Welsh singer Gwenno’s new album is in Cornish. It’s one of many ‘lost’ languages being reborn

Published in BBC Culture on April 12, 2018

“A eus le rag hwedhlow dyffrans?” So goes the first track on Le Kov, the second album by Welsh singer Gwenno Saunders. But it isn’t Welsh: it’s Cornish, a minority language spoken by fewer than a thousand people. The line translates as “is there room for different stories?” – and this is the question at the heart of her record, which celebrates variance in language, culture and identity. Continue reading “Welsh singer Gwenno’s new album is in Cornish. It’s one of many ‘lost’ languages being reborn”

Tune-Yards: ‘The shared experience of music is sacred’

Published in The Observer on January 13, 2018

Merrill Garbus was raised in Connecticut, and after working for a puppet theatre in Vermont, self-released her first album as Tune-Yards. Bird-Brains was picked up by the label 4AD in 2009. After moving to California, Garbus recorded 2011’s acclaimed Whokill and 2014’s Nikki Nack with bassist Nate Brenner. Garbus presents Claw, a radio show for Red Bull, playing work by “female-identifying producers”. Tune-Yards’s latest record, I Can Feel You Creep Into My Private Life, is out on 19 January.

I Can Feel You Creep Into My Private Life is a great title. Where did that come from?
People assume it’s some kind of privacy, Google thing, but it actually came through a meditation course that I did related to race and white privilege, trying to sit with the deep feelings of what it means to grow up in racism. These aren’t things I can just sign petitions about or go to marches about – actually, there’s a place that it lives inside of me. There’s a concept of white fragility that’s very hard for white people to hear when they are being racist. It’s about trying to take that in without defensiveness.

It’s so easy to think “I’m not like that” or “it doesn’t apply to me”.
Exactly. And I recognise that most of the time [racism is] not personal, it’s pretty institutional. But the personal part is: how can I push back, when the tides are flowing in the direction of white supremacy?

The lyrics to Colonizer on the new album talk about cultural appropriation, about who gets to tell the stories. Was that something you were wrestling with?
Yeah, totally. We’re becoming very aware of the voices of history that we grow up with. I love my job, but I also have doubts about whose voices need to be heard right now. It’s not like I’m Madonna or Katy Perry, but I have some kind of reach. I go through both needing to sing, to open up my lungs and create sound, but also at times being disgusted by my own voice. But I tried to push myself to be uncomfortable, because that’s what this work of being a human is, and particularly what being an artist with a public voice is.

You’ve been DJing more recently – has that influenced the desire to make something people can dance to?

Absolutely, it was leaning towards dance music, and understanding the value and the history of people getting together in clubs. Here in San Francisco, disco was really important in the gay rights movement, and that’s true also for the beginning of house and techno, for people who were marginalised. And especially in the UK: I didn’t really know about rave music, but people getting together and – whether or not it’s drug-related – there’s just that idealism and love. These days it’s hard to centre around love and not have it feel suspicious to people. Those movements of rave music explore that.

How did the radio show come about?
When we did Nikki Nack I asked the label and a few other people “are there any women out there producing records?” And there were a lot of blank stares. That really disturbed me, so I went on my own hunt and of course – of course – there are thousands upon thousands of women producing. My dream was to pair rappers with women producers, and as I was dreaming it up, Red Bull approached me to see if I had an idea for a show.

Your live shows always look like a lot of fun. How important is the performance side of Tune-Yards for you?
I come from a theatre background, and also I had parents who brought me up in various folk traditions, and many of those are about ritual and what we do together as humans to process life on this planet. So, for me, getting on stage is creating this ritual. I think the shared experience of music – experiencing rhythm together, experiencing movement together – is sacred.

Do you ever miss the days of recording alone with a Dictaphone and a laptop?
No, not really. I was really sad back then. Now I’m in a pretty wonderful partnership, and I get to travel the world and play in front of thousands of people. I am dumbstruck by what we have.

Tune-Yards tour the UK from 13 March

Michaela Coel on her Black Mirror episode & future of Chewing Gum

Published in Refinery29 on December 29, 2017

From council estate to outer space: Michaela Coel’s career is going stratospheric. You’ll know her as the writer and star of the adorably filthy, funny, London-set comedy Chewing Gum, a sleeper hit for Channel 4 that went worldwide after being picked up by Netflix. But the 30-year-old is next to be seen in the new series of Charlie Brooker’s Black Mirror. Continue reading “Michaela Coel on her Black Mirror episode & future of Chewing Gum”

Review: The Jungle, Young Vic

Published in Time Out on December 16, 2017

Welcome to The Jungle. Take a seat at one of the makeshift tables surrounded by tarpaulin and chipboard walls. This is the Afghan Flag restaurant, one of many establishments that grew up in the Calais refugee camp – recreated here to evoke the powerful community that also grew up there. Continue reading “Review: The Jungle, Young Vic”

Opinion: By cancelling Andrea Dunbar’s play, the Royal Court has silenced an urgent female voice

Published in The Stage on December 15, 2017

The Royal Court deserves a long and loud round of applause for the way it has responded to revelations about sexual harassment in the theatre industry. Vicky Featherstone has led the way, with bold initiatives and bold decision-making. Continue reading “Opinion: By cancelling Andrea Dunbar’s play, the Royal Court has silenced an urgent female voice”

Dali and Duchamp: these mischievous mavericks shaped the 21st century

Published in BBC Culture on November 20, 2017

Marcel Duchamp and Salvador Dalí: two titans of modern art who might appear to have little in common. One is the father of conceptual art, who turned his back on the commercialisation of that world in favour of playing chess; the other is famous as a painter – and just as famous for embracing fame, a dandyish personality who knew how to sell himself. Continue reading “Dali and Duchamp: these mischievous mavericks shaped the 21st century”