‘I had to learn to speak again’: How deafness helped singer James Vickery find his sound
Behind James Vickery’s left ear is a tiny tattoo, barely noticeable until he turns to point it out.
The inking is of a mute icon, a small speaker with a cross next to it, as you would see on a computer or a phone when switching the volume off; a simple image that neatly symbolises the 27-year-old’s story.
In and out of hospital with ear infections as a child, he was eventually, at the age of eight, diagnosed with a growth of abnormal skin cells called a cholesteatoma. While the tumour wasn’t cancerous his case was severe, doctors said, and it was growing towards his brain; his parents were told that without treatment to remove his eardrum he might only have two months to live.
Vickery has just released his debut album, Songs That Made Me Feel. Pic: Tom Ewbank
Surgery went well, but inevitably left Vickery completely deaf in that ear. Unable to distinguish the volume and pitch of his voice, he struggled with his speech and a vocal coach was brought in to help. It was through these sessions he found his voice; not just in conversation, but the distinctive, soulful singing voice that has now seen him hailed as a new face of UK R’n’B.
“[My parents] took me to a vocal coach and they wanted me to learn how to basically speak again,” he tells Sky News. “A good way is actually by singing because it engages your diaphragm. So we did that and my singing teacher was like, ‘you can sing, you can actually sing well’. I’d always loved singing but because of the trauma of the operation I could never do it.
“I spoke so softly. I’m still quite softly spoken…” He pauses and grins. “Actually, no, I’m a bit gobby now, but I was quite softly spoken when I was a child. I was really unconfident because no one could ever hear me speak and so credit to my vocal coach, she really taught me how to not only speak louder, but become a bigger person, you know, really fill the room with your voice. That’s something I try and have now in my songs. All the singers I looked up to as a kid had big voices because I always wished I had one.”
Vickery’s coach was a trained opera singer so, perhaps unusually, that’s where he started. “As, like, an 11-year-old boy living in south London, that kind of wasn’t for me,” he laughs. He met brothers Howard and Guy Lawrence, better known as electronic duo Disclosure, while he was in college and began writing songs with them, before moving into R’n’B, which felt like the right fit.
Upbeat and constantly smiling, there’s a sense of positivity and happiness that exudes from Vickery that even the often soulless Zoom can’t dampen. It’s hard not to smile back in his company. Going through such a traumatic experience at an early age has “100%, for sure” made him the person and the artist he is now, he says.
“I would have died,” he says, matter-of-factly. “It’s lucky they found it [when they did].” He goes on to explain the surgery. “I haven’t even got an ear drum in this ear, like, it’s just a black crater inside the left-hand side,” he says, swirling his hand around the area. “But that’s why I’ve got the tattoo, because I was like, not ashamed of it, but I don’t like people treating me different, I don’t like it to become this sob story. But at the end of the day, the older I get the more I think, you would not be the man you are today and it’s shaped me so much as a singer and a writer as well.”
The fact Vickery is “able to be a singer with one less ear than everyone else”, as he puts it, “is quite a mad thing”. And so the symbol has become a staple of all the artwork for his music. “I really try and own it, you know.”
Influenced by everyone from his mum’s favourites of soul, Motown, disco and R’n’B – artists such as Luther Vandross, Boyz II Men and Babyface – to his dad’s preferred rock and blues – Eric Clapton, The Doors, The Who, Jimi Hendrix – and his own love of attempting the Mariah Carey high notes, Vickery found his sound.
Vickery has been hailed as a new face of UK R’n’B. Pic: Harry McCulloch
In 2018, he performed his song Until Morning for the COLORS music platform, which has now amassed more than 25 million views. In 2018 he signed a record deals with TH3RD BRAIN, followed by a publishing deal with Jay-Z’s Roc Nation in 2019.
His debut album, Songs That Made Me Feel, aims to do just that. “The way that people consume music is so passive now,” he says. “It’s so easily accessible but I think not enough people just sit down and let the music take over. That’s really what I tried to do… I just want to make a body of work that’s going to outlive me. I think I’ve done that.”
The record is “the journey of the last two years, for me”, he says. “I wanted to call it Songs That Made Me Feel is because I feel like, as a man growing up, men are taught not to show emotion, I think. You’re taught ‘man up’.” Men don’t talk about their feelings enough, he says. “I managed to be able to do that through song, luckily.”
Save You, the closing track on the album, might sound like a love song but is actually about a friend who died. “I left it quite open because I want people to interpret it in the way that they feel, I love doing that with songs. But the song is about a friend who died when I was younger and it was the first time I had someone that wasn’t like a family member die, who was close to me.”
Vickery has also written about struggling during the pandemic. Somewhere Out There was created during the first lockdown, when he was “living alone and really lonely… I was single and hoping that someone out there was feeling the same”. You Comfort Me was born from the “dark time” of the winter lockdown, when “I was just craving something to make me happy”.
Of all the industries that have been hit by the pandemic, he believes the live entertainment business is among the worst affected. Vickery is not “completely fresh” to making music but is in that “awkward” spot where he’s “by no means up there”, he says, gesturing above his head. He moves his hand down. “I’m hovering here somewhere.”
Which means it’s not been easy. “The way that the music industry runs now is that [live shows] are kind of the main source of income, no one makes that much money from streaming songs; unless you’re streaming hundreds of millions, then you’re going to make good money, but other than that, no. Thank God I signed a record deal the year before because otherwise I would have been really struggling.”
Fortunately, the deal was in place and the album is out now. Vickery says he hopes he adds another voice to highlight the UK’s new resurging R’n’B scene, which he feels is overlooked.
“The thing is the UK RnB scene is so, so good,” he says. “But God forbid you can ever turn on a radio and find an R’n’B song on in the daytime, you know. I feel like that’s going to change, though. There’s plenty of people like Jorja Smith and Mahalia who are really, really flying the flag for UK R’n’B, and I think that’s going to change hopefully in the future.”
With Vickery too, that change is surely closer. That tattoo behind his ear is just a small reminder of how much he can achieve.
Siobhan MacGowan almost looks surprised as she remembers.
“It went very, very quickly. Even the first year went really quickly. Two years… you know,” she tails off.
The 24 months since her brother Shane died have flown by in one sense, but it’s clear that the family’s grief has barely subsided.
“It’s still very raw for me,” Siobhan says. “I can’t listen to Shane’s music, and I can’t watch him on video or listen to him speak.”
Siobhan MacGowan
Legendary frontman of The Pogues, Shane MacGowan died on 30 November 2023 at the age of 65, following a long illness.
He passed away in the lead-up to Christmas, a time when his voice is heard on every radio station and in every pub – in the form of Fairytale Of New York.
Shane and Siobhan on the Tipperary wilds
For his sister, the festive anthem – which he co-penned with the band’s banjoist Jem Finer – is now a visceral torment.
“You can be a genius, the way you can avoid it [the song]”, Siobhan says. “If it’s coming on, I just turn it straight off. If I’m in a supermarket, I just block it out, or I go into the loo, or I go outside, or I do something like that, but I have to block it.”
She can’t listen to Fairytale “at all”. “It’s just pain. Pain in my heart. It’s just so painful.”
We look at a picture of Siobhan and Shane from Christmas Day 1987. Fairytale Of New York was number one in Ireland, but had been pipped by the Pet Shop Boys in the UK.
Christmas in 1987. Family photo
“I remember him saying he wouldn’t have minded if it had been Michael Jackson that had beaten him,” Siobhan recalls. “But he couldn’t forgive the Pet Shop Boys. And it was a terrible cover of Always On My Mind! It was dreadful like, so he couldn’t forgive that.”
But Shane got over it? “No,” she bursts out laughing.
Siobhan and Shane celebrating his 60th birthday , on Christmas Day, in Tipperary, Ireland
On a fresh, clear winter’s day, we are sitting by the banks of the Shannon in Dromineer, Co Tipperary. It’s one of the locations that inspired Shane’s song The Broad Majestic Shannon. Since the death of the singer, born in the UK to Irish parents, fans have made the pilgrimage to this part of Ireland, desperate to seek out the places that shaped his music.
Siobhan, along with Shane’s widow, Victoria Mary Clarke, has launched a self-guided walking tour called Unravelling Shane, in a bid to give some structure to those journeys.
In the town of Nenagh, we visit some of the spots on the map, including Philly Ryan’s pub, Shane’s favourite watering hole. Philly is behind the bar, an ebullient force of nature, dressed like an undertaker. That’s because he is one. In time-honoured Irish fashion, he is both publican and funeral director.
Shane about to perform at Philly Ryan’s
In one role, he enjoyed many a raucous night with Shane MacGowan. In the other, he planned the funeral of his great friend. “Such a shock,” he says, recalling the phone call from Siobhan after her brother died.
Sitting among endless Shane and Pogues memorabilia, Philly reckons the late singer would enjoy the posthumous boost to Tipperary tourism.
The flag from Shane’s coffin framed in Philly Ryan’s pub in Nenagh, Co Tipperary, Ireland
“Shane loved Nenagh,” Philly says. “He’d have loved to get that attention onto Nenagh as a gift from Shane MacGowan to people of Nenagh. Nenagh was his town and he loved it dearly.”
Fans from all over the world wander into the pub now, looking for a tangible taste of Shane MacGowan’s legacy.
“We’ve had requests from places like Serbia, Italy, Germany, America, Japan,” says Carmel Ormond of the new walking tour. She’s a tourism officer with Destination Lough Derg.
Murals in the town of Nenagh, Co Tipperary
“It’s a huge amount of people interested from Japan, from Australia. We’ve requests from all over the world. We constantly meet people that are rambling around trying to find an area. It has become a huge tourist attraction.”
Another stop in Nenagh is the St Mary of the Rosary church, where Shane used to attend Sunday mass with his mother. Two years ago, it was the venue for his funeral. Attended by Johnny Depp and Nick Cave, it was streamed live around the world, as family members danced in the aisle to Fairytale Of New York.
Shane (wearing cap) and Siobhan (in front of him) on a farm in Tipperary, Ireland
“I danced with my husband and my heart was absolutely breaking,” Siobhan remembers. “I danced through it, and I did it for him. It was a dance of defiance against death. I thought, death is not going to stop this song.”
As his family continue to grapple with their loss this festive period, Shane MacGowan’s legacy is continuing to be shaped. Siobhan says his passing made her finally appreciate the full gifts of her sibling as an artist and a person.
“It was then I realised the huge volume of work and people’s reaction to him and his work that, to me, was extraordinary. Like I thought, wow, look at what you did. That’s what I said, look at what you did, you know.
“It only seems to be getting stronger. His legacy only seems to be getting stronger.”
Puppetry has enjoyed a renaissance in recent years.
With the ability to tell political and philosophical stories, fairy tales and musical adventures, all with equal flair, puppeteers bringing the inanimate to life on stage is back in vogue.
A staple of the festive season, the year-round resurgence has been invigorated by hit West End shows including War Horse, The Life Of Pi, The Lion King and My Neighbour Totoro, boosting a craft that has been traced back as far as the ancient Greeks.
Pinocchio is this year’s Christmas show at Shakespeare’s Globe. Pic: Johan Persson
This year, puppets are centre stage at Shakespeare’s Globe, with Pinocchio their leading man.
The tale of a wooden puppet who dreams of becoming a real boy, Globe associate director Sean Holmes tells Sky News: “It seemed to fit, a boy made of wood in a theatre made of wood.
“There’s something about the kind of challenge of that storytelling, the theatricality, the magic, the puppetry, that really drew us to it.”
The performers – made up of actors and puppeteers – spent 18 months workshopping the show ahead of opening night, perfecting the challenge of skilled puppetry, acting and singing all on an open-air stage. It’s no mean feat.
The show features a range of puppets, including rod, table-top, and large-scale creations that fill the stage and marionettes – small puppets with big impact.
Puppeteer Stan Middleton is a marionette specialist. Pic: Patrick Hutton
Romeo the marionette on the Globe stage. Pic: Patrick Hutton
One of the show’s puppeteers, Stan Middleton, a marionette specialist, operates a marionette Romeo puppet in part of the performance.
He tells Sky News: “I think a lot of people are scared of marionettes because they think, ‘Oh no, they’re too difficult, we can’t do them’.”
He goes on: “It’s so nice to have the marionette moment in this show, because it gives people a chance to see how beautiful they are and how enchanting…
“They’ve got a sort of delicate charm and a sort of like inner silence which I think really captivates people.”
Despite their charms, the intricate skills required to both craft and manipulate long-string marionettes mean they are under threat.
While some puppets – including War Horse-style rod and Totoro-style body ones – are enjoying success on the stage, marionettes are critically endangered.
Globe associate director Sean Holmes. Pic: Patrick Hutton
Unlike dance or circus, puppetry is not recognised in its own right by Arts Council England and is instead grouped with theatre.
It means specialist puppet venues are competing for funding in the highly saturated market of theatre companies producing for children and families, with no special recognition of their craft.
Marionette-making was added to Heritage Crafts’ Red List of Endangered Crafts in 2023.
There are now calls for it to be added to the UNESCO Intangible Cultural Heritage (ICH) list too, after the UK officially joined earlier this year.
Puppets are big business, but as some types thrive, others are at risk of disappearing completely. Pic: Johan Persson/Patrick Hutton
Little Angel is one of the few UK theatres to have a marionette bridge. Pic: Patrick Hutton
Little Angel Theatre, a hub for British puppetry for over six decades, is one of a handful of UK spaces where puppeteers can perform with long-string marionettes.
Boasting not one but two marionette bridges, puppeteers can walk 360 degrees all the way around the upper part of the stage, working their marionettes from a hidden vantage point above.
Trained by some of the last remaining UK makers, including Little Angel co-founder Lyndie Wright, Little Angel Associate director Oliver Hymans is a central figure in the effort to save the craft.
Little Angel associate director Oliver Hymans. Pic: Patrick Hutton
Inspired by seeing old marionettes hung up at the back of the stage and intrigued by why they were not being used, he is now committed to re-establishing traditional marionette-making.
Hymans tells Sky News: “The marionette is a series of nine different pendulums all wired together. You’re having to work against gravity to keep it in control.
“But the thing about the marionette is you can hide the puppeteer. So, you can completely design and develop a world where there are only puppets and scenery and scenography.”
He says the majority of master marionette makers have retired or are nearing retirement, and warns there may be just a handful left in the country.
He explains: “With the onslaught of AI, we know it’s coming. Jobs where people use their hands are going to be vitally important, and if we don’t protect these crafts, they are going to die out.”
Me at Little Angel Studios. Pic: Ellie Kurttz
The Storm Whale at Little Angel Theatre. Pic: Northedge Photography
Putting their money where their mouth is, Little Angel is nurturing emerging talent, upskilling people in both the art of making and performing with marionettes.
They plan to have a marionette show on stage next summer.
Also joining the fight for the overlooked craft, puppetry director Rachel Warr has organised a celebration of marionettes for the last three years, with the support of the Art Workers’ Guild Outreach Committee.
An industry-focused free event, it brings the puppetry community together – with particular relevance to those who work with marionettes – or who aspire to.
Puppetry director Rachel Warr (R) with Alicia Britt and Anna Smith. Pic. Tom Crame
Some members of the community appear in a forthcoming short documentary about puppets, Untangling, by filmmaker Hester Heeler-Frood.
Warr told Sky News: “People are often more affected by a puppet dying on stage than an actor pretending to die in character. It doesn’t have the artifice of getting up and walking away and getting on the tube at the end of the night.
“There’s something quite vulnerable about the puppet in that sense… We know that it’s not really alive, and yet we’re able to project on to it our own thoughts and feelings. It’s a blank canvas – a powerful tool.”
Meanwhile, as Pinocchio plays at the Globe, the theatre is running accompanying puppetry workshops, encouraging children to get involved in the craft – maybe inspiring future stars of puppeteering.
With their future hanging by a string, the training of the next generation is key to breathing life back into an overlooked craft, reinstating marionettes to their rightful place on the stage.
Pinocchio runs at Shakespeare’s Globe until Sunday 4 January.
The Storm Whale at Little Angel Studios runs until Saturday 24 January, and Me runs at Little Angel Theatre until Sunday 25 January.
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