Anger is a more than legitimate emotion for any woman in the music industry to experience, but as the marketers and hype makers might tell you, it can only take you so far. There are exceptions to any rule of course however, and Kate Nash enjoys – if that’s the word – a rare space of true independence.
The first few years of the story will seem familiar, as her 2008 debut album Made of Bricks was wildly successful despite plenty of critical sniping, before later she was dropped after it’s follow up failed to meet the suits expectations. Since then however she’s crowd funded the subsequent Girl Talk and 2018’s Yesterday Was Forever, testament to the devotion of fan base which is more engaged than many others.
A career diversification into via HBO wrestling drama GLOW then ended abruptly via the pandemic, forcing the singer to work remotely for the first time with producer Frederick Thaae on the material for 9 Sad Symphonies. Deliberately a softer landing for listeners than before and laden with strings and lush arrangements, Nash lyrically still refuses to shy away from a fight on the likes of Wasteman, whilst My Bile tackles the music biz’s still prevalent misogyny and Millions of Heartbeats a personal lockdown malaise. At it’s best on the confessional Ray, the songs here represent an artist very much alive and kicking, their creator still prepared to use being pissed off as a muse for the ages.
You can read a full review here.
The Voice Of Unreason 