I CAN’T imagine what it’s like to be the only person drinking in a still functioning church, while preaching your sermon to the gathered worshippers. But according to singer/songwriter Kathryn Joseph, doing so at a recent gig in Glasgow as part of Celtic Connections felt “pretty weird”, if by sermon we are indeed referring to her meticulously crafted, poignant songs that put together represented the spellbinding Bones You Have Thrown Me and Blood I’ve Spilled, deserved winner Scottish Album of The Year (SAY) Award for 2015.
Having also recently the receipt of the accolade of best album from 2015’s Scottish Bloggers and Music Site’s (BAMS) poll, beating the likes of Young Fathers, FFS and Belle and Sebastian, the Aberdonian’s overnight success – at the tender age of 40 – was arguably Scotland’s biggest musical news of last year.
When referring to her recent show at the Celtic music festival, a festival which she regarded as a “week long cry” of brilliant, heartfelt emotion, it seems that for her the show had some added significance.
“It was an absolute honour to be part of that. The gig at the Mackintosh Church, that was the first time when I thought I don’t know many of these people and it was a strange case of, alright, Other people are listening to the record as well, not just my pals.”
As recently as yesterday it was announced that Kathryn would feature on RM Hubbert’s upcoming collaborative project Telling The Trees, but (frustratingly) she was keeping relatively schtum about what else was in store musically in the next few months.
“We are doing a thing that I’m not allowed to tell anyone about, a really beautiful thing that we, me and Marcus (Mackay – of Hit the Fan Records) are working on at the moment.”
New work means the chance to go out and perform more concerts, something that for Kathryn represents her passion, away from the confines of the recording studio, perhaps best illustrated by the fact she recorded her debut album in only a week.
“I’m happy if i just get to play. I don’t ever get to complain about anything ever again because i had such an amazing year last year. This new writing thing that we are doing is getting us back into the frame of mind of ‘new stuff, this is exciting’.
And surprisingly it’s while on stage, seated at her piano, where she feels most at ease with herself, where others in the limelight might suggest differently, as she shares candidly.
“It’s the one time (on stage) where I’m not thinking about how ugly I am, I’m like ‘I don’t care anymore’. I don’t know why, you are so into what you are doing you are not worried about the things you are usually paranoid about. I’ve never really thought about it until now doing more gigs and felt how addictive that is, the feeling of wanting to play again so you feel fine.”
Her album was recorded at The Diving Bell Lounge in Glasgow’s East End, under the stewardship of Marcus and Claire Mackay of Hit the Fan Records, the same label that put out Frightened Rabbit’s debut, Sing the Greys, back in 2006.
As luck would have it, the reason why we are fortunate enough to be able to hear Kathryn’s music is down to the simple fact that they became her neighbours when she moved next door to the couple.
She is unequivocal when quizzed about the role her move to the city has had on her life.
“Absolutely, moving to Glasgow in the first place absolutely made me feel better, I just love the feeling of being here and the way that people are and how much is going on and how many great bands there are and venues there are. None of it wouldn’t have happened if I hadn’t moved here.”
She also credits a certain Fleetwood Mac, and a visit to see them at Glasgow’s Hydro as a 40th birthday present from a friend, with providing her with as a female artist in an industry characterised for its focus on youth and young talent.
“The same week as the SAY awards I went to see Fleetwood Mac for my birthday. Before doing all of this I was really aware of how old I was and how I didn’t look like my version of what you were supposed to look like if you are going to be on stage or part of it and just being female and all that bullshit. They are all still sexy and amazing and it’s like, maybe it doesn’t matter, it felt like that!”
What about her own take on her music? With people running out of adjectives and superlatives to describe the sound behind her ‘Scotland’s best-kept secret’ label, she chooses not to replicate what’s on everyone else’s lips, instead airing her confusion as to the reason for all the plaudits.
“It doesn’t feel very cool. I’m like that’s the thing that upsets me, like i wish i was cool and younger. I find it difficult to work out what it is and why anyone would still want to listen to it.”
As for any inspiration her musical peers have given her, more than anything it has been how others have conducted themselves as opposed to how they have performed.
“I’m not really sure about influences, with a lot of the people I love, I was already writing and singing before I got into them. I do remember a very vivid moment of seeing PJ Harvey for the first time when I was in Toronto and she just smiled in between all of her songs and didn’t do any chat, just letting the music speak for itself. And I remember thinking if I ever do this I want to be that.”
One group to have made an impact on Kathryn’s music is Radiohead, as evidenced by her decision to cover ‘Street Spirit’ during a live session last year, one that – much to her dismay – has proved popular on social media.
“That was a selfish decision to do that on my part. I wanted to hear how it sounded. It’s my most favourite Radiohead song. Now looking back I’m like, ‘What the fuck was i thinking?’ I hadn’t taken on board that it would be filmed and stuck in time forever. I’m sure there are people wanting to kill me for making it into a girl noise.”
Hopefully, possible Thom Yorke inspired death threats aside, we hear and see a lot more in 2016 of Kathryn Joseph, a real unearthed hidden gem of a talent if there ever was one who, refreshingly, doesn’t conform to many musical stereotypes out there, both through choice and circumstance.
