Best Oster Blender Reviews – Top Hand Blender on sale

The Oster Blender or Osterizer Blender offers durability though an all metal motor and blade drive system designed for speed and powerful ice crushing.
The Oster brand was introduced in 1924 when John Oster began to market a hand operated hair clipper. After four years, he introduced a motor driven hair clipper, and the Oster company became known for its quality products. In 1946 Mr. Oster purchased Stevens Electric, the first company to invent and sell the blender. Within a short time the Oster blender was introduced on the market.  Let’s get our Oster Blender Reviews. If you are looking for machine to making smoothies read this best blender smoothie.

Oster Fusion600 WattsMedium $$
Oster Beehive600 WattsLarge$$
Osterizer Blender700 Power watts/450 Blending wattsSmall$$
Oster 14 Speed Blender

700 Power watts/450 Blending wattsSmall$$
Oster BPST02-B Professional Series600 WattsLarge$$$
Oster 16 Speed Blender with Glass Jar700 Power watts/450 Blending wattsSmall$
Oster 6663 Designer Slope450 WattsSmall$$
Oster BVLB07-Z CounterformsPowerful 600 wattsMedium$$$
Oster 6640-022 Blender450 WattsSmall$


Oster Fusion Blender

The Oster Fusion combines the food processing finesse needed to make chunky salsa and the power needed to crush ice for delicious smoothies. Its blades will reverse motion automatically to ensure that whatever you are fixing is blended smoothly. Several preprogrammed one-touch settings make this a great and affordable blender. You can read more about the Oster Fusion in our full review by clicking the link below.

Oster Fusion Blender Review – Combine Food Processing And Blending In One
The Oster Fusion blender offers settings for blending thick smoothies and processing foods to make soups and salsa. It’s powerful and sturdy.



Oster Beehive Blender

The Oster Classic Beehive blender is another hardworking machine. It’s easy to use flip switch on the front panel makes this blender a snap to use. It is a machine that definitely holds up over the years. If you mainly use your blender to puree soups and make smoothies, it will do the job. The Oster Beehive blender is a simple to use, reliable home blender. It has the metal gears instead of the cheap plastic ones that break and are almost impossible to replace. This one is very easy to clean, and it looks neat and attractive on any countertop. For a more detailed review click the link below.

Oster Beehive Blender Review
The Oster Beehive blender keeps things simple with 2 settings and an easy flip switch. It’ll look great in any kitchen with such a cool, sleek design.




Osterizer Blender – 12 Speed Model

The 12 speed Osterizer blender has some good basics features but is not up to the quality standards of older classic Oster models. It has 12 different speeds, a nice strong sturdy pitcher and is very affordable, priced under $35. However there are a lot of breakage reports and the blender tends to have some problems blending ice. It is covered by a one year warranty.

Osterizer Blender – Oster 12 Speed Blender Review
The Osterizer blender 12 speed model may not be up to the quality standards of old Osters but for a blender under $40 it offers some basic features and is not that bad of a buy.




Oster 14 Speed Blender

The Oster 14 speed blender has a cool speed dial setting and a 450 watt motor. The glass jar is strong and sturdy and the design and color of this blender looks great in modern kitchens. It also has a nice cord storage option under the base of the unit. Quality again varies on this Oster model with owners either loving it or hating it. It’s not a bad buy, just save that receipt.

Oster Blenders – Oster 14 Speed Blender Review
The Oster blenders 14 speed blender is a sharp looking machine featuring a sturdy glass pitcher. With all of the dial settings you’re sure to find something that works.



Oster BPST02-B Professional Series Blender

The Oster BPST02-B Professional Series Black Blender is the top of the line Oster blender. It is praised for its one-half horsepower motor that makes it capable of tackling the toughest blending jobs. It has an all metal drive that moves the power from the motor to the blade and keeps it working smoothly for years.

The base is made to last. Customers appreciate the finger print resistant finish on this particular model in the Oster blender professional series. This may not be the prettiest model available, but it is the hardest working and longest lasting model on the market. The price for the high quality of this machine can’t be beat.

Oster 16 Speed Blender with Glass Jar – Model 6812-001

The Oster Jar 6812-001 Core 16-Speed Blender with Glass Jar is another hard working blender. This particular model has the all metal driver and a 450 watt motor. The dishwasher safe glass jar is scratch resistant and it holds five cups.

This one comes with an ice crusher blade made from stainless steel. It is capable of crushing ice in a way that will leave a smoothie nice and smooth. When you are finished using it, it is very easy to clean.

You can purchase a milkshake blender blade that fits this particular model. It is guaranteed to make milkshakes that are equal to or better than those in any ice cream parlor. This blade works better than the regular ice crusher blade for milkshakes because it thoroughly blends the ingredients.

Oster 6663 Designer Slope

The Oster 6663 Designer Slope model has twelve different speeds, plus the pulse feature. The glass jar holds 40 ounces or five cups. It is one of the less expensive Oster blenders, but does a good job.

This particular model gives you the option of either a glass or plastic jar, depending on your preference. The lid is made from a flexible rubber, and it fits tightly in place to keep the liquid from spilling out while you are blending. It can perform almost any job it is asked to do.

This Osterizer blender is very easy to clean and reassemble. You can use the cleaning cycle or simply clean it by hand. It comes with a one year warranty against faulty parts.

Oster BVLB07-Z Counterforms

If you want a blender that can do everything a blender does plus some things that a food processor does, then the Oster Counterforms Model BVLB07-Z is the one you are looking for. It purees and chops besides all the other things that are common to a blender.

This model comes with a six blade cutter, and it has reverse to keep ice and frozen foods from jamming up in the bottom. It also has two preprogrammed settings to make smoothies and other frozen drinks or to do chopping.

This machine has a powerful 600 watt motor with three different speeds. The glass jar holds 6 cups. Many customers like this blender because of its black with stainless steel color design. Also since it is a blender and food processor combined, it will save you space on your countertops.

Oster 6640-022 Blender

The Oster 6640-022 blender comes with ten different speeds. This is a basic, inexpensive blender that can do all of the basic jobs. This blender can be purchased for just under $20. If you have to replace any parts, you can easily find them, and they are inexpensive.

The motor has 450 watts which gives the blender the necessary power to do the tougher jobs. It comes with the special pulse feature. You can prevent leaking by placing the gasket in the correct place on top of the blade instead of below it. Do not put the rubber lid in the dishwasher, because it will warp with the heat.

Oster Blender Reviews From Owners

Check out the Oster blender reviews we have listed here from owners and visitors to this site. Find out the good, bad, and ugly on Oster blenders.

We’ve put together an excellent collection of owner reviews of Oster blenders. You can read all about what the visitors to think about the Oster brand and which blenders are the best to buy for your needs.

If you have used an Oster blender and would like to post your own review you can do so here also. The more information you can provide, like the model, and the pros and cons, the better. If you love your Oster, let us know, and if you hate it, especially let us know so that we can provide that valuable information to everybody else on the site and they’ll know what to stay away from.

Our goal is to inform our visitors so that they can make the most intelligent blender buying decision.

‘Toro Y Moi’ & ‘Adam Granduciel’ – Huck Magazine, Issue 50

Two interview profiles for Huck Magazine, issue 50. Neither are online so unfortunately you’ll have to find the magazine to read past the first paragraphs.

Toro Y Moi

Photography Andrew Paynter

Interview with Toro Y Moi for Huck Magazine, issue 50


Somewhere between starting his own record label and design agency – Company Records and Company Creative – Chaz Bundick found the time to record his fifth album What For? Considered and softly spoken, the twenty-nine-year-old artist – better known by his stage name as Toro Y Moi – flipped priorities recently between his visual and aural lives. “Music is sort of my job now,” he says, “so I treat design as a hobby.”



Adam Granduciel (1)

Photography Dustin Condren

Interview with Adam Granduciel for Huck Magazine, issue 50


Every once in a while an album comes along that music critics align on. And in 2014, that album wasLost In A Dream. Journalists from Europe to America called the record “timeless” – a laudable feat by any band, least not on their third release. Since then, fans have swarmed to see the Philadelphia’s The War On Drugs play live; they’ve sold out Brixton Academy and other daunting venues across the globe. But this ascent into the mainstream was not fuelled by a strong-armed marketing campaign. It came from good-old faithful word of mouth. Circling from deejays to listeners to to critics, the album was buoyed into recognition on the basis of its sound and little else. In an age of oppressive-advertising and social media hype, it’s an organic feelgood story that every creative person dreams of. But if you dig a little deeper, the emotions that were drained into this record tells another, darker story of the struggle on one man.

‘Brighton rapper Ocean Wisdom has the world at his feet’ – Huck Magazine, Issue 47


Photography James Bryant

Interview with Ocean Wisdom for Huck Magazine, issue 47. 


Brighton rapper Ocean Wisdom has the world at his feet

On July 28, 2014, twenty-one-year-old Ocean Wisdom uploaded his first music video onto YouTube, hoping for a few hundred views. Outside of Brighton, and a core hip hop community, he was almost unheard of. But by the time he went to bed that evening, ‘Walkin’’ had been watched more than 10,000 times. As days passed hype continued to build and the track spilt offline with radio deejays praising it as the UK hip hop song of the week, month, year. “It’s fucking madness,” says Wisdom three months later, still surprised at what took place.

From a distance, it seems as if Ocean Wisdom is another example of do-it-yourself success. After one video on YouTube, he’s being pestered by producers who want to work with him. So any kid with an internet connection can do the same, right? “Sure, any kid can record vocals on their iPhone, put it over a beat on their Mac, shoot a video on their camera and put it online,” says Wisdom, speaking from his home in Brighton. “But the only thing that qualifies is a proper video. Even if it’s not a good video, you can tell if it’s a proper video – a proper tune that’s had a decent mix-down. You’re not going to put out a music video with that level of skill if you don’t have a genuine interest in music, or a genuine interest in becoming a musician. As long as you have that, it’s alright. Which is the same as before [the internet], to a certain extent.”

Wisdom’s ‘overnight success’ is in fact a mirage. Behind that three-minute video lies a decade of work. Given the name Ocean Wisdom at birth by parents he describes as “a bit loopy,” he grew up in a house immersed in hip hop and reggae. Beatboxing from age seven, he started rapping when Gorillaz released ‘Clint Eastwood’ in 2001. He recounts a story of how his mum wrote out the lyrics from the rap verse (“Finally somebody let me out of my cage”), to keep him occupied on a long car journey. Learning it off by heart, he rapped it by the end of the trip. Interested in music but not yet hooked, he began fooling around and rapping with friends at school. “I just used to do these ridiculous joke rap battles over Harry Potter theme instrumentals,” he laughs.

Gradually, in his own time and without telling a soul, he started taking music more seriously. Spending hours writing lyrics in his bedroom, he filled his computer with gigabytes of Microsoft Word files and started writing and recording tracks in private. When he was fifteen, he finally played one song for his closest friend. “The first thing I did was start rapping in an American accent, trying to copy Eminem,” he laughs. “I knew what I wanted to do, but I just wasn’t good enough yet. I was just perfecting it.”

Since then, Wisdom has written every day for at least two hours. His vocal ability has been praised as outstanding, and his lyrics play out like a coming-of-age journal of a cheeky British teen. (“How the fuck on earth did we become so angry? / Couple of years ago man was just reading a Dandy / So how’d I go from reading a Beano to beating up Emos / Swimming in Speedos, to swinging in Chinos.”) Although there are more serious moments, most tracks are filled with off-beat observations. “It’s a way for me to express a side of myself that I can’t really show off in public, because it’s a bit inappropriate,” Wisdom laughs. “You know that weird side of you that every person has? I let that out a lot with my writing.”

But the biggest twist in Wisdom’s story is the ‘Walkin’’ track, which he wrote four years ago, aged just seventeen. One year later he recorded it – “First take, one take,” he says proudly. He laid the track down effortlessly with producer Dirty Dike from High Focus, but admits he was nervous and eager to impress as it was the first time they’d met. Shifting in tempo, cadence and rhythm, he delivered each lyric flawlessly. And as the song ends you can hear Dike shout loudly in the background, ecstatic at Wisdom’s talent. The praise he’s starting to receive now is almost four years late.

With more videos scheduled for release – shot by his Brighton crew – a mixtape in the works and rumours of a joint album with Dirty Dike, Wisdom is getting busy. But he’s not about to fall into any ‘dollar billz’ cliches. “I want to bring it back to where it’s all about how sick you are at rapping. How good your flow is, how good your lyrics are, and how good your delivery is,” he says. “It shouldn’t be who’s the greediest or who looks the coolest.”

So what’s the take-away for other kids penning lyrics in their bedroom? Wisdom has a few final wise words. “You can put all the hard work you want into it, but at the end of the day you’ve actually got to do something physical. Like make a video, with a good song,” he says. “‘Walkin’’ has opened up so many more avenues that would have been so hard to access if I hadn’t done that in the first place. You have to do it. You have to set yourself up.”

‘Boys Will Be Girls’ – Pig House Pictures, Edition IV

Interview with Harriet Rock for edition IV of Pig House Pictures.

Boys Will Be Girls

Screen shot 2014-11-22 at 16.21.55

In the small fishing village of Falmouth, what started as photographing friends in bedrooms dressing up, became living in the drag capital of the world, following the biggest queens in business. Working for Madam JoJo’s as staff photographer, Harriet kept her Polaroid and Hasselblad close, and captured life in the prized Tranny Shack competition. Invited behind the curtain, she saw and recorded, boys being girls

A substantial body of work, this first sparked into life as a second year project, with a few portraits of Falmouth students dressed as queens. As final year at University dawned and students were tasked with one final assignment, Harriet took the early idea and ran with it. Missing lectures, she hustled contacts and entered London’s glamorous drag world. Working at the notorious Madam JoJo’s, she became part of the thriving scene, “for one month I was there every Monday, Thursday and Friday.” She followed the queens night and day; made friends and gained trust. As the weeks passed rolls of film began piling up, and from the thousands of frames she found the edit which turned into a book.

Every player in this vibrant world is unique; there are Londoners, foreigners, young and old. “Some of them are hilarious, but some are really promiscuous. And you wouldn’t be able to tell if they were a man.” Each blurs their sexuality differently, but the women they become are constructed with precision. Larger than life in all areas, Harriet was surrounded with names that demanded attention: Ruby Wednesday, Dusty O; Snow White Trash; Matilda Von Mattress; Bourgeoisie; Miss Red. These are big names for big characters, and all of them were looking to perform. “It was never a problem for me photographing them, because they loved the camera.” Near bursting out of the frames, they flocked to the camera with glamour and poise.

Past the loud posing and glitzy names, there is another reality captured, more striking and honest. For the audience, they only see the glamorous powdered front – a striking woman in a tightly fitted dress – and buried beneath is an everyday guy. But in between, somewhere in the middle, in a lonely bedroom or a busy changing room, there is a period of transformation: Faces layered in makeup, body parts strapped away, buzz cuts covered, voices raised, expressions changed, walks altered. This twilight period lasts maybe an hour at the most, and only a few are privy to it. “When I arrived at the beginning of the night I would see them as themselves and then they’d put their makeup on they’d change into a different person. It was the strangest experience.” From mundane to fabulous, and fabulous to mundane, Harriet caught the shedding of their skin.

Contrasting with these candid and intimate moments are the series of classic studio portraits. Shot solely in Falmouth, these men are the local student queens. We have no drag scene here, and no businessmen with money, but the performance still continues for them in a similar glamorous manner. In the controlled environment the aesthetic naturally changes: Fleeting poses become formal and gazing eyes more vulnerable. Without an audience, in a quite room, these men reveal different things to the camera. “I like working in the studio, but it’s just the studio: White background, lights. There’s a lot more you can work with on location, and shooting in an environment like Madam JoJo’s there was so much going on.” How would the London queens, raucous and wild, have reacted to the clinical studio? Probably with ease. They are performers after all.

Through the body of work, with some frames in particular, you can see the influence of Nan Goldin. Their themes connect on some level: rich intimate moments in other worlds. And their styles overlap at certain points, with raw shots surrounded in blacks and deep reds. Harriet is conscious and respectful of this link; “I used her work aesthetically as a reference point, for my images to develop around. Aesthetically she was really important to me.” How she got there though wasn’t the same: Nan pointed a camera at her life, Harriet entered the lives of others and brought the camera with her. But the frames she came away with are close enough to pay tribute, and far enough apart to be her own.

The big thick book, ‘Boys Will Be Girls’ is printed and a University exhibition is close on the horizon, so this bold project seems to be over. But perhaps, there may be hope for more. Graduation is complete, and Harriet’s moving to the capital to start assisting in industry. “I’m going to try and carry it on when I’m in London because I’ll be close. I’m going to try.” We hope you do.

Wavelength Magazine Story: ‘Sweating Whilst You Sleep’, November 2014

A story for the Winter edition, issue 236, of Wavlength Magazine. The opening paragraphs appear below.

Sweating Whilst You Sleep

Sally Fitzgibbons talks to Wavelength about losing, winning and her love of exercise

by Jack Kenyon/ photography M Fitzgibbons

If there were weight rooms on airplanes, Sally Fitzgibbons would probably be training 365 days a year. As it stands, it’s only when she’s buckled in to a 12-hour flight travelling between competitions that she goes without exercise. Otherwise, the regular day starts at 6.00am in the gym, followed by two or three surfs and a late evening run. Five sessions a day. Do full rest days even exist for her? “The only time, she says laughing, “would be when I can’t do any exercise.”

Talking through a delayed phone line in Southern Portugal, the 23-year-old has just suffered her biggest loss of the season. Two days ago, on the verge of securing her first World Title she was beaten in the final of the Cascais Women’s Pro. The title race has now been ripped wide open. She summed up the loss in one word.


Summer Work Experience

An opinion piece published by The Guardian Blogging Students.

Summer Work Experience: Why You Should Give It A Go

When you’re older it’s much harder to change career direction. But for us students it’s easy. This is the one period in our lives where we can try different jobs, even if just to satisfy a curiosity.

That’s why the summer is your best opportunity to get work experience and try something new.

The idea of trying out a career might not seem as fun as the thought of going on holiday with friends, but once we graduate everything changes. The opportunities we have as students disappear, and time to experiment or work for different people shrinks dramatically.

Even placements that don’t turn out how you expected can be beneficial – they give you direction for the future.

Adam McGhee, a photography student at Falmouth University, secured an internship with a famous fashion photographer during the Easter holidays. He started feeling confident that this field suited him, but finished realising “the large and fast paced world of commercial and fashion photography wasn’t a path I wanted to take.”

Despite this, the internship was still a useful experience. He says: “I left with a clearer understanding of where I want to work.”

Bad internships aren’t bad; they are often blessings in disguise.

Harry Johnston, a geology student at Exeter University, won a competitive internship at an oil company last summer. This was a well-paid position that almost guaranteed a job after graduation. But the experience didn’t turn out quite as expected.

Johnston says: “I thought this would be the dream placement, but despite the money, working in a large corporate business wasn’t something I enjoyed. It was too impersonal for me.”

This experience completely changed his plans after graduation. “It forced me to reassess where I was going and reconsider some options I had previously ignored.”

Sometimes perfect internships do occur, and the working world meets our expectations or even surpasses them.

Laura Baggott, a textiles student at Falmouth University, completed an internship with a high-end fashion brand during the holidays. She says: “The work placement provided a clear insight into the industry, and helped confirm that I definitely want to work in fashion.

“Experience helps you better understand specific roles in the industry you are graduating into – which helps you decide where you want to be, and equally importantly – the roles that may not be for you.”

When students experience industry first hand it’s often not what we expected. It could be better or it could worse; but the ideas in our head usually don’t match the reality. The only way to confront those misconceptions is by entering industry, and trying it.

Choosing a career path is a decision that will affect the rest of our lives, and once that choice is made it becomes increasingly difficult to change it. We only have a few long holidays while at university, so we should use them wisely.

The Font: ‘The News A User’s Manual’

A short interview with Alain De Botton about his latest book, The News: A User’s Manual.

The News: A Users Manual

Screen shot 2014-05-12 at 21.08.52

The latest book by author and philosopher, Alain De Botton, is an inquiry into how ‘the news’ affects our lives and how we can avoid some of the negative consequences. I interviewed Alain about the book and his motives behind it.

Q. Why did you decide to write this book?

A. To make sense of one of the most powerful sources at work in the world today.

Q. If you were an alien what do you think your reaction would be to news consumption?

A. I’d be most surprised not by the fact there is so much news, but the way that we don’t prepare people for how odd this is. We don’t train people in the consumption of news. Yet there’s no more powerful force in modern society than the news. It shapes how we see the world, what we judge to be good and bad, important or silly, right or wrong. And yet too often, we don’t see the extent to which the news is forming our mentalities. Once our formal education is over, the news is the teacher.

Q. Do you think many people have an awareness of the psychological affects of reading the news?

A. We don’t interpret things at all. We let them wash over us. It’s like a cult, like a religion… In the developed economies, the news now occupies a position of power at least equal to that formerly enjoyed by the faiths. Here, too, we hope to receive revelations, learn who is good and bad, fathom suffering and understand the unfolding logic of existence.

Q. As far as habits of consumption, do you have any recommendations?

A. We should go a little easier on ourselves when it comes to indifference to the news – and recognise that we’re one of the first generations to have to deal with the torrent of information about things very far removed from our own lives. The modern idea of news is pleasantly flattering. Yet it’s really quite strange. We keep getting information that isn’t really for us to know what to do with. No wonder we’re sometimes a bit bored.

Q. Do you think the news will continue to define our societies virtues?

A. Yes, but hopefully, it will take its responsibilities more seriously. There are few more influential jobs out there…

Folk Radio UK: ‘Blue Rose Code – Interview & Video Session’

An interview with Ross Wilson, published by Folk Radio UK.

Blue Rose Code – Interview & Video Session

Blue Rose Code

Ross Wilson of Blue Rose Code runs his hand repeatedly through his thick lumberjack beard, gripping it roughly as he shakes his head in obvious frustration. His pursed lips shift into a wry smile before he opens his mouth and lets out a short Scottish chuckle, obviously amused at the simple question: Are you enjoying your tour? “Nothing irritates me more than hearing musicians complain about doing the thing they profess to love” Ross says “bedwetting musicians moaning about touring, it’s high class problems. For me, I love it”.

Since the release of his debut album North Ten in February, Ross has been busy: he’s clocked around sixty gigs, played the summer festivals, taken an exclusive trip with the BBC to Nashville and recorded two EP’s. So with the live tour soon coming to an end, what’s next? Wilson grins excitedly at this question “We’re going into the studio in December” he says rapping the table emphatically, “after that there’ll be no more live dates until the Album launch in May next year”.

Despite the buoyant progress, anyone who is familiar with Blue Rose Code’s more melancholy songs knows there’s a darker story behind the recent success. Now a recovering alcoholic, Ross struggled with addiction for years, eventually ditching music entirely during 2009 in an effort to dry himself out. He suffered for eighteen long months before gradually returning to music, but the purge did little to stem his drinking. For such a passionate musician, how did he manage without it? Ross lowers his head, shaking it at the same time “I thought it was going to save me” he says with steady eyes and childish honesty “I thought I’d be able to take myself out of the music business and that would help me drink safely”.

Checking himself in for treatment, Ross slowly managed to re-gain self control, weaning himself off the bottle. Several years later he’s teetotal, bringing his coffee mug up to his mouth his brow furrows and he kneads his temple as he considers the question: What was the decisive moment? “Either I was going to be a musician, or I wasn’t” he says slowly, leaning forward in his chair, placing the coffee mug on the table “and here I am, on licensed premises. It’s fine for me to be around drink because it’s not what I want to do anymore”.

With the dark days steadily receding, Blue Rose Code has been quickly gaining attention in the British folk scene, he has shared stages with the likes of Lau, King Creosote as well as the legendary Bert Jansch. Selected by the BBC for a recent showcase in Nashville, Ross and other emerging UK musicians performed in the international event, “It was great fun, amazing” he smirks modestly, his thick beard nodding up and down.

Later that evening Ross walked casually onto the stage, smiling and greeting the audience with his affable Scottish charisma, in the darkness the chatter quickly became subdued and all eyes focused on this hairy man in the tartan shirt. Performing solo, he was without the harmonies, double bass, banjo and other elements that make his album North Ten so thick and rich. But despite this, he was still a demanding presence. From the up beat ‘Julie’ to the eerie ‘Acquainted with the Night’ his solo presence was sublime, holding the audiences attention fixed for the full hour and half which was no small feat in such a cosy bar. After the encore he set down his guitar, stepped to the mike wiping his brow and looked out at the shadowy faces, “I’d like to thank you all. I’ve had a wonderful evening, you’ve been lovely”. The applause erupted.

There’s something particular about Blue Rose Code that resonates strongly with certain people. A word that perhaps nails this down, a word that appears in reviews of his album from time after time is ‘authentic’. Ross doesn’t disagree, tilting his head knowingly, “What groups everything together, what underpins it all” he pauses for effect “is me. The experiences I’ve had”. With lyrics covering his depression, addiction, heartbreak and love, everything is raw and visceral. “If I’m not being authentic”, Ross continues, spreading his arms wide, “then why would anyone want to plug into what I’m doing? First and foremost music has to be from the heart, it has to be authentic”

So with the tour winding down, how does he think his new album is going to turn out? Ross’s face cracks into a wide smile “All musicians say this”, his eyes light up and he pulls his chair towards the table, “but my next record will be even better than the last”.