Reviews
The Age / Sydney Morning Herald, April 2021
★★★★☆
"Treading delicately through experimental territory towards something resembling jazz-tinged folk, Bramham’s voice leads us assuredly through her surrealist landscape. Her observations are intense, detailed and lovingly described, with double bass a mainstay, flanked by piano and percussion."
- Jessie Cunniffe, April 2021
The Age / Sydney Morning Herald, September 2018
★★★★☆
“The imagery is so stark and striking as to routinely hook you into the songs in an almost rapturous state, so that, hanging on what the next word/line/image will be, you find yourself drawn into the equally imaginative music, Bramham's voice, guitar and mandolin joined by Adam Spiegl's guitar and bass and Justin Olsson's drums.”
- John Shand, September 2018
ALLABOUTJAZZ.COM, JULY 2018
★★★★☆
"Bramham has created an album that, while it is possible to identify reference points, is not quite like anything else you will hear this year. It is also very, very good and as such is highly recommended."
- Phil Barnes, July 2018
All About Jazz, December 2016
"A hugely ambitious debut album based around the months of the Czech/Slavic calendar, its themes of birth, renewal and death was jazz in spirit, executed by an extremely promising singer-songwriter."
- Phil Barnes, December 2016
All About Jazz,August 2016
★★★★☆
"Bramham and her band have made a fine record of forward looking modern vocal jazz that shows a way to make interesting, lyrically inventive improvised music—let's just hope that the world is listening."
- Phil Barnes, August 2016
Interviews
Interview with Jason Heath for Contrabass Conversations podcast, May 2021
“Erica Bramham just released Enamel, her third album and her first self-recorded release. We talk about how the pandemic inspired these compositions, what it was like shooting the music videos for this album, what the pandemic has been like for her in Melbourne, thoughts on future projects, and such more.”
Interview with Jason Heath for Contrabass Conversations podcast, September 2019
“Erica Bramham is a critically acclaimed vocalist, multi-instrumentalist and composer from Melbourne, Australia. She has recently taken up the bass and has been studying with Anita Hustas. For her, playing the bass has been a uniquely challenging experience, and one that she has become deeply passionate about.”
INTERVIEW WITH AUSTRALIANJAZZ.NET, FEBRUARY 2018
"... Each day’s work was recorded and shared through social media, in a gesture of brutal honesty that shed light to the creative process, the struggle, the joy, the inspiration, the limitation, the block. At times, you could almost feel the labour pain associated with crafting a song and the emotional cost that it has. ..."
- Nikos Fotakis, February 2018
Interview with Rehearsal Magazine, February 2017
"... I think a lot of musicians (myself included) spend too much time trying to become the kind of musician we think others want us to be, rather than figuring out the kind of musician we want to be and working towards that goal instead. ..."
Interview with Ben Turner, February 2017
Ben Turner and Erica Bramham chat about perfectionism with the creative process, inner dialogue, people pleasing and Erica's song-chain project.
Interview with Australianjazz.net, July 2016
"... my love of lyrics plays an important part in my personal voice, as it’s become quite clear now that lyrics, stories and poetry are what inspire me to create. While studying jazz at the Victorian College of the Arts in Melbourne, this made me feel quite inadequate, but there was a point when I stopped comparing myself to all the great bebop singers and embraced my own way of making and enjoying music. ..."
Published articles
Establish a mutual mentor relationship with your mates.
CUTCOMMON MAGAZINE, APRIL 2018
"... A mentorship can also exist between two people at similar stages in their careers, and can be just as valuable as working with a more established mentor. Each participant brings different strengths and ideas to the table, and when managed well the relationship can be a source of support, accountability, and inspiration. ..."
ARTSHUB, FEBRUARY 2018
"... If you have ever suffered from a creative block chances are you’ve Googled for something to pull you out of the slump. Inspirational quotes are easy to find, and generally run along the lines of 'sit down and do the work, and you will work yourself out of the block'. This is great advice, but what happens when 'sit down and do the work' is just not enough? ... "
CUTCOMMON MAGAZINE, JANUARY 2018
"... The real lesson of this project is that these ‘failures’ are not really failures. They are learning experiences, first drafts, temporary interruptions, opportunities to be creative in different ways, and signs that you need some time away from your work. ..."
Popular blog posts
I’m just about to reach my three year anniversary learning and playing the double bass. I asked myself some of the questions beginner-me would have liked to know the answers to when just starting out.
In 2020 I took my music off Spotify, Apple Music and the other major streaming services in a moment of angry retaliation. Now, as I prepare to release my third album Enamel, I have found myself torn between standing by that boycott, and wanting to give my music the best chance of being heard by people who will connect with it and want to engage with more of what I do outside of streaming platforms.
Until the Covid-19 crisis really took hold I had been taking an extended break from online life. I’d come to the conclusion that my relationship with social media was almost identical to my relationship with alcohol, and like alcohol I found moderation almost impossible. It was far simpler to abstain completely. I have tried setting many different rules around my use of social media, but like trying to drink only three days a week, or stopping after one glass of wine, the willpower involved in enforcing these rules is exhausting, and the times when the object of your addiction gets the better of you become a source of shame and anxiety.
Alcohol had become, for me, a way to find the old fashioned drive that the internet destroyed when it stole our attention spans and turned our personal interactions virtual. Drinking was a reason to sit down and work, or a reason to leave the house and connect with others. Without the romance of alcohol, creative activities are simply work, yet the work is the essence of the thing.
A year ago I decided on a little bit of a whim to give learning the double bass a try. What began as a curiosity quickly hooked me, and suddenly I was in a very serious and committed relationship with the most difficult instrument I have ever attempted to play.
I’ve been thinking a lot recently about the cycle of creative work. In my own creative life I seem to go through distinct phases, and rather than each phase co-existing I cycle through them, usually to a point of burnout, triggering an abrupt departure from one phase to the next.
I have been attempting to unpack this cycle, to try and understand it better, and I think it can be best divided into three phases: Practice, Creation and Promotion.
I have been working on a series of career development articles for CutCommon magazine, to be published in the lead up to my album launch at the Paris Cat on May 6.The first article, about establishing a mutual mentor relationship with a friend or creative colleague, has just gone live:
https://www.cutcommonmag.com/how-to-make-the-most-of-your-friends/
2017 was my first year as a completely freelance musician, however I kind of crashed my way into it without really thinking about how challenging it would be.
8 things I learned after selling 90% of my possessions (plus a couple of regrets)
“I had stored these dreams of the future me in labelled plastic tubs: wools, silks, cottons, linens, rayons, shirting, crepes, velvets, voiles. They contained the lives I would have lived, places I would have visited, friends I would have made.”