Gowned in gold, German musician KID BE KID breaks down the walls to reveal her true self in her new single ‘Naked Times’, an exploration of what it means to be real in a plastic digital world–a theme further alluded to by the title of her upcoming album Truly A Life Goal But No Ice Cream, which will see streaming platforms on the9th of June. No disguises here. But who is the artist behind the moniker?
KID BE KID is a trained pianist with an antithetical approach to the traditional approach of playing music. She prefers the liberation that Jazz improvisation provides, composing music akin to the work of English singer FKA twigs, blending soulful vocals with avant-instrumentation to create something bordering the Art Pop genre.
Her musical admixture has gained the attention of magazines listeners will recognise: Complex UK and Jazzwise UK have previously published their support for the Fun In The Church signee, while a station native to her home country, German station Deutschlandfunk Kultur, has aired her work. 2023 will see her tour Europe at venues like the culture centre Kulturetage Halle in Oldenburg, Germany and the live music venue Les Cuizines, Ville de Chelles in France.
KID BE KID Tour Dates 2023
11th March – Kulturetage Halle, Oldenburg, Germany
23rd March – Burghof, Lörrach, Germany
24th March – Les Cuizines, Ville de Chelles (near Paris), France
18th April – Cully Jazz Festival, Cully, Switzerland
Natalie Shay is a critically acclaimed, multi-award-winning musician known for her explosive live performances and vibrant, infectious anthems. The North London artist writes relatable lyrics touching on love, self-discovery and the everyday experiences of a twenty-something. At her core, she’s a remarkable storyteller, one that continues to break boundaries and trailblaze into her own realm of indie pop from the soul.
Her latest single ‘The Edge’ is about the painful breakdown and complete blow up of Shay’s friendship with her best friend. The songwriter confides, “This is one of my favourite songs I’ve ever released, and as the feelings are still very raw, I’m hoping to find closure in this.”
Accompanied by its B-side “everything’s been happening,” the two tracks tell the story of how once you finally come out of something that had grown bad for you, you reflect and realise so many cracks showed long before you accepted that as the case. Shay reveals, “Despite missing her and the good parts of the friendship so much, I know in order to still respect myself, I have to honour the power of an apology, and in this case, the lack there of one.”
Both tracks voice the understanding of the power that someone’s dream can hold over their well-being and happiness. Shay admits, “I am guilty of this myself, a lot of my mental health, personality and entire identity are completely wrapped up in my work. This is the same for a lot of creatives and people with a dream or goal from a young age in general. On realisation that these goals may not happen the way you’d always planned, or realising things are going to be much harder than you ever expected, this can cause trouble for some people who lack the courage. I think me and my friend are guilty of this, and subsequently this triggered the downfall.”
Staying true to her irresistible indie pop sound, “The Edge” shines with kaleidoscopic synths, a contagious beat and energetic melodies. Despite the song’s melancholy theme, sonically it’s the ultimate get-up-and-dance track, allowing you to lose yourself in the music.
Having received praise from notable publications such as Billboard, Clash, NOTION, Wonderland Magazine and The Line of Best Fit to name a few, Shay is on everyone’s radar. She has landed on Spotify’s New Music Friday playlist in 12 countries and has also worked on EDM tracks with the likes of Grum and Kryder, racking up over seven million streams to date. Selling out prestigious venues across London, Shay is one of the UK’s hottest emerging talents. Tickets are now on sale for Natalie Shay’s upcoming headline show at The Omeara in London on 3rd March 2023.
Lowlyland Records founder and independent musician Jacob Lee has dropped his new single ‘Easy For You’, a record that signifies a shift in the producer’s artistic direction. He says, “This track is a departure from my usual production style and represents a step forward in my personal growth as a songwriter and producer.” The shift has occurred at a critical moment: March and April will see Lee tour Europe and the UK forhis The Lowly Lyricist tour.
Making the change without losing the signature philosophical approach to lyric writing, Lee aims for the essential in his new record. Up close and personal, his spacious vocals harmonise in a gentle, layered melody that carries his message along with it.
The song title and chorus lyric, ‘Easy For You’, sounds like a remark one would make during the heat of a fight. Does Jacob feel misunderstood? I think so. Listening to the record, I hear the frustration of feeling like ‘they just don’t get it’, a relatable experience that Lee has managed to pack into just over 3 minutes of warm bass, syncopated rhythms, and heavy synth crashes.
Pleasing and alluring vocals erupt in Hooked like Helen’s latest song ‘Winter (Tori Amos cover)’ released under Stipp Manor Music.The new track is powerful in its lyricism which is expertly interpreted by both the simplicity of the gentle piano notes and the contralto of the singer. consequently, as the vocals rise and fall throughout the melody, an out-of-body experience takes place because the song can transcend happy emotions to expose the hidden tender need a girl holds for assurance towards her father. Continue reading for the interview below.
How has ‘Winter’ (Tori Amos cover) changed your lives?
The song is about a girl’s relationship with a father figure who believes in her and sees greatness in her that she might not see in herself, even as time goes by and dreams fade. Ironically, I did not have anyone in my life who fit that role for me as I was growing up, but I think this might be the very reason the song resonates with me on such a visceral level. Music allows us to escape, imagine, and build castles in our minds. When I sing and play “Winter”, I am (for 4 minutes and 30 seconds) one of those girls with a dad who loves her. I get to have a moment in the snow where I’m protected by gloves too big for my hands. Creating our version of “Winter” has been cathartic and painful and healing and challenging…and just what I needed.
What would you like listeners to take away from the song?
We really just wanted to introduce this beautiful song to our listeners through our lens, without compromising too much of Tori’s vision. Art is open to interpretation, especially music like this; it paints pictures and evokes emotions without too much specificity. We wanted to create a modernized version of Tori Amos’ musical perfection for our audience, and let them consume it in whatever capacity feels right to them.
What are some of your earliest memories of music?
Music has been our deepest love since both Jon and I were kids. Babies, honestly. When I was 3 years old, my big sister had a little Casio practice keyboard. I remember vividly, all these years later, that one of the demo songs pre-programmed into the keyboard was “Just the Way You Are” by Billy Joel. The cheesy synth sounds that floated out of those cheap internal speakers painted streaks of colour and moving patterns across my mind, each musical part in the arrangement creating a different visual against the black backdrop of my consciousness. This was the first time I experienced Chromesthesia that I can remember, and the beginning of my obsession with music.
Take us through your songwriting process. Are there any particular steps you take when putting music together?
The songs come about in different ways, but there is always an “ah-ha!” moment in the process; that moment when we know we’ve struck the right note with the right chord with the right lyric. Sometimes this comes quickly, and sometimes it takes hours or even days of coming back to it, but the song is not a song until it hits that sweet spot when you just KNOW it’s the way it’s supposed to be.
Studio work and music creation or performing and interacting with a live audience, which do you prefer?
Writing songs is preferred over recording – Jon and I are perfectionists so it can get a little tedious in the recording process. The writing part is our self-expression and our contribution to the world, so it feels incredibly satisfying to create something that we think is worth other people’s ear-time. Playing live is our fuel, our life source, our energy. It is SO incredibly fun and cathartic and we can’t live without it.
What is the most memorable response you have had to your music?
Over the course of our career, we have had quite a number of people on the autistic spectrum and parents of autistic children tell us that our music – and our live performances in particular – have soothed them and connected with them in a way that other music does not. We have tried to analyze why this might be the case, and we’re not sure, but it means the world to know that these special, neurodivergent individuals are able to take something from our art that they might not get from other music.
Also, Fiona Apple saw us play once and told me she was in love with me haha. That was a highlight for sure!
If you could put together a radio show, what kind of music would you play?
All the best music from the 1980s and 90s! Pop, rock and alternative.
Name five artists and their albums who would appear on your radio show
Michael Jackson – Dangerous
Guns N’ Roses – Appetite for Destruction
Green Day – Dookie
Mariah Carey – Butterfly
Prince – Purple Rain
What would you like to achieve with your music? What does success look like to you?
Success looks like reaching people who are truly positively affected by our music. It’s earning enough money to be able to have freedom and opportunity for our son and to make a difference in the world.
One last thought to leave your fans with?
The world is full of monsters disguised as men. Protect yourself and believe in yourself no matter what.
