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‘A voice that is hauntingly flawless.
She has crowds mesmerised within seconds.’

Bristol Post


With ‘a voice that is hauntingly flawless’, Samantha Lindo has crowds ‘mesmerised within seconds’. She fills, inhabits and takes hold of spaces large and small.

Whether it be an intimate house gig in a Notting Hill lounge, a Sofar sounds performance in an archaic church, a room full of ravers at Brixton’s Hootenanny or owning the stage at Bristol’s 2K capacity Colston Hall (where she was a featured artist for TEDxTalks national conference ‘Daring to Disrupt’), she cannot help but give movingly authentic performances that connect with audiences in as many different ways as there are people in the room.

A British singer – songwriter of mixed Jamaican heritage, she brings together a fusion of soul, folk and trip-hop to create a style that is not easily box-able but has a tangible flavour of her adopted hometown, Bristol.

Having grown up listening to her grandfather’s record collection she immersed herself in the soul, jazz and folk scenes, which inspired the music that followed: 3 EPs and an album – Wars; The Rush, The Light; Last Light in The Sky and Gateway, recorded at Wick Court, a 16th century stately home in the country where she was part of a community of musicians and artists.

She has never been one for playing by the book. Not buying the individualistic nature of our culture and the often male dominated ways of the music industry, she founded Girls, Girls, Girls, an all-female arts collective in London with fellow singer-songwriter friend Eliza Shaddad. They partnered with UK charity the Orchid Project, who work to put a global end to female genital cutting, so the numerous all-female nights across London and UK tours were also about raising awareness to this pressing social justice issue as well as, in her words quoted in Oh Comely magazine ‘lifting each other up’ as female artists’.

Samantha opened the last Girls Girls Girls with Eliza and the in-house choir at London’s Union Chapel with a collaborative performance and the pair had the honour of being featured artists in the Museum of London's ‘Votes for Women’ exhibition performing a cover of March of the Women to celebrate 100 years of the vote in 2018.

With this ache towards justice that often spills into her work, her single ‘Butterflies’, one of the earliest penned songs, was released at a secret Sofar Sounds gig supporting British recording artist, James Morrison, as part of Amnesty International’s ‘Give a Home’ campaign in solidarity with the world’s refugees.

The most exciting times, however, are to come. Having just married multi-instrumentalist and collaborator, Dylan Jones, her next EP, which she is currently preparing for release in early summer, reflects a stylistic settledness and an at-home-ness in that which perhaps her music is here to do: empathise with and express the messy, often broken, sometimes dark nature of life with a soulful beauty and irresistible beat that ultimately points to hope. Something that is needed now, more than ever.

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‘Quietly observant, yet forceful.’

Oh Comely Magazine