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It was however his cover of Blackstreet’s No Diggity that shot him to stardom essentially overnight after an upload to Soundcloud. In an interview with Vulture, he elaborates: he acknowledges the inherent irony of a 20-something white dude covering an all-black R&B group from the ‘90s but denies wittingly using “No Diggity” as a funny way to generate hype. “It was the first track I ever put out. I didn’t know I was going to be at Coachella in four years [and playing] sold-out shows. I didn’t know a lot of things” (Charlton, 2015).

You can definitely hear and pinpoint the R&B influences in his music, especially in his LP Thinking in Textures (Chet Faker, 2012).

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He also coins Bob Dylan as one of his influences. “My mother listened to a lot of Motown, and my dad listened to chilled out Ibiza, Ministry of Sound. So I think my music is between those two types of music. And I was also really interested in folk music, like Bob Dylan when I was growing up” (Furst, 2012).

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The correlation between Chet Faker and Chet Baker, even just in their namesake is obvious. He talks more about this in an interview with EDMSauce: Faker said of the late 50's legend, “I liked the idea that Chet Baker represented for me… that you didn't have to be technically amazing to make good music… you could actually take your flaws and make the music more powerful.”

“When he started singing, you could say he sucked.. but he didn't,” and he goes on to say “Imperfection is as human as anything” (EDM Sauce Staff, 2015).

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Nick Murphy, otherwise known as Chet Faker, is another artist/producer whose music is rooted in electronic soul, R&B and even stemming out to dance music. As another artist/producer, Chet Faker's music has inspired me in the same way that the 1975's music does, his debut album Built On Glass (Chet Faker, 2014) in particular. The album definitely focuses on R&B and soul with an electronic twist, and this record has been a cornerstone in finding a way to produce a very specific genre, rooted in classic black American music, in a modernised electronic way.

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My Bloody Valentine’s shoegaze style has influenced the 1975 as well, and you can hear it in tracks like Lostmyhead (The 1975, 2016). He talks about this more in an MTV interview: “when I heard Loveless by My Bloody Valentine, it was just perfect because I don’t like minor chords to be honest with you. I like diminished chords. I like augmented chords, but minor chords—it’s not a melancholy of which I connect with. Minor music. It’s creating that with an uplifting sensibility” (NME, 2022).

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Healy has referenced Michael Jackson as a big influence upon his style of performance. In a 2018 interview by NME, Healy talks more about this: after recalling an encounter in which ‘Life On Mars?’ pianist Wakeman told him he had what it takes to become a rock star, Healy said he was more attracted to the aesthetic of King of Pop Michael Jackson.

“They were expressing the idea that he was so weird, and from another planet,” he said of his father’s friends’ reaction to him watching a Jackson video, “and I remember thinking, ‘I’m a lot more like him than I am you’” (Skinner, 2018).

He references Michael as the first artist he fell in love with in as a young child, and the also the first show he went to (The History Tour at Wembley Arena in 1996) in another NME interview, The 1975's Matty Healy on Michael Jackson, The 1975’s first gig and Googling himself (https://www.youtube.com/watch?v=eaOC-NceH2k&t=213s - minute 3:33). He talks about his atheist upbringing and never imploring the idea of human sanctity, however he references Jackson as somewhat godlike in performance and, in his words, “a real superstar”.

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You can definitely hear the musical influences of Fleetwood Mac in the 1975’s music. The band has said in numerous interviews that songs like Everywhere from the 1987 album Tango In The Night have influenced them, and you can definitely hear the influence on tracks such as Settle Down (The 1975, 2013) on their debut record, and She’s American (The 1975, 2016) from their sophomore record, just to name a few. In a podcast fostered by The Face Magazine, Matthew Healy, the band’s frontman talks to Stevie Nicks herself, and he says “As an adult, as a successful musician, as a teenager, as whatever – I’ve watched countless interviews, I’ve studied your records like dogma, I’ve kind of spent so much of my life completely enamoured” (The Face, 2020).

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The 1975’s discography is eclectic and the influences of this band stem in obvious classic pop sensibilities heard in many of their hits, but also diving deeper into more left-field genres at times, and the frontman, Matthew Healy speaks upon this subject often - creating in the same way they consume. “I create in the same way I consume,” he says. “There is no filter, no linear consumption of anything any more, because of the internet. I want to be an ambassador for this generation, where you’re supposed to have Carole King and Kendrick Lamar on your iPhone. Guilty pleasures don’t really exist any more” (Hattenstone, 2016). The influence the 1975's music has on my own derives mainly from the artist/producer title that the band holds, and in the genre-bending style that the band creates in. While my main genre as an artist tends to fall in the R&B field, I do have a tendency to branch out to the genres, such as electronica and even dance music at times. The "create in the same way we consume" mantra that the 1975's music stems is very much an ideal that I hold while creating music.

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The last influence of Winehouse’s I have chosen is Thelonious Monk. She describes this in an interview with APTN (Amywinehousevideo, 2004), and her appreciation and admiration of him goes so far on as to cover his song ‘Round Midnight on her first album Frank.

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Another one of Winehouse’s influences was Sarah Vaughan. As detailed in a 2006 interview published by The Guardian, she says “Sarah Vaughan is one of my favourite singers of all time. She was an instrument. I've heard one record, it's like a humming solo, and she sounds like a reed instrument – like a clarinet. I came to Sarah Vaughan later: I was about 18” (The Guardian, 2017). Her cover of Lullaby of Birdland (Alexandre Elmais, 2018) is just another stark representation and ode to her love of the singer.

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Donny Hathaway was one of Winehouse’s major influences. She covered many of his hits, including A Song For You (Leo Es Ro, 2012), We’re Still Friends (Dwwid, 2015), and I Love You More Than You’ll Ever Know (Onlymusicmusique, 2012). and referenced in her 2006 hit, Rehab, (“there's nothing you can teach me, that I can't learn from Mr. Hathaway”) (Amy Winehouse, 2006)

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Amy Winehouse’s influences come from many old-school jazz and soul artists. Amy's influence on my music comes mainly from her very distinct vocal style, her roots in the jazz/soul/R&B genre, and her songwriting. As a singer/songwriter myself, I draw much inspiration from her candid and frank songwriting style, and from her vocal tone and genre style.

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As a powerhouse soul vocalist, songwriter, multi-instrumentalist (said instruments including guitar and keyboard), producer and budding engineer; my influences stem from many different places. While learning to play guitar, I was influenced by many roots and blues artists, and when beginning to teach myself piano, and then DAWs, I began listening and learning from jazz and soul artists.

As a vocalist, my main inspiration, and the one that I have chosen for this assessment is Amy Winehouse. As a self-taught producer, I am also influenced by artists who not only write their own music, but who also produce their own music. The second artist, or band in this case that I have chosen is The 1975. The third artist, who also produces his own music and also hones his craft as a DJ, and the third artist I have chosen is Chet Faker.