Tickets to her upcoming European headlining tour are available HERE. And those all are important ingredients to the world of self-discovery, and just being transparent with myself, and aiming to be my freest self are some of the thought processes that went into As Above, So Below." Sampa The Great's awesome new sophomore studio album, As Above, So Below, is out now. And just taking a chance to look at who I am outside of my music, my own happiness, and making sure that I actually love what I do. I mean, everybody else didn't even ask me to represent them, if we're being honest. I realize it took a huge toll on me and it was a huge weight, that, when I relocated back home, that full-circle moment of being in a place where the dream actually started forced me to go back to the mindset of the kid who dreamt it, and how happy I was to express the music and share music, in general, without the opinions or weight of anything else, and really forced me to take a look into representing Sampa for a change, versus everybody else. You're bringing African artists to the mainstream in a country like Australia, that's huge work, and I know it was a huge weight for me, even though we broke a lot of walls.
Because now the context isn't me trying to represent different groups of people in a country I wasn't raised in, to bring people something different than what's shown on the mainstream. "And so that journey has continued and grown within the past six years, and I think it's taken a really beautiful turn in relocating back home. And the more I could see what I love, the stories I love to tell, the music I grew up on and love sharing, and the more I could solidify myself as an artist," says the Zambia-born Botswana-raised poet and rapper Sampa The Great, reflecting on her creative path, in episode 79 of LSQ. So, the less I tried to be like Lauryn, the more I could be Sampa. Now it's time for you to take that example and interpret it into who you are. "As young, upcoming artists, we aim to be the examples we saw, but as you grow in your artistry, you realize that example was only there to show you you could do it. If you like this one, check out the others at anchor.fm/anawesomewave
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Within the series, the band revisit Ash Grove, the old college house where they played their first gig and wrote songs like "Matilda" and "Breezeblocks," as well as other favorite haunts in Leeds they discover and listen back to long lost demos, including for the song that lends the series its name and fan favorites such as "Portrait" and "Hiroshima" they catch up with their longtime producer, Charlie Andrew, and their former bandmate, Gwil Sainsbury and in the episode I'm sharing, I interview the band, LSQ-style, focusing on their childhood encounters with creativity and how their music practices and passions evolved from there. band's early days, and the making of their incredible, groundbreaking debut album, An Awesome Wave, in honor of its tenth anniversary. Things Will Get Better is a five-episode podcast miniseries that explores the U.K. This is a special bonus episode for LSQ listeners of a podcast I had an excellent time collaborating on, as producer, with alt-J. They plan to release a debut LP next year. We chatted about what it was like growing up on the road with their parents, Womack & Womack, and how they went from roadies to back-up singers to forming their own group. When I caught up with them this summer, they had just pushed back the release a bit, so they could add their cover of “A Change Is Gonna Come,” the song made famous by their legendary grandfather, Sam Cooke. MUNA has become for the people, and I think that’s why we’ve been able to do this for so long.”Īfter releasing a single I loved earlier this year called “Blocked,” the Womack Sisters (BG, Zeimani and Kucha) shared their debut EP, Legacy, in early September.
When we say we had an audience in mind, people who need to hear those things are the audience we’ve always had in mind, and that’s always been a guiding force. Adds Josette: “Songs that can be used to dance to or that can be used as a mantra to say to yourself when you’re at a really low place.
The original ethos remains: “We decided to make music that made us feel good, for sure, but that also had an audience in mind, and that could be useful to an audience,” Katie says. On the heels of their excellent latest LP, LA indie-pop trio MUNA (Katie Gavin, Josette Maskin and Naomi McPherson) call into the LSQ podcast from the road, to talk about their individual experiences falling in love with music as kids, how they came together to form MUNA, and how their approach has evolved over the years.
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