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With Etta's roots in jazz and blues, Janis watched her from a young age as Janis herself grew her musical persona. In a Rolling Stone article Etta James write in 2003, Etta told the story of an encounter with Janis Joplin not long before she died. Speaking about Janis approaching her one night, Etta writes "She said, “Excuse me, I don’t mean to be interrupting. I just love your singing. And I just wanted to come here and to sit in on your session.” She says, “You don’t remember me, do you?” And I said, “No, I don’t.” She said we used to play at a place in Oklahoma called the Big Tin Ballroom. She said, “You would go there in the afternoon around two o’clock, and you would do your sound check.” I remembered there was a little white girl that used to come in through the back way, and she would sit on the side of the stage. She said, “I love you,” you know, that kind of thing. (James, 2003).

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Dinah was known for her smokey vocals with a delicious  vibrato, which is resonant of Amy's tone and delivery. Amy covered a few of Dinah Washington's songs including "Teach Me Tonight" on Later with Jools Holland 2004 and "What a difference a Day Makes" at 2004's Montreal International Jazz festival.
After hearing her brother playing jazz, she went on to discover jazz greats "I learned from Ella Fitzgerald, Sarah Vaughn & Dinah Washington. They were the most inspiring people to me when I was developing my voice. It was the first real music apart from hip hop that ever spoke to me and I made a real emotional connection with" (Johnstone, 2008)

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Amy was raised on a good dose of jazz standards in her childhood and often compared to Billie's unique vocal delivery and tones, phrasing and melodies (Sanderson, 2021). The way both Amy and Billie channel their emotional anguish and pain into their melodies with the most subtle movement of tones can convey so much feeling and honesty.  Amy also covers Billie's "There is no Greater Love" was recorded on Amy's first album Frank (Winehouse, 2003) and performed live on several occasions. (Weston L, 2022).

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Michael Jackson has probably influenced most artists in some form or another, and Jamie Lidell is definitely no exception. Incorporating funk, soul, pop, his earlier days of The Jackson 5 to his later solo career albums like Thriller, MJ can be heard in the beats, harmonies, rhythms and vocal styling of Jamie Lidell's music.
He also talks about Michael Jackson as an inspiration to Clash Music and other numerous interviews.
"“Jacko’s sonic perfume was overwhelming. It still has that effect. As soon as “Don’t Stop ‘Til You Get Enough” comes on, it’s like the whole fucking room changes. How much music does that now?” (Murray 2020)

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Beck and his eclectic, experimental and evolving mix of electronic, funk, soul, psychedelia, country, hip hip, folk from the early 90s has also been an influence on Jamie Lidell crossing over on similar genres both in their own unique styles. Keeping elements of old school style production in the soul, funk and folk elements, adding modern elements of synth, beatboxing and drum machines creates a sound we're familiar with, with an added twist. Jamie also collaborated with Beck remixing and producing on the album Compass. (Dombal, 2010).

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Prince and Jamie share a broad array of musical genres, both taking inspiration from R&B, funk, pop, new wave soul, jazz, motown, mixing classic sounds with electronic synth and drum machines. (Thomas Brett 2020) Jamie has talked about his love of Prince and even uses a lot fo the same Synths Prince used in what Jamie calls "Prince's Prime 1979-87. (Kaganskiy, 2013). He also Talks of Prince's influence in an Interview in Clash music. (Murray, 2020)
Jamie 's production style shares similarities with Prince's,  playing most of of the instruments themselves, keeping the classic undertones, the heart & soul elements of soul, jazz and funk and adding new modern electrified and synth elements.

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Ella Fitzgerald's smooth and buttery jazz vocals inspired Amy from a young age and Amy was quoted saying "From the age of 11, I was listening to Ella Fitzgerald, who would sing the song perfectly, but in a straight way" (Johnstone, 2008). Obviously Amy liked to put her own swing and swag on all of her songs, played it a little less straight, but Ella's influence is obvious in some of Amy's vocal tones, song writing and covers.
Ella's "Someone to watch over me" was a covered by Amy in 2008.

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Janis drew from a lot of African American artists at the time in her music including Big Mama Thornton, (McMahon M, 2011) most famous for recording the first version of Hound Dog. She was a pioneer of women in blues along with Bessie Smith & Ma Rainy and one of the first to use electric guitar as a feature instrument in the genre paving a path in early rock n roll. Her emotive and large vocal tones and her take on rhythm and blues at the time was new and outlandish for her time. Janis was often described quite similarly musically and personality wise. Janis also covered and released "Ball and Chain" originally written and recorded by Big Mama Thornton, even though Big Mama's version was never released.

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"Above all, Janis idolised Bessie Smith" (McMahon M, 2011)
Joplin claimed that she had wanted to become a blues singer ever since a high-school friend, had loaned her records by Bessie Smith and Leadbelly (Amburn, 1992).

Janis referring to Bessie, said "“She showed me the air and taught me how to fill it” (Braziel 2004)."

Apart from their similarities with their bold, emotive delivery in rhythm and blues music, both Janis & Bessie were loud, openly bisexual, known for their promiscuity and drunken escapades.

Janis also bought a headstone for Bessie's unmarked grave in 1970 only months before her own death.  (Joplin,1992) I'd say that's a fair indicator she was definitely an important person in Janis' life.

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Musician, writer and producer with Soul, funk, electro, motown, influences. I love how Jamie mixes the classic motown-soul feel with electronic elements of the 80s like synth, vocal loops and distortion, beatboxing and a bunch of electronic equipment I have no idea about but would like to learn more about. Jamie's vocal delivery is soulful and emotional and he throws his entire body into his live performances, which was what inspired me to learn more about his music and I cover a few of his songs in my own setlist.

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Miss Joplin's raw and expressive, powerful and vulnerable take and delivery on the blues are definitely a huge inspiration for me. One of the few women in a hugely male dominated industry she quickly became a symbol of feminism the years leading up to her death in 1970, simply by just being a woman singing blues and rock. (REF Burns, 2001). The way she lays her entire heart and soul out on stage is something I wholeheartedly respect as an artist. Her extreme vulnerability and emotional realness on stage is what is just something I aspire to in my own performances whether belting out blues and funk or singing meaningful, delicate folk stories. Of course, there are also a few Janis Joplin songs I cover on my regular setlist.

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Singer songwriter Influenced by a lot of the same the greats of jazz and soul, like Billie Holiday and Etta James, Ella Fitzgerald, that I'm inspired by myself, Amy’s vocal style, tone, phrasing and vocal emotional maturity in her raw, expressive delivery is what inspires me. Her production styles are varied, at times mixed with hints of hip hop, reggae and funk, while others are simple guitar strums letting her vocals shine. While I'm not particularly drawn to her personal lifestyle choices, I appreciate and respect her vulnerability and honesty in her songwriting style and the way she addresses these themes.
Amy's songs are always peppered through my setlist when performing cover sets live and are always a crowd favourite.

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I'm inspired by a huge range of genres from Blues, Soul, Motown, Jazz, Funk, Hip Hop, Folk, Country, Rock, Psychedelia, Electronic, Punk, Pop and all the grooves in between.