Audrey Bridgeman started playing piano at age 8 and drums at age 14 under the tutelage of her late father, legendary Irish drummer, Noel Bridgeman. She studied drums/percussion in Havana, Cuba with some of the top players from the Afro-Cuban tradition. Audrey’s songwriting comes from a rhythmic perspective and is influenced by a range of genres, although she claims blues as her roots.
In this interview spotlight, I chat with Audrey about the latest music, surviving the lock downs, technology and more.
Full Q&A along with links and music below.
Where are you from and how do You describe your style of music?
I’m from Dublin, Ireland. My music is a melting pot of different styles as I cover a wide range of genres being a drummer first. To elaborate a little bit, as a drummer I have had to learn many different styles/listen to many different genres of music in order to develop my drumming vocabulary so to speak and really play to a high standard. Furthermore, a jobbing musician will have to play different gigs usually and cover different genres. This requirement has informed my songwriting and hence my music is a fusion of many styles and very rhythmic. If I were to describe it, it is mainly roots – so a fusion of blues, soul, rock and reggae.
How did you get here? As in, what inspired or motivated you to take on this journey through music and the music biz?
It’s in the blood. My late father was a legendary Irish drummer and well-respected in the industry. He started his career with Gary Moore in Skid Row (the original one, founded by Brendan Shiels) and went on to play with many well-known musicians and artists such as The Waterboys, Jackson Browne, Steve Earle, Van Morrison to name a few. Skid Row were managed by Fleetwood Mac’s (Peter Green era) manager and had a deal with CBS but they got ripped off big time. I think many artists got ripped off in the 70s – sadly that is the way it was for so many talented people. Well, Skid Row supported the Allman Brothers in the Fillmore I recall my Dad telling me and they shared the stage with Led Zeppelin at some gig during their time in the States (Robert Plant and John Bonham were at a Skid Row gig). Phil Lynott (Thin Lizzy) also started his musical career in Skid Row and obviously the band was instrumental in launching Gary Moore’s solo career.
So, my Dad is my main inspiration for playing music. I started playing drums when I was 14 under his tutelage. I had been playing piano since the age of 8 and wanted to try a different instrument. He was a master drummer really and had great respect for and knowledge of the roots of drumming – i.e Africa. So he instilled that in to me at a young age – to know and learn where rhythms originate and to try play very rhythmically. Sounds a bit funny that when talking about drums – like obvious. But, really it’s about thinking about what you’re playing as opposed to showboating, overplaying etc. He had me listening to Elvin Jones, Art Blakey, Bernard Purdie, Al Jackson, Tony Williams, for him they were the best. My Dad was also a great singer and loved blues music. He also had a great interest in Afro-Cuban rhythms because they are African rhythms originally and well, Africa is the motherlode. I spent some time studying drumming and percussion in Cuba and learnt a lot from the masters there. There are amazing musicians in Cuba – the standard is very high.
Well, a couple of years ago I had some ideas for songs and decided to explore and develop those ideas. The result is my debut album – FIRE IN YOUR SOUL – which is out on 22nd April and an independent release. I funded the project myself and, of course, it wouldn’t have come together without the talents and generosity of all the wonderful musicians who contributed to/played on it.
How does your latest project compare/contrast with your previous release(s)? Were you setting out to accomplish anything specific, follow a specific theme, or explore different styles of creation?
This is my first album release and it all started with just three musicians – myself, my late father and the bass player Tommy Moore in the shed at the back of my parent’s house. We then recorded in a great little studio in the countryside – Journey’s End with Mark Reddy at the helm. Gradually, the other musicians (Ed Deane, Gerry Hendrick, Frank Mead, Zeenie Summers, Mika Onodera, Antonio Cafolla, Ronan Dooney and James Delaney) came on board and the project was completed. So, it was very organic and really produced on a shoe-string budget. No one was thinking of money, just participating and enjoying the process. Plus, it’s a real honor that the musicians wanted to play on the album as they are seasoned professionals with years of experience. Mike Scott, of The Waterboys, very generously mixed my second release – ON YOUR OWN TERMS – at the request of my Dad. The songs are all originals and all unique – I suppose the album reflects my own musical journey.
Name the biggest challenge you faced as a creative during these unprecedented? How did you adapt? How have you kept the creative fires burning during all this?
The biggest challenge is having to delay the release of the album in order to play live but that’s ok I can wait until April. It gives me more time to prepare. There were some delays in terms of finishing the album – the majority of it was developed and recorded pre-Covid, but there were delays once the pandemic really kicked in. However, the joy of modern technology meant that some of it could be recorded remotely in London, for example. The sax and trumpet players recorded all of their parts from home studios. In terms of keeping the creative fires burning, I have more material for a second album – most of the drums and bass are already recorded so I have great rhythm tracks to work with and have lots of ideas to develop. I can also record the drums myself on some new material. I do a lot of practicing – woodshedding – in the evenings and weekends. It’s the only way to improve and I find it keeps me spiritually connected to my Dad as it is continuing what he taught and instilled in me. It is good to be disciplined and dedicated. Also, I have to practice/play for my well-being, it is essential for me.
What was the last song you listened to?
Aretha Franklin – Honest I Do by Jimmy Reed from the Spirit in the Dark album (track 5). My Dad used to sing this song and I recently found Aretha Franklin’s version – I love it, I’ve been playing it over and over. I think it was recorded in Muscle Shoals. It’s so important to listen to the masters. Aretha Franklin’s piano playing and phrasing is unbelievable. She will always be the best.
Which do you prefer? Vinyl? 8-tracks? Cassettes? CDs? MP3s? Streaming platforms?
I prefer Vinyl. I have a decent amount of vinyl – you can’t beat it. I’m old-fashioned in a way I suppose. I’m looking at Santana Abraxas album cover during this interview – the artwork is amazing (Mati Klarwein). Not to mention the music! Those latin rhythms!
Where is the best place to connect with you and follow your journey?
Social Media is the best place to connect.
The links are:
Facebook: https://www.facebook.com/audreybridge21/
Instagram: https://www.instagram.com/audreybridgeman21music
Twitter: https://twitter.com/@bridgemaudrey/
Links to bandcamp/distrokid:
https://audreybridgeman.bandcamp.com/track/fire-in-your-soul
https://audreybridgeman.bandcamp.com/track/on-your-own-terms-2?from=fanpub_fnb_trk
Brighter Future, my next release, is available as a pre-save at the moment here
https://distrokid.com/hyperfollow/audreybridgeman/brighter-future
I really appreciate Your time. Anything else before we sign off?
My next release is called BRIGHTER FUTURE and is about the importance of acknowledging our collective history to strive for a brighter future. It has a mellow vibe, a great groove and some exciting guitar and sax solos. I’m looking forward to performing it live as I know it will really go down a storm! In fact, my music is really designed for live performance. I hope that there will be plenty of opportunities to perform the music for people. I think ultimately there is nothing like a live gig. Thanks so much.
