Any other previous, projects that you would like to mention?
One fun project springs to mind, very early on when I started performing, I was invited to play a small role in Lisa: A Folk Opera which was about a North London activist who was killed whilst cycling. It had plenty of endearing little factual details crowbarred into the lyrics, with the standout line 'Oh Lisa, I'd love to help, but I've just set up a wallpaper museum…' I was in hysterics for most of the performance, which incredibly was staged at The Assembly Hall in Islington [London].
How did you get started as an artist?
It took me a long time to get to the point where I wanted to perform for other people. I was singing covers and thinking about writing songs for about 10 years in secret, basically until I met my husband. I found I wanted to impress him at the Ukulele Open Mic night at the Snooty Fox in Canonbury. It was a really exciting time in my life. After a while I was building my whole month around the two songs I would perform, and I guess covering songs which have already stood the test of time is great preparation for writing your own. After a while, somebody asked me to perform at an actual gig, I could scarcely believe it. It was at a very rough pub somewhere in King's Cross, and it was a full moon. I had crippling nerves and had to really persuade myself to put myself up for scrutiny. Later in my London life I met plenty of supportive people who formed my network, and I could gig regularly with friends at The Lantern Society (at the Betsey Trotwood), Karamel, Starry Starry Nights and The Old Nun's Head. Once I knew I wanted to perform my own songs, recording was the next step.
Is anyone else directly involved with your music?
Without my husband I could not make the music, but technically, he is not directly involved. Since last year I have been performing with a very talented pianist named A Mondie Gerbault-Gaylor, who was introduced to me by Roy Brown, who has been very supportive.
How has your writing (or music) evolved from your beginnings in songwriting?
Perhaps now I am better at hiding things in the subtext. I don't want you to understand every lyric, and I don't want you to be able to predict where the story is going next. I prefer to throw out dark hints rather than spell it all out. My friend, the poet Gabriel Moreno, has said that I use the domestic to describe the transcendental, and I think he has something there.
What do you like about being included on the HB Record Compilation?
I was amazed to be selected. I have collected vinyl records for more than 20 years now, but pressing a record of my own music has always been cost-prohibitive. To be immortalised on this indestructible medium is a dream come true, and to be alongside fantastic artists working in the same region makes it even better.
Aside from this release, have you released music before?
An unsigned artist, I have self-released two albums and one EP via Bandcamp. Button Blues is taken from last year's four-track EP Sons of the Morning. Most of the songs had been around for a few years, but when I wrote Good To Me I suddenly realised that those four songs belonged together as a kind of mini compendium of woman's experience of man. The sound design is a deliberate recreation of live performance.
What made you choose this song for the Record?
This is the song that used to get the biggest reaction whenever I performed it in London. It's a personal memoir with a bit of poetic lisence but I think most people can find something to relate to in the lyrics.
What's the story behind the song?
A disastrous relationship in my early twenties. The further I get from the relationship the more I realise that the problems were entirely in my head. The song shouldn't be taken as autobiographical (although I still have the button), it's more about self-sabotage in early adulthood and how two people can have a completely different view of the same situation.
What's your favourite moment, musical or lyrical, of the single?
I have always been happy with the opening line
Who produced your single?
I only needed a sound engineer, the concept of the EP Sons of the Morning was to capture my live sound rather than being a worked-up production.
What other producers have you worked with?
None so far but I am open to that.
What music projects are you currently working on that we should keep an eye out for?
I am excited to be putting together an epic gig to celebrate Bob Dylan's 80th birthday, it will feature a select group of local acts and be hosted by myself at The Cabana on Saturday 29th May. Daniel Munro, who also is featured on this record, will perform as part of the Munros.
Can you name three other NZ tunes that would fit well on a playlist alongside yours.
Don't You Know Who I am by Reb Fountain
The Barrel by Aldous Harding
Mad About Your Sea by Estère
Are there any musical blogs, YouTube channels or podcasts you're super into?
When I am driving, I listen to 'Sounds of the 90s' on the BBC Sounds app. It covers most genres and takes me back to my teenage years in Northern England during the golden age of Britpop, which was a really rich and optimistic time. Also, my friend Laura Tenschert has an incredible podcast called Definitely Dylan. It's full of insightful commentary and unbelievable tidbits about the man himself. He contains multitudes alright.
Are you earning a living from music alone – if not what else do you do?
Thankfully I have a fulfilling day job, and I am free to create only the music that interests me, without the pressure of supporting my family from it. My heart goes out to my many musician friends globally who have found themselves without financial support in this difficult time. I would urge everyone to support the Arts in any way they can.
Any last words?
I am primarily interested in the shared experience of performing and experiencing music, and I hope that by example I can encourage people from all walks of life, musical or not, to join the conversation. The genre isn't important. How the musician looks isn't important. Perhaps you think it's strange to go to a gig alone, or to go to the gig of somebody you've never heard of, but I do it often enough and I never regret it. Perhaps you have been playing secretly in your bedroom and you want to play for an audience now. As the quote on The Cabana reads, 'Life without music is a mistake'.
