Kate Nash

0:00That was MSN.ca. Kate Nash. How are you? I know those cameras, everyone's crazy. We like to shoot everything. We share everything with the portrait tab and everything behind us. So how are things? You're in Canada. You're here again. I am, I'm here again. It's good to be back. Yeah, touring this record, Girl Talk. I love it. It's so different.

0:45Like the opening track, it starts so slow and then it's just like, that song had to be the... When you sequence that record, it had to be first. When I wrote it, I was like, this is the opener. And I hadn't... Yeah, even before I finished the rest of the record, I was like, I know this is the opener because it just sort of set the whole like... I think it's a good introduction to like, how is feeling at the time as well? Certainly a punkier vibe on the record. Yeah. Like, there's a lot of... So was it written on guitar as opposed to piano more? Like, written on the bass. Well, I tend to like just write a riff and then sing melody and lyrics just come out of that. And I finish a song lyrically before I develop it any further musically. And then I bring in like a drummer and sort of figure out the drive of the song and then guitarist and like sort of sing guitar melodies. I find it so interesting, it was written on the bass.

1:31Every song was written on the bass. Two songs were written on guitar. Okay. Well, I guess the acoustic song probably was. I'm so cool. Your circle, I'm so freaky. Muscatar, conventional girl. Oh wait, conventional girl was guitar and friend was guitar. And then also Labyrinth was written on my garage band, like keyboard. Yeah, so yeah, it's more synth-y pads. And then Acapella, Lullabye, for the song, yeah, obviously. Yeah, okay, let's go to that song because I like that too. I think it's so interesting, that it's just voice until the orchestration at the end. So where does that sit in a set live? Like it could almost open up a show and have everyone really chill for the moment or close it in an interesting way. I think it's a nice closer. So you close shows with it? Yeah, not always. I haven't been doing it recently, but I did, the last try I did, I was doing that. And it's kind of like a really nice moment.

2:18It's a really unique moment with a crowd because you have to get everyone silent to do an Acapella track obviously. And but yeah, I liked the idea of the recording having like, because I wrote it in the middle of the night, like 4am and on my iPhone. And I sort of felt like that made it sound really vulnerable, like the recording. So we just recorded it at Tumbilla's house on cassette tape because we didn't want to like record it to fancy. And I wanted it to go from extreme low-fi to like extreme high-fi in a second, and that's what happens. And also it sounds like a Disney movie at the end or something or, but it was, it was based, I wanted it to sound like the Gone with the Wind theme song. So how do you write an orchestration? Are you, can you write music? Like how does that sound? Well, I mean, I have studied like theory and stuff,

3:03but it's not like my forte. So I worked with a guy who, you know, does composition. And he, I gave him like a bunch of references and he came up with an idea and then I went around to his house and we worked on a couple of specific ideas that I had. But he was really good. So he like, you know, it copies some of the melody within the song, which is crazy, watching like an orchestra, like mimic your melody that you just came up with on an iPhone. It just feels really crazy. But obviously flatterings. Yeah. You mentioned Tom Belik in there. So working in Los Angeles for the first time on a record. How does that change the process of putting something together outside of, does it change the process? Being outside of the country. I think it must do. I think it like totally changed like mentally how I felt. And actually after recording that,

3:49I don't think I would ever record in London again. Change it up from place to place or always go to Los Angeles. Change it. I mean, I don't know, I can't say until I've like, I mean, I like writing process in London because it's sort of gritty and like difficult and it runs moody and horrible in England. So you kind of have this like, it's like I remember moments where I was in my pajamas and it's like cold and rainy outside. And I'm like, ah, last thing I want to do is go to my rehearsal room. And so you just go in your pajamas and you go out grudgingly get there. And it like sort of brings the different kind of vibe to the writing process. But for recording, I think England's such a small country. Everyone's really self involved and obsessed with what's happening in everyone else's lives. And it's really easy to know,

4:34especially in the music industry. So you're like, there's all this weird paranoia and pressure because it's kind of a small world feeling in England sometimes. Whereas when you're outside of that LA is America's massive. So when I stayed in a mansion, which is so beautiful and like, I just hadn't my thoughts weren't at all in like, any of the things that I think have a negative effect on a record. So I think it's like, you should liberate yourself as much as you can when you're recording so that you're just focused on the music and nothing else. And like going, you know, downstairs into a giant ballroom every morning with like beautiful views of like, it was just amazing. Like, there's like taxidermy tigers and like, taxidermy like polar bears and like statues. You're okay with that as a vegetarian? Do you like that?

5:19Do you like taxidermy actually? Yeah. It's all like old stuff, you know, it's not like they freshly killed a tiger. Just put it in there that morning. To me I demanded it. I was like, calm, not recording without this. But it was such a unique experience. Because it, yeah, it was just one of the best times of my whole life. Cool. You said a few things in there I want to touch. And I guess we'll go to the rehearsal space that you write in. So do you always go to the same place? Is it like a safe room to write? And that's where you create best? Or can you write anywhere? I mean, I guess I can write anywhere, but I'm quite private about it. So I like to have like a little kind of cave tied away. And I found this rehearsal space in my house that's like under a railway. And the owner is really cool. And he's sort of, it's got a Wains World kind of vibe. There's like a leopard print bar and like,

6:05like MTV classics or he's playing. And like, there's a giant dog and like a fish tank and a pool table. And so I like to hang out there too. And it does feel just like a really good vibe. So I've kind of, that's like my go to place now for any writing or recording demos is there. Yeah, cause I don't really like, and it's not like fancy schmancy. I don't like that kind of stale fancy schman. I think rehearsal rooms need to be a bit like, you want to feel, yeah, like loads of bands have been through there and there's some history too. It's got some character to it. Glad you mentioned Wains World, cause I'm going to segue into your acting career with that. Let's do that, why not? So, well, it's a busy year for you. You got some, I know you shot them a little while ago, but that's movies coming out for the first time, I think. Yeah. So why, how is it, why and how like?

6:51Why would you be creative in a different way? No, no, no, why and a great way. Just cause like, I mean, I always wanted to like try acting. I studied theatre from 16 to 18. And my initial plan was to go to drum school or university to study theatre and become an actress. And then that didn't work out, because it got rejected from all universities. I don't think it worked out in the end though, it was a music career. It worked out in the end, yeah. My, you know, my plan at first was that I'm going to do this, and then I got swerved and distracted by, you know, having a successful music career. And then my acting, my now acting manager got in touch with me, cause her daughter was a fan of my music, and she wanted to bond with her daughter, and then found out that I was interested in acting and had a meeting with me, and then like, we've just been together since.

7:38And then she got me a representation in the UK too, so I've done two American movies and one UK film, and yeah, it's been really awesome to like, it feels like the right way to enter into the industry, you know? Cause it's not like, it's not just like being based on the fact that I've had a successful music career, it's like, it's got an organic growth to it, which I really like. So what drew you to those parts? Why, why, why those two, what, or three films I guess? Well, Syrup, Aaron Rappaport, I met the director and we just had an instant sort of a rapport, and he shot my music videos when I was in LA recording the album too, because we just got on really well, and we're good friends, and so I auditioned for that part with him, and I think we just click

8:24really well creatively. He's very driven in the same way that I am. And then there was Greetings from Tim Buckley, which I auditioned for in New York, then Powderham. I think it really helps when you have a relationship, like when you've met the director, because I've done auditions before without with just a casting director there, and it always feels kind of stale and you don't. It's a weird experience, it's a really, really, really, really cool experience, and you don't really know if the casting director always necessarily cares so much about the project, whereas when the director's there, like MJ Delaney, who directed Powderham was there, she sort of like talked to me about the project and was really like, it seemed really exciting, and then you're in an atmosphere that's already creative, and you're sort of performing for someone, whereas with the casting director,

9:09someone behind a camera, they're just like, sometimes they just don't even, they get the words wrong or they don't really care, and you're like trying to be really emotional back to them, and it's like a really awkward situation. So, yeah, MJ is really awesome, and it was a predominantly female cast, and girls like Sherrod and Smith and Jamie Winston, Una Chaplin, who are British actresses that I've seen on TV screens for years, and who I really respect, so it was such a cool experience. How similar or different is shooting a music video compared to doing the movie? Are there similarities or the differences? I mean, I think having experience behind a camera, six years of it now has given me, and photo shoots too, it's understanding what camera is and what you're trying to get out of it,

9:55because I used to feel really nervous in front of the camera, sort of subconscious and uncomfortable, and then once I realized it, it's, I don't know, you've just got to understand what you're trying to get out of it, and then you feel, you don't feel as stupid about doing things, because you know how it looks, you know? And so that definitely helped me having confidence, but music videos are just like quick, you've got to do everything really quick, you know? Do you have that apprehension going on stage at first too, that nervousness that you said you had in front of the camera the first few times? Like, for gigs? Yeah. Oh yeah, my first show, I was like dying, I was like, I don't know, I'm gonna, I don't want to do it, and so what pushed you to keep doing it? Well, I did it, and it was the funnest thing I'd ever done, so I think like, I would really encourage people,

10:41particularly girls actually, because like, a lot of girls don't go into music careers because they're like scared of the pressure, or they don't feel entitled to being there. But if you can push past those nerves, and it gets a taste for it, then you won't ever like go back. Is that what your school teaches? Yeah, that's what the program does. Yeah. We're just like getting them to try like playing bass, drums, guitar for the first time, and like lyrics. And then, and actually I wanted to get that moment out of them, because I had girls that were like so scared in front of like the class, and they didn't want to do it, and then a transformation of like after the work that we did together, watching them on stage in front of 800 people, they were like so confident, and they suddenly had a place, you have a place to like put all that like angst,

11:27and just how excited they were afterwards, that's exactly what I wanted to capture, because I knew that like, just getting that little taste for it will change you like forever, I think. Sure. It's fun, you know, and you're like, oh my God, I want to do this again. We don't have too much time, and it's a terrible segue, but knitting is fun to do for you. I saw a picture on Twitter, and I wanted to bring it up. Yeah, I, my nan taught me how to knit. Okay. And I knit, I just finished knitting a scarf that I was selling as like a unique piece of merch on Play. Oh, and Playa, okay, I was gonna say, do you show it to sell it at shows? Yeah, no, I couldn't, I don't think, although I'm getting really quick, I like just did it, I can do them in like one sitting now. But I think I'd probably like, I get really carried away, I get really involved in a project, and I'd be too distracted about selling merch.

12:12Right, and then the show, that you're here to play. Yeah, and my hands on the bass would be what achy from knitting, and just be a knight. So you're playing based the majority of the show then? Yeah. Okay, that's cool. Before I let you go, five quick questions, one word answers. Oh God, I'm not good at this. I will definitely not give you a one word answer. Okay, well we'll see. Just let you know. Let's see what happens. Road or studio? Oh, see already I can't. We'll go for it, go speak. Okay. I, that's so different, and I love being like locked away in a studio. And then I also love like being on the road of the experiences you get there really unique. But once you've had one for a really long time, you're like desperate to go into the next phase. Okay. Told you, I'm not going to do one word answer. Not to be one, maybe this one will be one. Let it in a McCartney. Ah, fuck.

12:58I was going to say that's going to be one. I asked everyone these questions. No, I really think I asked this for a fanzier and I said McCartney, but purely because I've had a cup of tea with him. Really? And he also said that one of my songs was a good song. What song? So it was mouthwash like years ago at Jaws Holland. And so it's really unfair on John because he obviously can't have a cup of tea with me or tell me that he likes one of my songs. So it's not personal, it's just, there's no other way I could possibly choose. Right. You can go to Strawberry Fields, maybe have a cup of tea where they have that memorial in New York. Yeah. It's not the same, but. Yeah, I could try. I could bring you some sort of connection. It might be. I don't know where I'm going with that. When you hear a song, it usually gets you first. Lyrics, melody or rhythm? Lyrics. Hey, one word. All right. Song you've written your most proud of.

13:46Sister. I like the voice cracks on that tune. Yeah. And this one has to be one word. In one word, Kate Nash. Do first. Do first, I like it. Thank you so much. Appreciate it. Thank you. Cool.