Tag: Rider

RIDER Interview

The lively playful persona of RIDER is merely an entry point into her eclectic musical world.

At the centre of the American born singer, songwriter and musician’s work is melody.

A graduate of the Liverpool Institute for Performing Arts, RIDER exudes positivity whether she is presenting synthwave tinged pop, emotive soulful ballads, AOR or something a little bit more indie.

Her style is hard to pin down but with the Trans-Atlantic timbre in her voice and her lyrics referencing life changing experiences, her larger than life personality is the key to her eternal optimism and desire to move forward.

Having maintained a successful career as professional session singer on TV and radio with clients including Disney, Netflix, Volvo and the BBC, RIDER began releasing her own solo singles in 2017 with the best one being ‘Tell Nobody’.

With the bouncy sun-kissed pop statement of ‘Stay’ due out very soon, RIDER kindly took time out to chat about her music and career to date.

You’ve described yourself alt-pop, so what do you interpret that as?

I feel my music is pop overall because of my melodies but I feel the sounds sometimes give it a more retro feel or sometimes quite indie in certain tracks, so in a nut shell I think ‘alt-pop’ sums it up well.

Who have been your influences with regards songwriting, and then musically in terms of arrangement and production?

Many artists have influenced me over the years. Sting really influenced me in terms of songwriting as well as Michael Jackson, Amy Grant, The Backstreet Boys, Faith Hill and Third Eye Blind. I would say arrangement and production wise M83, HAIM, THE 1975 and certain 80s film music like ‘The Flight Of The Navigator’, ‘The Never Ending Story’ and ‘The Goonies’ have greatly influenced me. I also really admire the slick pop productions from artists like Katy Perry and Taylor Swift as well.

You’ve released a number of individual songs in different styles, but are you concerned that you could be too varied for a potential fanbase to become attached to you?

I’m not worried about that at all. I feel what gels my songs together is my production style and vocal style. I don’t agree that artists should pigeon hole themselves into one very obvious style. At the end of the day, we are all influenced by so many styles and artist and it’s only natural to express that in the writing. At the end of the day, I love a strong melody and productions that are dreamy, interesting and rich in detail.

Your new single ‘On Your Mind’ has a fabulous synth solo, how did this track come together?

Thank you so much! Glad you like it! The track first came about with a synth sound I found and it created this cool syncopated rhythm. In the end I wrote the song around that. Originally the verses were more chilled out actually, but that synth solo came pretty early on and I knew I had to have it no matter how the song grew. That synth solo sound is actually 3 different synths sounds together. Lil hidden fact there hehe.

The video for ‘On Your Mind’ showcases you as a lover of life, is that presentation very much what you’re about?

It’s true, I do love life. I always have! I have my down days of course like anybody else, but I have always found it easy and natural to find the good in everything and choose to see the beauty in life. It’s helped me get through some tough times that’s for sure and so yes, be it driving in my car, walking my dogs or skating, these are things I enjoy doing. The video captures me trying to get on with my life despite the fact that I’m actually going crazy in my mind about a certain someone.

So is the portrayal of you in the ‘Jump’ video like a fantasy version that captures your musical personalities?

Good question! My label and I actually originally wanted to do an animated cartoon video for ‘Jump’ but we found animators charge a lot of money, so we thought it’d be ideal to have me perform it instead. It was my idea to incorporate different sides of me because there are different sides of me. I’m a tomboy, a girl fascinated about anything spiritual, I’m a bit of a fairy type person and I’ve been interested in angels all my life. Then you get the girl next door as RIDER singing. It felt right to express these different sides of me and it certainly was a hugely fun video to shoot!! I’m glad we did it like we did and not do a cartoon route.

Can you play all the instruments depicted? Which is your tool of choice?

I can, yes, but I wouldn’t necessarily perform with a guitar. I’m more of a studio guitarist but I do love performing with the drums or keys. My first instrument is the piano/keys though and I’ve performed playing that more than anything.

The marvellous ‘Tell Nobody’ explored a synthwave aesthetic, what inspired you to head towards that direction?

It was that main synth sound at the beginning. The chords! One day I played those chords with that synth and I was so unbelievably happy that I knew I just had to keep it. I knew it was instantly more synthwave and 80s but I LOVED that! The rest of the song was written around that hook. It just had to be done! God I love that song.

There was another great video for ‘Tell Nobody’ although on this one, you only made a cameo?

Again the original idea I had for this music video was either a cartoon or a couple of child actors in real life. It’s a song where I’m telling a story rather than it being a personal story of my own, so it felt right that I take more of a cameo role than a main one.

How important to you see the audio / visual aspect of pop music, does it all go hand in hand?

Yes I naturally see visions when I make music. For me they definitely come hand in hand. I’m a very visually led person. I even have epic dreams every night and always remember them. With every song I’ve ever written, I’ve always seen full films for each one. I guess if money wasn’t an issue, I’d have huge budget Hollywood type films made every time!

You haven’t played a band show for a little while now, is it something you enjoy?

I absolutely love performing!! Once I’m on stage, I don’t want to get off!

The only part I don’t enjoy as much is the band rehearsal scheduling. Everyone has their own lives and sometimes it’s just hard to find a date we can all get together – that takes some patience.

In this social media / streaming centred world, what do you think it the best way for a modern pop artist to engage an audience?

I think Instagram is great! The Insta stories and IGTV are awesome to instantly connect with fans. I’ve enjoyed using it anyway and so I’d recommend that.

What are your plans for the future with regards new material? More singles or is there an album or EP in the works?

Definitely more singles for the remainder of this year but my label Sapien Records and I have already discussed releasing an EP featuring some new tracks. We’re not sure when we’re going to do that though. Perhaps next year!

What are your hopes and fears as an artist as you continue to navigate this ever changing music world?

My hopes are to perform on some massive stages and positively change people lives through my music. My fears are that I don’t want to come across as egotistic because I’m an artist.

I know that I’ll always be me but I see how some artists can change for the worst in terms of their character and it’s such a shame and I’d hate for people to think I‘ve changed for any reason. You’ve got to stay true to yourself and stay grounded.

I’m also sometimes fearful about coming across some no good big cat characters in the business. I’ve already come across a few in my days and it’s made me trust people less.

Overall though, I’m certainly feeling less fearless and more positive about my future and I know that whatever I put my mind too I will succeed and be happy deep within. After all, feeling truly happy in my life is my number one priority.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to RIDER

Special thanks to David Smith at Sapien Records

‘On Your Mind’ and ‘Tell Nobody’ are released by Sapien Records, available on all digital platforms while the new single ‘Stay’ comes out on 15th May 2020






Text and Interview by Chi Ming Lai
30th April 2020


2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.

While GARY NUMAN opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business. That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic… MIDGE URE partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again.

HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year.

Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.

Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’.

As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.

Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’.

Also making live returns were one-time PET SHOP BOYS protégé CICERO with a charity gig in his hometown of Livingston, WHITE DOOR with JOHAN BAECKSTRÖM at Synth Wave Live 3, ARTHUR & MARTHA and Mute Records veterans KOMPUTER.

After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.

Although their long-awaited-as-yet-untitled third album was still to materialise, VILE ELECTRODES went back on the road in Europe with APOPTYGMA BERZERK and THE INVINCIBLE SPIRIT. Meanwhile, Chinese techno-rock sextet STOLEN opened for NEW ORDER on their Autumn European tour and EMIKA performed in a series of Planetariums.

Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.

To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of OLLIE WRIDE took a more MTV friendly direction with ‘Thanks In Advance’.

But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE.

QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.

On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.

Photo by Johnny Jewel

Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour. Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel.

Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from JORJA CHALMERS who became ‘Human Again’.

There were a variety of inventive eclectic works from FAKE TEAK, MAPS, FINLAY SHAKESPEARE, ULTRAMARINE, TYCHO, THE GOLDEN FILTER, FRAGRANCE. and FADER. Meanwhile VON KONOW, SOMEONE WHO ISN’T ME and JAKUZI all explored themes of equality while BOYTRONIC preferred ‘The Robot Treatment’.

But expressing themselves on the smoother side of proceedings were CULT WITH NO NAME and notably SHOOK who looked east towards the legend of YELLOW MAGIC ORCHESTRA.

Dark minimalism reigned in the work of FRAGILE SELF and WE ARE REPLICA while no less dark but not so aggressive, WITCH OF THE VALE cemented their position with a well-received opening slot at Infest.

Touring in Europe with OMD and MIDGE URE, TINY MAGNETIC PETS unleashed two EPs ‘The Politburo Disko’ and ‘Girl In A White Dress’ as fellow Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.

2019 was a year of electronic instrumental offerings galore from NEULAND, RICARDO AUTOBAHN, EKKOES, M83, RELIEF, FEMMEPOP and OBLONG, although ERIC RANDOM’s dystopian offering ‘Wire Me Up’ added vocoder while BRIAN ENO celebrated the 50th anniversary of the first moon landing ‘For All Mankind’.

The King of Glum Rock LLOYD COLE surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man GARY DALY ventured solo with ‘Gone From Here’.

Among the year’s best new talents were IMI, KARIN MYGRETAGEISTE and ALICE HUBBLE with their beautifully crafted avant pop.

And with the media traction of artists such as GEORGIA, REIN, JENNIFER TOUCH, SUI ZHEN, THE HEARING, IONNALEE, PLASMIC, ZAMILSKA, IOANNA GIKA, SPELLLING, KANGA, FIFI RONG and I AM SNOW ANGEL, the profile of women in electronic music was stronger than ever in 2019.

Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.

However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths.

DANA JEAN PHOENIX though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.

Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by ELECTRICITYCLUB.CO.UK to be disappointingly prevalent in several fledgling acts.

Synthwave increased its profile further with the film ‘The Rise Of The Synths’ narrated by none other than John Carpenter. MICHAEL OAKLEY released his debut album ‘Introspect’, BETAMAXX was ‘Lost In A Dreamworld’, COM TRUISE came up with a ‘Persuasion System’ and NEW ARCADES were ‘Returning Home’.

Scene veteran FUTURECOP! collaborated with PARALLELS, COMPUTER MAGIC and NINA prior to a hiatus for the foreseeable future, while there were promising new talents emerging in the shape of POLYCHROME, PRIZM, BUNNY X and RIDER.

However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.

While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…

Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019. It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.

Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur, forgetting that ability and talent were paramount. This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.

Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?

Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?

Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.

It’s a funny old world, but as ELECTRICITYCLUB.CO.UK comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever. It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of poor quality artists will contaminate the bloodline.

So ELECTRICITYCLUB.CO.UK ends the decade with a complimentary comment by a punter after attending two of its live events: “You don’t put on sh*t do you…”

May the supreme talent rise and shine… you know who you are 😉

ELECTRICITYCLUB.CO.UK Contributor Listings of 2019


Best Album: UNDERWORLD Drift Series 1
Best Song: MOLINA Venus
Best Gig: RAMMSTEIN at Milton Keynes MK Bowl
Best Video: SCALPING Chamber
Most Promising New Act: SCALPING


Best Album: NO-MAN Love You To Bits
Best Song: NO-MAN Love You To Shreds
Best Gig: RAMMSTEIN at Stadion Slaski Chorzow
Best Video: RAMMSTEIN Deutschland
Most Promising New Act: IMI


Best Album: PAGE Fakta För Alla
Best Song: PAGE Fakta För Alla
Best Gig: LAU NAU at London Cafe OTO
Best Video: LAU NAU Amphipoda on Buchla 200 at EMS Stockholm
Most Promising New Act: THE HIDDEN MAN


Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: KITE at Stockholm Slaktkyrkan
Best Video: NIGHT CLUB Your Addiction
Most Promising New Act: IMI


Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: MIDGE URE + RUSTY EGAN at The London Palladium
Best Video: IMI Margins
Most Promising New Act: PLASMIC


Best Album: MECHA MAIKO Let’s
Best Song: KANGA Burn
Best Gig: DANA JEAN PHOENIX, KALAX + LEBROCK at London Zigfrid von Underbelly
Best Video: IONNALEE Open Sea
Most Promising New Act: PRIZM

Text by Chi Ming Lai with thanks to Ian Ferguson
16th December 2019, updated 29th Janaury 2021

Introducing RIDER

American born RIDER describes herself as “alternative pop”, exploring a variety of styles while ensuring larger than life melodies are at the core of her work.

Originally from Pennsylvania, RIDER emigrated to the UK and studied at LIPA, the educational establishment that includes Eddie Lundon of CHINA CRISIS as one of its lecturers.

Looking like Lana Del Rey gone synthwave, the London based singer and multi-instrumentalist’s most recent single ‘Tell Nobody’ is an energetic neon lit stomper that wouldn’t have sounded out of place in a John Hughes teen movie. With her Trans-Atlantic timbre, RIDER’s dulcet tones suit the mood fabulously.

The accompanying sci-fi inspired video directed by Ollie Rillands of Shapeshifter Films features a young gamer girl who dreams of travelling into the future and builds her own time machine; RIDER herself makes a cameo as a shop assistant who sells a PP9 battery to the junior inventor at a hush-hush ‘Tell Nobody’ discount.

With her powerful voice and application of self-produced organic textures alongside the electronic, RIDER embroils an air of optimism within her heartfelt expression, as on ‘Hurts Me Too’, a soulful tune which could be likened to AFTERHERE, the HEAVEN 17 side project fronted by Berenice Scott.

Having recently developed a taste for NINA, FM-84 and THE MIDNIGHT, it will be interesting to see where she heads next.

While songs like ‘You’ recall the West Coast New Wave of THE GO GOS and ‘A Little Light’ takes a more steadfast approach to LORDE’s almost similarly titled ‘Green Light’, RIDER’s eclectic blend of genres highlight her sweet passionate approach to her music.

As RIDER herself puts it: “Life is sweet!”

‘Tell Nobody’ is released by Sapien Records, available on all digital platforms





Text by Chi Ming Lai
Photos by Marieke Macklon Photography
27th March 2019