots.”

NEW DISCOVERIES

  • Geographic Wines: “His first production’s just being boxed now and I don’t think anyone’s tried his wines before.”

YOUNG GUNS

  • Arribas Wine Company: “Based in the Trás-os-Montes, they are doing such cool wines”
  • Mateus Nicolau de Almeida: “He comes from a serious lineage of winemakers. His grandfather created Barca Velha, the most famous Portuguese wine and its makers Casa Ferreirinha will also be at Festa.”
Bar Douro
Bar Douro

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- Laura Enfield is a regular contributor to Wharf Life, writing about a wide range of subjects across Docklands and east London 
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Wapping: How The Rattle is investing in crazy in the depths of Tobacco Dock

It has 600 members from 9,000 applicants and is ‘deliberately mysterious and secretive’

Jon Eades and Chris Howard of The Rattle
Jon Eades and Chris Howard of The Rattle – image Matt Grayson

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BY LAURA ENFIELD

Something is growing in Tobacco Dock. Tucked away in one of its workspaces is The Rattle – a company that wants to give creatives the same power as tech CEOs.

Deliberately mysterious, its website and social channels are almost barren and membership is notoriously hard to come by. In five years, it has vetted 9,000 applicants and taken 600 members. 

But with founders Chris Howard, 40, and Jon Eades, 38, about to land $10million in funding for an international expansion, the subversive ploy seems to be bearing fruit. So what the hell do they actually do?

“I began investing in weird humans in 2017,” said CEO Chris. “I had this personal belief that startups are really boring and every single one was yet another Uber for olives or Netflix for donkey saddles, just the same company over and over again.

“So I gave money to musicians and authors, comedians, math olympiad competitors and psychologists. I wanted to see what happened if you joined their team for six months and, it turned out, it was really cool stuff.

“It shows if you place the same trust you would in a tech nerd in a crazy creative type, they can create something just as valuable and socially powerful as Mark Zuckerberg.”

The premise is simple, at least on the surface. Members of The Rattle pay a fee and can drop into the Wapping site anytime between 8am and 10pm. 

It comprises two small studios for writing or recording demos, a live room for up to 10 musicians, which can be used for live streaming and video shoots, and a well-equipped production room for recording and later stage production.

It sounds pretty standard, but under the surface there is much more going on.

“The Rattle is deliberately mysterious and secretive,” said Chris. “We want people to find it hard to join because it implies a certain character type. 

“It’s important to us that every member is fucking crazy and has a world view that makes you go: ‘What?’.

“Then they have to be insanely talented at something, particularly something creative, or have made something really special.

“Finally they need to have this magnetism that draws people in.”

The space includes recording facilities
The space includes recording facilities

So how do you nurture such a diverse mix of people without stifling them?

“We’re not trying to make another Abbey Road,” said Jon, referencing the studios where he worked for a decade. 

“This is a very fluid, very human environment where you are free to experiment and not count the clock or be hyper-conscious of how much it’s costing you.

“It’s a laboratory free from stress for prototyping and experimenting.”

While members casually chat, live stream, record and write, behind the scenes a team of 20 experts is busy documenting every move in order to “engineer serendipity”.

“It’s behind the scenes puppet mastering,” said Chris.

“That sounds weird, but all our members know we do this and the huge wealth of data we track allows our team to understand who needs to meet who and under what conditions. 

“Then, for around 20% of our members that move into the venture side, we have a veteran team of about 20 ex-hackers, founders, music folk and tech developers whose job it is to co-create these projects that we think can change the world and transition them into companies. That’s our primary business. 

“The last thing we do is connect the outside works into The Rattle so we curate investors and superstars that have done incredible things to come and inspire our members to be more daring and break as many rules as humanly possible in a safe and responsible way. 

“Our entire mission as a company is to help the next generation of artists, hackers and inventors become disruptive founders.

“We think they are the ones who change society and the economy and we want to make sure this category of human has a chance.”

The co-founders have very different roles, defined by their obviously contrasting personalities and the diverse paths they took to find each other.

“Day to day, Jon focuses on getting the machinery working well together,” said Chris.

“My job is to make sure the right humans are in the mix from a team point of view and that the people who give us money don’t have too much influence over what we do. So I’m kind of like the shield and Jon’s the sword.”

Neither can keep a straight face at this point but while Chris guffaws with laughter, Jon gives a wry grin. 

He grew up playing in orchestras, studied music and sound engineering at the University Of Surrey and pretty much walked straight into a technical role at Abbey Road Studios.

He went on to discover a  passion for startups and launched Abbey Road Red, an incubator for tech entrepreneurs. Meanwhile, Chris was the council estate kid with a music A&R dad who he defied to become a moderately successful singer-songwriter. 

But believing he was “too shit or too ugly” to make it work, he jacked it in and, on completing a degree in physics and a Ph.D in computational physics, ended up across the pond at MIT conducting research into the online psychology of motivation and social influence “because why the hell not?”.

He spun this into tech company Libboo, which identified audience trends and helped a thousand authors sell their books.

But when it began to fail, alongside his marriage, he landed back in England at Tobacco Dock, as MD of the UK arm of MassChallenge, a global network for entrepreneurs.

It was through their shared passion for music and startups that the two finally crossed paths. 

“Having the Abbey Road business card meant I attracted a lot of people and one of those was Chris,” said Jon. 

“Most people don’t forget their first meeting with Chris and I certainly didn’t. He just tells it how it is and suffers the bullshit less than some.

“As a young founder if you have a meeting with Chris, you get the truth and sometimes it stings.”

Chris said: “I just sent Jon a random email saying: ‘Hey, you don’t know me but…’ He had his guard up, but I decided to just keep trying and finally he invited me in.

“I just had the impression that he thought: ‘Urgh another one desperate to be involved’. So I just thought: ‘Fuck it, I’m not going to sell myself I’m just going to say what I think’.

“Fair to say I didn’t play it cool. I’m not cool.”

They kept in touch as The Rattle first took root and, when it secured its first investment at the end of 2017, Jon decided it was time to leave the “safe haven” of Abbey Road and follow his “entrepreneurial urges”.

“That’s how The Rattle started officially – on February 9, 2018,” he said. “It was a quick turnaround and at this point Chris decided to get married and go on honeymoon to Thailand.”

Chris, who now lives in Bath and juggles jetting round the world with parenting, laughs gleefully at this point and shortly afterwards dashes off unexpectedly once again to do a pitch to an investor.

“Man on the ground, Jon, notes his business partner has a “love-hate relationship” with raising funds, but his brilliance at doing so should soon land them enough cash to launch the next phase of The Rattle.

The Rattle began with 50 founding members
The Rattle began with 50 founding members

Jon, who lives in Peckham, said it started with 50 founding members as “an experiment” and they had made tonnes of mistakes along the way, but by the end of 2018 had raised $2million, which allowed them to open a second location in Silverlake, Los Angeles, in March 2020. 

“Most people remember that week,” said Jon.

“I got the last flight back as America was closing its borders and we had to put a blanket over it for four months, but our founding members all stuck with it and so did the London crowd.

“There is this real feeling of belonging and being chosen.”

That nurturing environment is now evolving into an ecosystem that he wants to see spread across the world.

“In 2019, we started to explore the notion of venture building where you join someone’s team, temporarily, parachute in and leverage everything you have to help them.

“The other people who tend to provide that sort of thing in music are managers, labels and lawyers.

“Our offering was such a breath of fresh air and we were amazed by the results – that’s become the seedling of everything we have done since. 

“Really what The Rattle is today is a venture studio where we can explain our world view about drawing on expertise from the startup world and approach funding in different ways to see how it can benefit them.

“Once you have built that trust you can partner with them and now we are taking long-term positions with people.

“They stop paying us and we take a bit of ownership and hope in five years they become profitable.”

Today it has 75 members per location and has started roughly 25 ventures that it thinks will help change the world.

“It’s not about trying to become famous and high numbers,” said Jon. “Streaming only really makes sense for the Ed Sheerans and Dua Lipas of the world. 

“But if you really know who you are and how to engage with high-value fans, there’s real money to be made and a social impact that really affects people’s lives.

“We are the first ones who have found a way to show people a different path, which is all about behaving like a founder, taking responsibility and not handing over control to people prematurely and being taken advantage of. 

“If members choose to interface with the existing industry then so be it – we are not anti-label – but we want people to do it from a position of strength so they know what they are getting involved in.”

The Rattle is structures so it shares in members’ profits

Everything The Rattle does is on an equitable basis. They never touch revenue or rights, but become shareholders, so are the last to get paid if there is any profit.

“That means we can give honest advice because if we screw the artist we are screwing ourselves,” said Jon.

“Although we are down every month from a cash flow perspective, we are signing more and more equitable agreements with people, so the assets we are accumulating are increasing. 

“At the moment, we are trying to close out $10million, so that’s really exciting and we’re also trying to lead the way by doing a crypto raise, which is attracting more new investors.

“Having that money will mean we can refresh our spaces, maybe even move to new facilities and set-up New York and one or two more within the next couple of years and for the first time be on the map as a real challenger. 

“We have been this scrappy outsider so far, but now it is really starting to come together and we can start to challenge some of the bigger record companies and offer the best people a real alternative.”

ON THE RADAR

Broaden your horizons with members of The Rattle:

“Instead of signing a record deal he formed a limited company, sold shares and raised £150,000,” said Jon.

That enabled him to explore business models and he grew a super fan community using WhatsApp and other platforms and built his whole operation around figuring out what they were interested in buying from him and being quite high touch about it.

He isn’t very famous, but he has built up a really solid business.”

“Created a platform that allows people to create immersive 3D experiences really easily so musicians can perform inside interactive worlds and make live streaming less dull. They are just closing out a big round of investment.”

Feed Forward

“Using AI to improve music search and retrieval, which sounds quite boring but is quite impactful.”

“They call themselves high five hip-hop. It’s throwback 1990s where they are quite irreverent and write songs around topical themes. They did one for World Bee Day. They have built up a core of fans and throw house parties with beer pong and Super Nintendo.”

“British psychedelic band trying to revive that golden age of the 1970s. Saw other bands doing it and incited a whole lifestyle around tie-dye and slow living.”

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