Meet Sophie May. She arrived during the pandemic, streaming from her London basement via smartphone and TikTok.
was Australia’s biggest-selling single in 2006. The song’s mischievous mangling of past musical metaphors was deliberate because pfft, who cared, grandpa? This was the future. Thom arrived on webcam from a London basement via a hot new vehicle called MySpace.
One obvious parallel is the wow factor: canny indie artists using evolving technologies to cut through an overcrowded music ecosystem. Another is more old-school: the acoustic guitar confessional remains a remarkably durable genre for connecting young hearts and minds. Her mother, Kellie Jackson, is Australian; a fiction writer who grew up in Newcastle. The fact that Australians are among May’s most fervent TikTok fans is a happy coincidence that leads the 24-year-old to tour here this month.and it was based off a character on that, and I’d also seen on TikTok a lot of people praisingand not quite getting the irony,” she says. “I ended up writing this little story critiquing the businessman and it just worked on TikTok. It just connected quickly with people.
She means in the real world, which despite the effectiveness of cutting-edge music distribution technology, still inevitably beckons to those who sing and play acoustic guitars in basements. “I am a bit of a nervous wreck, to be honest,” she says of her first steps as a live performer. “But I do enjoy it once I’m up there. After creating a career in lockdown, it was a bit of a shock to suddenly be onstage singing songs.
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