INTERVIEW: F*Choir Celebrate 10 Years

We’ve been huge fans of London based queer collective F*Choir for as long as we can remember; it feels like they’ve been a part of our souls before we even knew about them, and their deeply immersive and interactive performances have had a consistently moving and powerful effect on us over the years. 

Celebrating a decade of existence, we wanted to take some time to honour the truly special, life-affirming sense of resistance they’ve built over the last ten years and their ability to create and recreate art that is hugely enlivening and electrifying. Not only a choir, but a community, F*Choir have offered a cathartic space for all who’ve been involved – whether on the stage with them, or watching and listening from across the room. They’ve continued to evolve with the changing times, reflecting the political, physical, spiritual and emotional identities of its members, providing a beautiful and necessary platform for both the euphoria and the grief that the queer community have experienced.

Having also celebrated our 10th birthday last year, at Get In Her Ears we feel a certain affinity with F*Choir and understand the work, time, stress and joy that can go into putting your heart and soul into a creative project. We’ve been lucky enough to host events with them, and various individual members of the collective (including Rubie and Jenny Moore’s other projects, punk-percussion outfit Charismatic Megafauna and her six piece ensemble Jenny Moore’s Mystic Business), as well as attend many of their other shows, and so have been able to experience first hand the all-encompassing, empowering energy and majestic captivating grace that exudes from each of their performances. 

Rooted in the firm belief that “music has the power to change us and remake the world”, F*Choir use music to stay connected, to life and to each other. It is exploration, hope, possibility. It’s hard work. It’s saying, “you have got the strength”. And, with their urgent, melodic, driving songs that sit somewhere between fight for your life and lay down your guard sentiments, they offer a commitment to rhythm, movement, self-expression and salty harmonies. An F*Choir song is both personal and political, it’s a vessel for stories and collective liberation. 

Ahead of what promises to be a career-spanning performance at Earth in Hackney on 25th October, Tash spoke to Jenny (Founding and Artistic Director) and Bianca (Assistant Choir Leader) about the project’s beginnings, what being in F*Choir has meant to them, their journey together, and what they’re moving onto next… 

Initially conceived by accident from a project that Jenny was working on to create some music for a festival, with the aim of going back to our roots and not using electricity, F*Choir highlights the power of the voice. With no microphones and no other instruments used, what they write and create is raw and direct, as Jenny explains: “People are often surprised we’re not just shouting, feral, scratching, growling, but F*Choir music shows you can growl in 7-part harmony. It’s textured and breathing, belonging to bodies that ache and bend and push themselves towards the sound.”

After putting out a call for people to join her in this unique project, Jenny recruited a number of like-minded creatives at a time when people were really learning how to be together again after the anxieties of Brexit. Having come together for an intense five-hour-long rehearsal, ‘We Want Our Bodies Back’ (previously written by Jenny for another project) was the poignant first song that F*Choir performed together, before she realised that this was not going to be a one-off collaboration, but – due to a misunderstanding in the advertisement – the start of an incredibly huge part of her life for the next decade. It was meant to be.

Speaking about how special it feels to come together to sing and create, Jenny explains that it’s about finding the electricity within ourselves; creating and performing with F*Choir channels an internal energy – a somatic, physical part of ourselves: “Singing reminds you that you are alive when you feel not alive… Singing is this thing – you have to inhale to make the sound and exhale to make the sound, and there’s something about that creates electricity… . It creates this internal engine that makes me feel like I can carry on like a little bit more.”

Bianca’s introduction to F*Choir also seemingly happened by complete accident – she met different members of the choir, including Managing Director Sophie Chapman, whilst on an artist residency in Poland. After being persuaded to join some of their open sessions when back in London, she was instantly hooked: “I remember thinking these people are mad and I think I’m in love with all of them”. Never intending to be part of a choir, she followed the energy – that connected electricity – that oozes from F*Choir, and was completely locked in after seeing Jenny and “absolute goddess” Rubie do an impromptu spontaneous open air rehearsal.

Now, Bianca describes F*Choir as the “spinal chord of my life” – they are each other’s chosen family and provide an expansive musical learning and insight, as well as deep-rooted sense of community. She continues to be impressed by and proud of her peers – the different bands and artists that have come through the F*Choir collective (with examples including Breakup Haircut, Trouble Wanted, Rubie, Zahra Haji Fath Ali Tehrani and more), spreading its roots as it evolves and shapes its members. 

Continuing to reflect on what being in F*Choir means, and the importance of coming together to sing, Jenny describes how emotional, physical and spiritual singing can be; how it helps to build muscle memory: “It builds muscle for individual and collective power, if you let it saturate your actual, physical self.” Highlighting the importance of this collective power, she explains how F*Choir doesn’t happen in a vacuum; it’s a response to what’s happening in both individual people’s lives and in the world as a whole – “... it’s like a performance research site, there’s so much collective experimentation.” It’s both personal and communal – a space where you can bring both your political self and emotional, physical and vulnerable self into one space together, and share it with friends. A combination that is “a total act of bravery and trust”. 

It’s not only the singing that F*Choir do together that contributes to this communal power that they’ve nurtured for the last decade, it’s also the unique sense of community that they’ve built up together. As Bianca explains, as well as choir practice, they come together to discuss and make decisions as a collective – with their ‘Kitchen Table’ sessions, for example, they set an agenda of upcoming tasks and events, and with their ‘Working Forum’ they talk through the importance of issues such as accessibility requirements and the political stance of the venues where they’re planning on performing. All decisions and discussions are collective; a true democracy that seems to be at the heart of what F*Choir do. Any difficulties they encounter, they move through together, as both individuals and as a whole. They recognise the importance of expansive difficult conversations, and how vital these have been to the choir’s longevity.

It therefore seems key that F*Choir use their voices not only to sing, but to express their opinions and make sure these are heard, in a safe space where they are listened to and valued. And, as Jenny says, to have a practice that you return to again and again, where you’re using your voice (whether that’s to sing or speak), is a defiant, political act, especially for queer people. 

When asked to describe how it feels to perform with F*Choir, both Bianca and Jenny’s answers reflect this sense of a duality; there’s not one clear cut feeling or way of being part of the collective. “There’s this feral energy, at the same time as a softness”, Bianca comments. There’s a variety to their performances, two sides to everything they do. “It feels whole”, Jenny continues, “it’s not just sheer pop joy, or deep grief, it’s both sides… It makes an actual shape that’s real and authentic.” And it’s not just the members of the choir that are responsible for creating the energy and atmosphere at the heart of their life-affirming performances, there’s a definite synergy in the room – a huge feedback loop between the audience and the people on the stage. In Jenny’s words, “it’s wizardry”. 

On a personal as well as collective level, F*Choir has meant so much to its members over the last decade. From the beginning, it’s felt totally right, Jenny explains – “it planted a seed in me, something became alight”. Still now, ten years later, it remains a cherished part of her life, and performing with the choir generates a sense of self-love and compassion like nothing else – “When I’m performing with F*Choir, I feel more like myself than I ever am.” Having a cathartic space to grieve and rage in such a joyous and unified space is something truly special; an experience that encompasses the ‘whole’ that Jenny described, reflecting the multifaceted parts of our individual and collective lives in a beautiful and honest way. In the words of the great Robyn, F*Choir has used “sorrow as content, euphoria as form”; it’s created a space where queer and marginalised voices can unite as an empowering ode to our own power and resilience.

So, it may come as a shock that the decision has been made to put F*Choir to rest. “We’ve decided to intentionally compost F*Choir”, Jenny tells us. Continuing the plant-based metaphor, she reflects on what “fertile” ground the choir has created – “…there’s so many things sprouting and growing from it all the time… There’s almost a sense that we’ve outgrown the pot”. Explaining the decision, she tells us that they wanted to be in charge and have agency, to continue moving to their own rhythm; by purposefully drawing things to a close now, F*Choir are able to decide on the shape they’re in, to plan next steps. With both the political landscape and people’s individual lives changing so much over the last decade, members of F*Choir are not the same as they were ten years ago – “I feel that something else is required of us.” Jenny assures us that something else coming, she just doesn’t know what it is yet: “I wanna do something radical – I want to keep going in the way that F*Choir always has been.”

Rather than give in to the capitalist pressure that is put on us, especially as queer people, to keep going as some sort of proof of existence or value, F*Choir wanted to end things together, on purpose, “in the light, and not hide from it”. Jenny emphasises that she’s keen to honour the experience and recognise what everyone who’s ever been a part of F*Choir has achieved – visibly emotional, she reflects on the “collective magical cosmic space” that’s been created: “We’ve made these diamonds and their prisms are shining in all these different directions. We want to be allowed to stand back and look at it.” She’s keen to highlight all the queer and trans artists and composers who F*Choir have not only worked directly with, but who they’ve taken inspiration from and whose songs they’ve re-worked – “I want to point a laser finger at everyone, and highlight how community input is so powerful.”
(Please see a full list of thanks at the bottom of this article.)

Rather than fizzle out, Jenny wants F*Choir to be in charge of its own legacy (unlike so many other female and queer artists over the years), to make its own history rather than for it to be written for them. She wants to continue unearthing practice and discovering new things about F*Choir, as she has done for the last decade. “I’ve never been so humbled as I have been in this role”, she shares, but she feels strongly that now is the right time to walk away from it, as – despite being a Scorpio – she finally trusts in it. She’s learnt that there are phenomenal, world-building artists everywhere, and feels confident that the next generation will be able to stand on the shoulders of what F*Choir have created. 

But, in true F*Choir style, they are not going out without a bang! As well as the huge celebration of their decade of existence at Earth on 25th October, they will also be releasing their first (and only!) album later in the year. Recorded at RAK studios with sound engineer Joy Stacey, and assisted by Alfie Scott, it features most of the choir’s 60+ ensemble singing tunes from a range of artists they truly treasure – female, queer and trans, black and brown musicians that they want to platform and celebrate. “I guess you could say the album is a love letter to them”, Bianca comments, which seems to really sum up a lot of what F*Choir is about; platforming and celebrating each other, lifting each other up and sharing joy with one another through the power of song. 

Full list of artists and musicians that F*Choir wish to send love and thanks to below. 

Join F*Choir in an epic celebration of their 10 years – marking both an end and a new beginning – at Earth in Hackney on 25th October. A range of tickets available here.

F*Choir would like to thank ALL the artists and musicians who’ve ever been involved with the project – those they’ve worked directly with, and those they’ve been inspired by. Including, but not limited to:
Planningtorock
Beverly Glenn Copeland
Rubie
Muna
Jasmine.4.T
Beautiful Chorus
Deep Throat Choir
She Keeps Bees
ABRA
PJ Harvey
Meredith Monk
Wildbirds & Peacedrums
Ibeyi
Lauryn Hill
Kate Nash
Peggy Seeger
Auclair
Anonhi
Robyn
Batya Levine
Dianne Reeves
Inshallah Babes
Tirzah and Micachu
Obinrin Trio
Be Steadwell
JD Samson & MEN
Jade
Mince

They’d also like to thank some of the amazing venues they’ve performed in, such as:
Pie-House Co-op 
Walthamstow Trades Hall 
Hoxton Hall 
(and billions of parks, streets and protests in London where we’ve gathered endlessly and found our beloveds!) 

Photo Credits:
Image outside Moth Club: Sophie Le Roux
Image at Hoxton Hall: Florence Bass



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Introducing Interview: Pelowska

Having released their poignant debut EP END/START earlier this year, Edinburgh duo Aneshka Pelowska and Dave Tynan – aka PELOWSKA – create stirring, trip-hop inspired soundscapes rooted in experiences of trauma. Ruminating on personal themes of abuse and the feelings of both depression and empowerment that can follow, it offers a beautifully honest and deeply moving collection. As a swirling, brooding emotion ripples alongside glitchy, immersive sonic cacophonies with shades of the likes of Portishead or Massive Attack, it showcases PELOWSKA’s ability to create exquisite sparkling reflections on life’s – all too often tumultuous – journey.

We caught up with Aneshka to talk about the influences behind the EP, the immense power of PELOWSKA’s live shows and the importance of communities lifting each other up. Have a read and make sure you check out END/START wherever you get your new music now.

Hi PELOWSKA! Welcome to Get In Her Ears! How are you doing today?
Great, thanks! Still riding the waves of excitement after our EP launch last month. It’s that surreal high that hits you when something you’ve poured so much heart into finally lands, and lands beautifully. I keep replaying the crowd singing “we are not enough – we are more than enough.” Ohhh yes. Magic.

Are you able to tell us a bit about how you both met, and what initially inspired you to start creating music?
I wrote my first song when I was six — the lyrics were hilariously cheesy (as expected), but the melody… Honestly, I still might use it one day. Growing up in Poland, I fronted a metal band, hitting the high notes and growling the low ones. Over the years I moved through bands across different genres, always searching for the sound that matched the storm that was going on in my soul. The real turning point was for me was learning how to write, record, produce and mix my own music. That opened everything up. PELOWSKA as it is now really came from that lifelong pull to create something emotional and honest – for both Dave and I. We’d been friends for years before we ever made music together, which makes the whole journey feel even more natural and grounded.

I love the fierce trip-hop inspired power and soaring, captivating emotion of your songs, but who would you consider to be your main musical influences? 
Thank you! My roots are in the darker, heavier side of the ‘90s – Nine Inch Nails, Nirvana, Alice in Chains, Type O Negative and so on… When it comes to metal bands, Paradise Lost or After Forever amongst others. These days I soak in lots of music, especially Temples, Phantogram, So Below, Ila Brugal, SBTRKT, Trentemøller and so on… A big fan of Roniit too. If something carries weight, minor-sounding beauty or previously unheard sounds, genre doesn’t matter, I’m in.

You’ve just released your fantastic debut EP END / START – congratulations! It’s said to be a poignant reflection on trauma and connection, but are you able to tell us a bit more about it and the main themes running through the collection?
Everything that had fallen apart before this EP came to life. I escaped a cycle of abuse that left me homeless, lost in trauma, and confronting the raw reality of depression and PTSD. It is the way of dealing with enmeshment, and coming out on the other side. Finding oneself.Fighting for oneself in the midst of manipulation and gaslighting, and the strength in learning to protect one’s boundaries. This work touches on the presence of elements of nature – especially the power of water; fire – that, although potentially dangerous – gave me safety and motivation; and earth, the grounding, beautiful eyes of connection with people who supported me through the pain. Although difficult and tough, that experience was the transformation I needed in order to rip my sense of identity off my past, and find a new meaning and an idea for myself. Redefine what it meant to be me. The elements were the guide on my journey. They gave me strength and brought me back under the wings of the benevolent Universe. Finding myself through nature wasn’t just about calm or serenity in the traditional sense, it was aboutintentionally seeking out and harnessing the elemental forces around me. I felt the overwhelming power of sea and oceans in my veins, fires were burning my soul and shedding the old layers of my identity with painful speed. The earth was full of charged particles travelling through my body and giving me strength and confidence in order to fight for my survival. Nature didn’t just comfort me, it transformed me. It made me into a witch, and became my compass. That transformation echoes through the sound and spirit of the EP. We chose a raw, alternative path – one that steps away from polished perfection and instead embraces struggle, emotion, and human complexity. But just as much, it’s about connection; connection to the listener on the other end, someone who might need music that purges, that purifies, that empowers. Tracks to accompany your anger, your courage, your healing, and to help you reconnect with nature, and in turn, with yourself. This EP is a document of survival, and transformation. A journey through chaos, and a homecoming to oneself. May it help you move through your own fire, and come out stronger on the other side.

And how was the process of recording the EP for you? 
Cathartic. Screaming into a mic alone late at night. Recording an idea for ‘Venom’ straight into the project on my laptop on a plane to Turkey. Jamming new melodies straight into the tracks we worked on with Dave: I looped ‘You Said It’s Gone’ once he sent it over to me and simply stepped up to the mic, feeling into the music and going with the flow. ‘Calton Hill’ literally started as a phone recording of me playing around on a wee Juno synth in the countryside in the Scottish Borders one afternoon. That exact phone clip is still in the song, layered with other sounds I grabbed from lakes and forests in Poland in summer 2024. It was all about following intuition without overthinking for me. Letting feelings become sound… All that until it came to the mixing process in which we got really technical and did our best to fine-tune the mixes, training our ears and learning heaps in the meantime.

You recently played a special launch show at Leith Cricket Club – how was that for you, and what can fans expect from your live shows? 
It was electric, such a beautiful experience. Every headline show we’ve played so far was particularly full of love, but this one has been our best yet, and this is just the beginning! You ask what to expect in our shows? Raw energy, a bit of headbanging, emotional whiplash in the best way, and the occasional pep talk slipped between tracks. We like switching between soft vulnerability and big, feral power. Vocals are my joy so I go all in. Lately I’ve been having a blast playing synth and messing with its sounds in real time – you can never get it the exact same way twice and I love that! Dave’s guitar/bass brings both heaviness and melody in equal measures. His sense of humour is amazing – during one of the shows this year he spilled a whole pint of beer on his laptop, and didn’t even flinch upon noticing whilst people from the crowd rushed to help (that laptop is still fine, which I read as a clear sign from the Universe that we have its blessing to carry on!)

And has there been a specific show you’ve played that stands out as a highlight? 
Every show has its own flavour, so it’s hard to choose just one — especially when the most recent one is still buzzing in my body. But a real ‘pinch me’ moment was opening for the legendary Polish rock band Lady Pank. I grew up watching them as a kid, never imagining I’d one day be sharing a stage with them so it was a full-circle moment.

When you’re playing gigs are there any particular essentials that you like to have with you to keep you going?
Water and coffee – probably in the reverse order. Also recently I purchased my own smoke / haze machine for gigs so I’ve been having a lot of fun with that! I literally bring my own atmosphere to events.

Originally being from Poland, how would you say the music scene, and the experience of playing live music, differs here in the UK? 
On the mainland, being a musician often carries this sense of doing something almost magical – there’s a particular atmosphere at gigs, a kind of intensity and emotional involvement from the crowd that’s hard to describe unless you’ve lived it. In the UK, people approach music in a slightly different way – more technical, craft-focused. Audiences here really listen; they pay attention to your sound, your gear, precision. Both scenes have their strengths, and playing in both definitely shaped me.

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
Honestly, I’m not feeling particularly great about the state of the world and/or creative arts at this point in time. It’s quite hard to say something positive when I see so many people having it so damn hard. It’s tough out there. I’m grateful to know some truly badass female and queer music producers, engineers, and songwriters though. The sense of community is strong – we look out for each other, we lift each other up, and that gives me hope. There’s more and more of us, and I hope this trend continues. There’s progress, but also a long road ahead. I really hope the industry starts acting like it understands that.

And are there any other new bands or artists that you’d recommend we check out at the moment?
Her Picture are a cool Scottish band, music in the vein of Ethel Cain – my ears have heard ‘Muscle Memory’ plenty of times. Still Blank just released a brilliant self-titled album last month. And Mastaki is a producer who imho deserves far more attention.

Huge thanks to PELOWSKA for answering our questions!

You can listen to the poignant new EP END/START now and watch the video for recent single ‘Calton Hill’ here.

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INTERVIEW: Daffo

The songwriting project of Brooklyn-based, Philly-raised Gabi Gamberg, Daffo‘s debut album Where The Earth Bends was a definite highlight of 2025 for me, and it’s still pretty much on repeat since its release in September. Interweaving a scuzzy indie-pop musicality with a searing raw emotion and glistening heartfelt grace, it’s a deeply personal and beautifully resonant collection that showcases Gamberg’s unique gift for writing songs that really do feel like they reach out and gently caress how you’re feeling.

Since the album’s release, Gamberg has been relentlessly touring both Europe and the US, and only now just seems to be winding down. We were lucky enough to catch up with them to talk about the album, the DIY music community, Capitalism, pillow cases and more. Have a read, make sure you check out the exquisite sounds of of Where The Earth Bends (if – for some reason – you’ve missed it / been under a rock for the last six months), and also watch / listen to their poignant cover of Arthur Russell’s ‘I Couldn’t Say It To Your Face‘ which they shared earlier this month.

Hi Gabi! Welcome to Get In Her Ears! How are you doing today?
Good! I’m glad to have have a day off of tour finally – I got to sleep my usual 12 hours, lol. 

Are you able to tell us a bit about what initially inspired you to start creating music?
I guess it was always in me. Maybe always around me. So, I was always drawn to it. Plus my parents said I had to take music lessons when I was like 6!

I love the raw stirring emotion and scuzzy musicality of your songs, but who would you consider to be your main musical influences?
Probably Elliott Smith is the big one. I also feel like Frankie Cosmos and Alex G were big ones for me.

Your debut album Where The Earth Bends came out last year –  it really is a beautiful collection from start to finish (and was one of our ‘Albums Of 2025’), big congratulations! It’s said to deal with emotions ranging from rage and shame, to self-acceptance and resolve – are you able to tell us a bit more about this and how your experiences inspired your writing?
Well, my writing has always been an outlet for me, so when I experience big emotions I usually feel like writing about them in order to process them fully. And that ultimately led to the songs on my record. 

And – tricky question (sorry!) –  do you have a favourite track on the album? (I think mine might be ‘Carrot Fingers’, though I love them all)
‘Carrot Fingers’ is definitely one of my favourites as well. But I think, right now, my favourite is still ‘Sideways’ – I just love the way it turned out and the song means a lot to me. 

How would you say the process of recording the album has differed from your previous releases?
I think I took more time making the songs – I was more intentional with everything. 

From a young age, it seems like you’ve been really involved in the DIY music community where you’ve lived, which is something close to our hearts at Get In Her Ears. Why do you think these close knit communities are so important for artists? And how has being a part of one helped you personally?
It really allows you the space to explore and grow as an artist. The art world can be a very competitive place, and the DIY scene really is very welcoming to everyone, so you have the space to mess up and learn.

We were lucky enough to catch you live at The Great Escape in Brighton earlier this year – such a great show! How was this experience for you? And how was your recent trip to the UK last month?
Festivals can be hard! You don’t have a sound check and it all goes by very quick. But you get to play to a diverse fan base, which is a great opportunity and ultimately very fun. The UK was great! I had good beer for the first time in my life.

And, when you’re out on tour, or playing gigs, are there any particular essentials that you like to have with you to keep you going?
I always need to have my own pillow case to keep me safe from all the detergent I’m allergic to, lol. Other than that, as long as I have some sort of simple snack like corn chips or carrots I’m good. 

Has there been a specific show you’ve played over the years that stands out as a particular highlight?
I think the release show I did at someone’s apartment was the best. It was packed out and the first time I’ve had people sing my lyrics with me. 

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
Well, Capitalism is rooted in racism and sexism. We live in a Capitalist society, so you tell me. Can we really have a capitalist music industry where we are all treated with the same respect…? Most artists don’t even earn a fraction of what we are owed. I don’t know, this is a very hard question, I could write a whole essay (but I won’t because i hate writing essays!). 

And are there any other bands or artists that you’d recommend we check out at the moment?
I’ve been loving earth 2 tiffany recently. I also love Superfan and Shmoo.

Huge thanks to Gabi for answering our questions! We can’t wait to hear more from them soon, and for now you can listen to Where The Earth Bends on repeat (like I do), and watch the new video for their poignant cover of Arthur Russell’s ‘I Couldn’t Say It To Your Face‘.

Photo Credit: Sam Penn

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Introducing Interview: Madison Cunningham

Having been included as a favourite by not just one, but two, other artists in their ‘Five Favourites’ features for us (Laura Reznek earlier this year, and Sarah Walk back in 2020), we’re so glad to have been introduced to LA artist Madison Cunningham and her swirling heartfelt creations. With the release of her third album, Ace, last month, she has continued to hone her sound; interweaving a lilting folk-tinged musicality with a soaring cinematic splendour and the captivating delicate crystalline grace of her rich vocals, it offers a stirring reflection on heartbreak and perseverance.

We caught up with Madison to find out more about the new album, collaborating with Fleet Foxes and her thoughts on the industry at the moment. Read below and make sure you check out the truly exquisite Ace if you’ve not already!

Hi Madison! Welcome to Get In Her Ears! How are you doing today?
I’m feeling well and like I’ve had too much coffee today.

Are you able to tell us a bit about what initially inspired you to start creating music?
Watching my Dad and Grandma and their relationship to guitar was my initial introduction.

I love the raw stirring emotion and glistening musicality of your songs, but who would you consider to be your main musical influences?
Very hard to choose just a handful. The most expansive influences have to be: Juana Molina, Ry Cooder, Jon Brion, Bjork, and Joni Mitchell. 

Your new album Ace has just been released, which is super exciting! It’s said to be a really personal collection, reflecting on heartbreak – are you able to tell us a bit more about this and how your experiences inspired your writing?
Recently I’ve been inspired by passion. Specifically passions that are born out of heartbreak. The chefs, authors, and poets that were inspiring me while writing Ace really lit the way for how to talk about my own heartbreak. Essentially there are no rules to telling the truth. You just have to be willing to greet the consequences and understand that the ability to understand and tell your own story is the closest we get to liberation. 

And how would you say the process of recording the album has differed from your 2022 Grammy winning album, Revealer?
This process was much more free and clear. Oddly enough, I think that was the direct result of putting more rules in place. No vocal overdubs, no demos, and nothing that felt overly cool, for example. The emotion and first instinct had to be priority. It’s also worth mentioning I recorded with my touring band for the first time, aside from the one single I produced called ‘Subtitles’. 

You collaborated with Robin Pecknold of Fleet Foxes on the album track ‘Wake’ – are you able to tell us a bit about how this collaboration came about, and what the experience of working with him was like?
I met Robin backstage at our second to last Revealer show. I was so amazed he even wanted to be there. We kept in touch and I braved the ask after the ‘Wake’ harmony was written. Robin is the consummate professional in every way you can imagine. Prepared, kind, hard working, and wouldn’t let up until it was right. Didn’t think it was possible to walk away being a bigger fan. 

And you’ve recently been on tour with Mumford & Sons – how was this experience for you? 
I love those wild boys. Was blown away by their live show and their kindness. 

When you’re out on tour are there any particular essentials that you like to have with you to keep you going?
I have my headphones, spearmint tea, a good candle, books, and running shoes. 

And has there been a specific show you’ve played over the years that stands out as a particular highlight?
The release show we just played at Largo as a band was an all timer spiritual experience for me.

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
I think we need to do better. I want more for artists and I imagine I always will, but I am thankful that at least we’re attempting to talk to each other, and that’s a start. 

And are there any other bands or artists that you’d recommend we check out at the moment?
Do check out Sam Weber, Anna Tivel, Mike Viola, and Dylan Rodruige. The best in the business.

Huge thanks to Madison for answering our questions! Listen to / order her exquisite new album here.

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