In the 1990s, I was a rock journalist striving to assert myself as a young woman, working at the heart of the United Kingdom’s male-dominated music press. I loved my job. I met and interviewed all my favourite bands, and spent my twenties and early thirties in a whirl of parties, clubs, gigs and all-expenses trips to America and Europe.

I began my career through a combination of ignorance, bloody-mindedness, and good timing. With no idea about the protocol of editorial commissions, I was annoyed when a music paper failed to publish my unsolicited live review of a friend’s band. Determined to succeed, I followed a tipoff from an artist who lived in a squat with a media contact (this was London in the 1980s), and soon found myself writing for a bi-monthly heavy metal magazine.

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Review: Men Of A Certain Age: My Encounters with Rock Royalty – Kate Mossman; Maybe I’m Amazed: A Story of Love and Connection in Ten Songs – John Harris (John Murray)

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The editor, Chris Welch, was a softly spoken, conservatively dressed man in his late forties whose office walls were lined with photos of himself hanging out with Marc Bolan, Led Zeppelin’s Jimmy Page and Eric Clapton, in his days as a young reporter. I rarely saw him during my year at the magazine, but I’ve never forgotten his gentle demeanour and the trust he placed in my inexperienced, 22-year-old self. Without his support, my life may have taken a very different turn.

Chris was one of a kind. Other than him, respectful, benevolent older men did not figure in my work for the music press.

Kate Mossman’s debut is ‘a meditation on the powerful archetype of the ageing rock star’. Bonnier By contrast, Kate Mossman is a British arts and music writer whose debut book is presented as “a meditation on the powerful archetype of the ageing rock star”. Her fixation with rock’s fading old guard provides a compelling premise for Men Of A Certain Age: My Encounters with Rock Royalty, but the blurb is a little misleading. This is essentially a collection of republished interviews and personal reflections, rather than an in-depth analysis.

That said, Mossman has produced a thoughtful and entertaining retrospective. Her conversations with the likes of Wilko Johnson, Terence Trent D’Arby, Ray Davies (The Kinks), Jeff Beck and Kevin Ayers are humorous, perceptive and beautifully composed.

She describes the Happy Mondays’ and Black Grape’s Shaun Ryder as resembling “a Russian Mafia boss in the corner, whisky in hand, arms elevated by the pressure of a thick leather jacket”. She chats with Paul Stanley of KISS while he applies his makeup before a show.

“Here is my clown white,” he says softly, picking up a pot of the thick, sweat-resistant foundation he discovered in the ‘70s. “And here are my puffs.”

These encounters afford the reader a certain insight into Mossman’s idiosyncratic predilection for wrinkly rock stars twice her age. Yet while the book affectionately probes her strange, decidedly gendered interest, it avoids the glaring issue of structural misogyny that contaminates the music industry.

It’s not as if Mossman is unaware of the sexual politics at play. She positively delights in the “exciting father-daughter energy” of the older man-younger woman dynamic, intentionally exaggerating her youth and assumed innocence in the presence of ageing rockers. She knows men like Tom Jones and Gene Simmons will respond openly to her coltish, unthreatening persona, because what could be safer than “just a pretty lady”? It’s a clever and effective strategy.

I fully appreciate the quality of Mossman’s profiles, but her attempts to lean into the patronising attitudes of rock’s elders land uncomfortably with me. And having once had my own tender skin in the game, I can’t help seeing the book’s negation of sexism as a missed opportunity.

When I was a rock journalist, I never felt advantaged by my gender or energised by the older male rocker’s entrenched misogyny. Quite the opposite.

At Jarvis Cocker’s house party

Twenty or so years before Mossman began pursuing her beloved senior rockers across the US, I was being reprimanded by my editor for my “unprofessional” rejection of the creepy advances of a famous middle-aged musician.

Liz Evans in a shaving cream fight with Martin McCarrick from Therapy?. In 1989, I was a staff writer for a fortnightly rock magazine based in London’s Carnaby Street. We smoked and drank at our desks, played loud metal on the stereo, took half-day lunches on record company money and hosted a constant stream of visiting rock stars in all manner of altered states throughout the working day.

One of my regular jobs was to review the singles with a handful of guest musicians, depending on who was in town. This was often a riotous affair that occasionally descended into chaos. One time, a German drummer, old enough to be my dad, asked me to sit on his lap while we listened to the records. When I didn’t see the funny side, he sniggered at my rebuttal and asked if I was having my period. So I walked out, leaving him with his embarrassed band mate in a room shocked into silence.

A year or so later, the editor who scolded me would help bring about my eventual redundancy after I started to retaliate against a toxic male colleague. This man, previously a friend who’d tried to date me, bullied and ostracised me for the entire duration of my employment. I put on a brave face, cried in the toilets and still managed to enjoy my work. But when I eventually reacted, I was blamed for aggravating the situation, and the magazine let me go.

I spent the next eight years escalating my freelance career and writing books. I waded in the ocean with The Verve’s Richard Ashcroft, toasted a Chicago sunrise on tour with Alice in Chains, went snowboarding with a young British band in California, tripped over Jarvis Cocker at his own house party, and gratefully received a pair of secondhand John Fluevog sandals from the closet of Sonic Youth’s Kim Gordon in New York. But my confidence remained dented until I published my first academic article in the early 2000s.

Liz Evans in Los Angeles to interview L7, with Dom Wills from Melody Maker. Liz Evans Forgive me then, for baulking when Mossman describes herself as “a small girl sitting on the knee of Father Rock” at her first job for the now-defunct UK music monthly, The Word.

While I’m sure she’s attempting to describe a more supportive, paternalistic workplace environment than the one I endured, she is nevertheless referring to a situation in which she, too, was the only woman in a small team of men. In her case, a generational divide reinforced the sense of male authority which left her wondering “who I was without these men, and who I would be”.

Years before Mossman met him, one of the men she mentions reportedly claimed women were unable to write effectively about music. I once encountered him too, and found him to be smooth, charming and arrogant, with the ruthless attitude of a tabloid journalist.

Working with men like this produced some of the worst experiences of my career. Luckily, such occasions were rare, but could be significant. Bands never saw the bigger picture, of manipulated stories and doctored headlines, but their lives were directly affected by decisions made by people they’d often never met.

‘I remember once having a conversation with Kurt Cobain about power and the media.’ Mark J. Terrill/AAP I remember once having a conversation with Kurt Cobain about power and the media, and telling him journalists like me could only do so much. Ultimately, we were at the mercy of our editors, which is why I tried to pick mine wisely. Musicians don’t have the choice. Under contract with record labels, they are legally obliged to engage with the media and must take what’s on offer. I’d known Nirvana before they were famous, and watching Kurt develop from a shy, goofy kid into a cynical megastar persecuted by the press was heartbreaking.

Part of the reason Mossman’s book sits uneasily with me is because it appears to ignore the hard-won heritage of female music journalists, and the struggles women like me had in the workplace. Deferring to big daddy editors and accommodating the fragile egos of doddery rock gods feels too much like turning the clock back.

More interested in her

Interestingly, at the back of her book, an intriguing detail lies almost buried in the acknowledgments. Here, Mossman says she recently learned her mother was responsible for introducing a bunch of records she thought had belonged to her dad into the family home.

This untold chapter of Mossman’s story speaks volumes about women and rock culture. Swinging like a loose thread, it threatens to unravel so much of what we have come to accept about the world of rock and the stories of its appointed gods.

Hence my other frustration with the book. While Mossman is a critically acclaimed journalist and former Mercury prize judge, nothing can fire my interest in men such as former Journey singer Steve Perry, or the insufferable Sting. I simply don’t care about them. I’m much more interested in her.

Had Mossman developed the snippets of memoir she uses to contextualise her interviews, and foregrounded herself instead of her tired old giants, I believe her book would have been much more powerful. The strongest, most illuminating passages are when she interrogates her past and mines her personal experiences for clues to her adult obsession with the old guys.

Her teenage infatuation with Queen, her discomfort with the irreverence of 1990s pop culture, her desperate need for parental approval, the peculiar sense of shame she feels in writing about people she loves. The way she listens to music through her father’s “imaginary ears”, the energy writing affords her. All of this outshines the perpetually recycled male rock-star myths, no matter how well Mossman interprets them.

Perhaps in trying to convince the reader to share her love for middle-of-the-road musicians, Bruce Hornsby and Glen Campbell, both of whom had their heyday before she was born, Mossman is still trapped in her teenage cycle of needing her parents to approve of Queen. If so, I hope she manages to shake this off and step more fully into her own story with conviction and faith. With her talent, a full-blown memoir would be a runaway bestseller.

In many ways, Mossman’s book highlights the limits of music journalism as a genre. Her long-form profiles are detailed sketches rather than complex studies, reflecting the fleeting nature of the interview format. Ultimately, even with a fascinating subject, this type of interaction will always be a superficial exercise and therefore something of a game.

For Mossman, with her obsessive fan tendencies, this may be hard to accept, but faced with Sting’s smooth professionalism, she has no choice. “There is a desire for connection that drives every interview,” she writes, “and with Sting, it was a connection I never got.”

For me, ten years of music journalism was enough. By 1998, I’d met everyone I wanted to meet and there were only five or six bands I still wanted to hang out with. I was ready to expand my writing skills and deepen my understanding of the human psyche. Funnily enough, given Mossman’s interest in Jungian theory, I retrained as a Jungian psychotherapist.

Liz Evans writes ‘ten years of journalism was enough’. Here, she’s pictured with Art Alexakis from Everclear. Liz Evans

An elitist boys’ club

I wasn’t the only one to quit music journalism after the 1990s. With magazines folding left, right and centre, many writers moved onto other careers. One of them was John Harris, now a political and arts columnist for The Guardian. We met briefly at the NME during my six-month stint as its rock correspondent, and occasionally ran into each other at Britpop gigs with mutual friends.

Now, NME is an online platform full of celebrity gossip and brimming with ads. But in the early 1990s it still held currency, for emerging bands and music fans alike. So when the editor invited me to interview Alice in Chains and Screaming Trees on tour in America, I was excited.

I arrived at the NME office fresh from the friendly clamour of Kerrang! magazine, and the first thing that struck me was the silence. Everywhere I looked, studious-looking guys with neat haircuts sat typing furiously away at their desks. There was no music, no talking – and, apart from the secretary, no women.

I soon discovered the few female writers who managed to find a way in were either resented (like me), or given “special dispensation”, whatever that meant.

It all seemed so weirdly petty, like an elitist boys’ club. I hated it.

On one occasion, I refused to disclose the location of a secret Hole gig – at the band’s request. I was punished for my disloyalty to the paper by not being allowed to review it. Another time, a couple of journalists offered to “help” me with a two-part feature on the Riot Grrrl movement, even though I’d single-handedly managed to gain the trust of some of the key women on the scene, all of whom despised the male-dominated music press.

The final straw came in the form of a commission to interview Aerosmith. Asked to “get the drug stories”, I argued for a more original angle: by then, the band was clean. But I was shut down and told to be “more humble”.

Needless to say, after spending a lovely afternoon laughing about outlandish but predictable druggy adventures with Aerosmith band members Joe Perry and Steven Tyler (who tried to steal my fake fur coat), I filed my copy and walked away from the NME with my head held as high as it would go.

Autistic and thriving with music

After freelancing for the NME, Harris went on to work for monthly music titles Q and Select. Now, he’s an award-winning journalist with a string of books to his name. His latest one, Maybe I’m Amazed: A Story of Love and Connection in Ten Songs, is his fifth, and arguably his most important work to date.

Harris’ memoir is a beautiful, heartwarming, enlightening and uplifting book that chronicles the profound impact of music on the life of an autistic child. It captures the grief and frustration of two loving parents as they struggle with the UK’s broken education system and underfunded health services, on behalf of their son. And it details the individual nature of autism and the multiple, miraculous ways an autistic person can flourish when given the right support.

As first-time parents, Harris and his partner Ginny, a former press officer with Parlophone Records, are not aware of any issues with their baby, James. He’s a little slow to speak and has some cute, characterful quirks, but nothing seems out of the ordinary until their daughter Rosa is born and the family moves from Wales to Somerset.

Slow to adapt to the new changes in his life, James begins to exhibit ritualistic behaviours that concern Harris. Three weeks after James starts attending his new nursery, Ginny is told her son might be autistic. Suddenly, she and Harris are plunged into a brutal spin of fear, anxiety, guilt, denial and fundamental uncertainty.

Together, the family embarks on a punitive round of tests and assessments as the tyranny of diagnosis takes hold. At first, supportive frameworks carry the weight of a heavy sentence. But Harris and Ginny immerse themselves in research and fact-finding missions to educate themselves about autism. After investing a significant amount of time and money, they manage to establish a viable routine to help James thrive.

It’s not an easy journey. Setbacks, personnel changes and bureaucratic complications are ever-present, but with a small team of specially trained, caring individuals, James makes progress. Meanwhile, as a lifelong music lover, Harris becomes increasingly aware of the profound relationships his son is developing with certain songs by particular bands. Kraftwerk, The Beatles and Mott the Hoople all exert a steadying influence on James, enabling him to communicate in ways he cannot through verbal language.

A visit from musician Billy Bragg, with whom Harris organises an annual talks tent for Glastonbury Festival, results in James actually making music himself. This leads to keyboard lessons and a slot at the school concert. By the time he enters his teens, James is playing bass, and looking every inch the rock star.

Structurally, Harris has produced a masterclass in memoir, seamlessly blending the past with the present. Cleverly shifting between his own life in music and his son’s, he charts his teenage years as a mod, his ill-fated band’s only performance and his forays into music journalism – all of which he now values anew in the context of parenting James.

He describes how the pair share their joy in gigs and experience the deep bond of making music together, sometimes with Rosa on drums. Watching his child come alive through rhythm and melody, Harris finds himself re-enchanted by music and uncovers the wonder of parenting through unexpected and creative channels.

The book delivers a wealth of information about the vast and complicated spectrum of autism, taking a deep dive into medical theories and the world of neurology. By weaving this complex material into his personal experience of huge emotional and practical challenges, Harris keeps it relatable. In many ways, he has forged a map, complete with a beacon of hope: albeit an individualised one. Informative, enriching and engaging, his story of love, persistence and hard-won daily miracles is music writing at its absolute best.

Wildly disparate in content, both Harris’ and Mossman’s books show how music can define us. In this way, their narratives speak to us all.

They remind me of a time when I couldn’t leave home without a Walkman and a spare set of batteries. They take me back to when I was a teenager, when music shaped my social life, determined my image and gave me the courage to withstand an emotionally abusive upbringing. And they return me to my twenties, when music powered my glamorous first career and launched me into a lifelong creative practice.

Ultimately, they remind me the pulse beneath my writing still belongs to music. And who knows? Maybe I’ll expand on that one day.