We Speak Music
Denise Mangiardi’s ‘On The Brink’: A Stunning Return to Form
After a Five year hiatus, the phenomenal singer, songwriter, pianist and classical composer, Denise Mangiardi makes her triumphant return with On The Brink. The album, recorded in New Orleans, a city she called home for five years, showcases Mangiardi’s profound love of mastery of strings, singing and arranging through a seamless blend of original compositions and American songbook classics.
Mangiardi has crafted an album that is both intimate and expansive, pulling listeners into a world of rich emotional landscapes and musical depth. The influence of New Orleans, a city steeped in musical tradition, is evident in the album’s vibrant energy and the camaraderie shared among the musicians. Mangiardi herself acknowledges the importance of the city and its people in shaping this project, and that connection shines through in every note.
“I wanted to record an album of ballads that was both relaxing and inspiring; and to address the range of emotions so many of us are feeling in these troubling times,” Mangiardi shares. Her five new compositions, along with two fresh arrangements of timeless standards, do just that.
On The Brink features a stellar lineup of musicians, including saxophonist Tony DaGradi, drummer Johnny Vidacovitch, bassist Chris Severin, and pianist Michael Pellera. They are joined by the Louisiana Philharmonic Orchestra, whose lush strings provide a beautiful backdrop to Mangiardi’s compositions. The inclusion of special guest artists, such as Cindy Scott on alto flute and Emily Mikesell on flugelhorn, further enriches the album’s already vibrant sound.
Two American standards, Cole Porter’s “Every Time We Say Goodbye” and David Mann’s “In the Wee Small Hours of the Morning” are lovingly reimagined under Mangiardi’s meticulous care. Her luxurious string arrangements transform these classics into deeply emotional journeys, with Pellera’s lyrical piano solo on the former and DaGradi’s tender tenor sax on the latter adding a unique warmth and depth.
Mangiardi’s original compositions, however, are the true heart of On The Brink. The opening track, “The Walk,” is a meditative piece inspired by her time on the Isle of Wight, where Cindy Scott’s ethereal alto flute and Luca Boscagin’s gentle guitar paint a serene yet introspective soundscape. The title track, “On The Brink,” serves as a powerful anthem of resilience, with Mangiardi’s poignant vocals and DaGradi’s soprano saxophone weaving a narrative of hope in the face of adversity.
“Portrait of a Lady,” the album’s lead single, is a striking composition that blends Boscagin’s acoustic guitar with the strings of the Louisiana Philharmonic and a haunting electronic bed by composer Arthur Brouns. The song explores themes of loneliness and disillusionment, offering a sharp critique of today’s global leadership.
Another highlight, “Les Rues de Paris,” is a charming French ballad that tells the story of two lovers in the City of Light. Mangiardi’s delicate lyrics are perfectly complemented by Mikesell’s soft-toned flugelhorn, creating a dreamy, romantic atmosphere. In contrast, the poignant “Celeste,” dedicated to Mangiardi’s late sister, resonates with deep emotion, beautifully echoed by DaGradi’s soulful tenor saxophone.
Throughout On The Brink, Mangiardi’s talents as a songwriter, pianist, and arranger are on full display. Her ability to blend different musical elements,from classical strings to jazz improvisation, creates an album that is as complex as it is beautiful. Every track is meticulously crafted, offering listeners a rich, immersive experience that lingers long after the final note fades.
In On The Brink, Denise Mangiardi has delivered a masterful work that reaffirms her place among today’s most creative and expansive contemporary artists. With its compelling compositions, exquisite arrangements, and heartfelt performances, this album is sure to captivate audiences and solidify Mangiardi’s status as a true musical visionary.
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We Speak Music
Acclaimed US singer-songwriter Juliet Lloyd to tour the UK for the first time this summer.
Shortly after releasing her sophomore album in 2007, US-based singer-songwriter Juliet Lloyd walked away from music completely for more than 10 years, feeling burned out and unhappy with her career progression like so many other independent artists. After going through a divorce in 2019 and in the midst of a global pandemic, she found herself pulled back toward the siren call of songwriting and again making the leap to pursue it full time. Her latest album ‘Carnival’, released in 2024, is in many ways the culmination of those decisions, and the reintroduction of an artist who now has the wisdom of experience.
There’s an unmistakable urgency you can feel when a song is written and performed from a place of complete honesty. That feeling permeates ‘Carnival’. “I’ve always been envious of writers who say they write songs because they have to, because they had these things they just had to get out of themselves,” Juliet says. “I had never really felt that way until this album. I’ve become someone who writes because they have to.”
Stylistically, ‘Carnival’ draws on a range of influences from Laurel Canyon-era singer/songwriters, to Lilith Fair rockers, to confessional country/folk balladeers, to indie pop. The central theme of the record and that of its title track is not being too precious about any one experience or decision. Take them for what they are, live in the moment, and move on when they’re done. It acknowledges also that memory can be subjective, and ambiguous—was an experience ultimately a good thing or a bad thing? And whose memory can you rely on to determine the answer to that question?
‘Carnival’ doesn’t just deal with the complexities of ending relationships, it also deals with all the feelings that come with moving on. The album’snine songs feature evocative storytelling that reveals a simple truth: when the carnival inevitably leaves town, you’re left with an empty parking lot. And how you remember, it is a choice. As Juliet sings in the title track, “If only there was a way you could bottle up that feeling / and you’d drink it in / when the days are short and you long.”
Across her 20+ year career, Juliet has been admittedly stylistically non-monogamous. Her first full-length album, ‘All Dressed Up’, was released in 2005 and was heavily jazz-influenced- a label that she rejected at the time. “I am a piano player and a woman, so I was immediately compared to Norah Jones—and I bristled at that,” Juliet says. “Listening back now, I can totally see that it was true, and it of course wasn’t a bad thing.” Her follow-up release ‘Leave the Light On,’ came out two years later and featured a slick piano-pop production that led to five of its songs being placed on reality TV shows on MTV and VH1. Coming back after her 10-year break from writing and recording, Juliet released ‘High Road’, a collection of five Americana/soul-tinged songs produced by Jim Ebert (Meredith Brooks, Shai) that earned her widespread recognition and songwriting awards both in her home region of DC as well as nationally.
Now with her first ever UK tour scheduled for July 2025, Juliet has also dropped a completely brand-new single ‘Wild Again’, which like ‘Carnival’, was written with and produced by Todd Wright (Lucy Woodward, Butch Walker, Toby Lightman). ‘Wild Again’, however, charts yet another new step in Juliet’s journey.
“Carnival’, is full of deeply personal songs that are drawn from my real-life experiences and relationships. Coming out of that album cycle, I was feeling a little exhausted by my own navel-gazing and I was craving inspiration elsewhere. So, a lot of the songs I’m writing now are an evolution of sorts – focused more on external stimuli and finding the personal stories and humanity in that. Wild Again is a perfect example of this,” she explains.
The idea for ‘Wild Again’ was born out of a NY Times podcast Juliet listened to about the real-life efforts to return the whale that played Willy in the iconic movie ‘Free Willy’ back into the wild.
“It’s an insane, heartbreaking story that asks all kinds of thorny questions about human responsibility and humility and what’s the “right” thing to do and is that the same as the “kind” thing to do. There was a line that one of the trainers said in the podcast, explaining that they were trying to “train him to be wild again.” The complete absurdity of that statement hit me in the moment, and I immediately started jotting down lyrical ideas”, Juliet says.
Catch Juliet Lloyd on her UK tour this July:
1st July: The Folklore Rooms / Brighton
2nd July: The Hyde Tavern / Winchester
3rd July: Hen and Chicken / Bristol (CRH Music promotions)
4th July: Artisan Tap Hartshill / Stoke-on-Trent
5th July: Waggon & Horses, Nottingham
6th July: Cafe#9 / Sheffield
7th July: Hyde Park Book Club / Leeds
10th July: FortyFive Vinyl Café / York
11th July: The Muddy Puddle / London
13th July: The Wrotham Arms / Broadstairs

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