According to Keychange, a pioneering international movement which empowers women to transform the future of music whilst encouraging festivals to achieve a 50:50 gender balance by 2022, only 15% of music labels are majority owned by women. The gender imbalance in the music industry workforce is stark with the gender pay gap sitting at around 30%, and in the US women only make up 14% of the acts on festival stages.
But things are changing and a number of organisations are committed to the pledge towards ensuring greater balance and openness. Already 130 festivals from across 26 countries have signed up to the 50:50 gender balance pledge and the work of Keychange has inspired swathes of women across the world to lend their voice to the initiative.
Individuals including 18-year-old Keely Liptrot from Manchester who has founded Sass and Snarl, a platform that encourages self-promotion, supports women in the music industry and provides a place for all creatives to network. Her exciting new project aims to end the gender divide in the music business through virtual events and online campaigns, at least during lockdown, with big plans for live events and networking once restrictions are lifted.
Under a banner of unashamed self-promotion, Keely, who has been running her own music blog since the age of 13, understands the barriers that currently exist and hopes Sass and Snarl will be part of the solution. Features such as her Future CEOs posts, highlighting the upcoming female talent that inspires her, along with her brilliantly curated Spotify playlists, are sure to resonate with followers and play a part in evening the playing field for all female creatives.
We had the chance to speak to Keely, who has recently started her degree in music management, about her initiative and discussed some her favourite female acts and producers and why she wants to help more women celebrate their work and contributions to the music industry.
Can you start by telling us a little bit about yourself?
I’m Keely Liptrot, I am 18 years old and have just finished my first year taking a Music Business degree. I am originally from Manchester which definitely gave me lots of inspiration when I was 13 and starting my own music blog.
In May, I launched my own platform Sass and Snarl where I teach self-promotion to young creatives in music. Being so heavily influenced by the organisation KeyChange, we also work to support women in the music industry. This ultimately gives us a perfect opportunity to build our own community, so we are definitely wanting to start some networking events once lockdown is over.
What is the mission statement of Sass and Snarl?
Encourage shameless self-promotion, ending the gender divide in our industry and provide networking opportunities for creatives in music.
What inspired you to create this platform?
Seeing so much talent going unnoticed. Anyone from photographers to artists to copywriters, there are so many creatives not getting the attention they deserve, mostly because they do not know how to self-promote. And also, the amazing work from KeyChange!
Where did the inspiration for the name come from?
Sounds so ridiculous but it is how I describe my dog. He has so much sass, but boy can he snarl. I think it sums up the aims perfectly and I get so much feedback on how people love our name.
Why do you think the music industry still fails to fully represent women?
As I said, I was in the heart of the Manchester music scene when I wasn’t even old enough to go to gigs by myself. I was constantly surrounded by men, my music teachers were all men and still are for that matter, the artists I would interview were all men, the promoters, photographers, managers and other journalists I would work with were all men. It didn’t seem important at the time because I was still working with so much talent but I would sometimes feel like I wasn’t meant to be there and that maybe this isn’t the place for me and now I am in this community of amazing young women, I now know how important and empowering it is.
In the future, I would love to work for a major music company but if I was in the exact same job as a man, I would be payed 30% less. I refuse to let that happen; I know my worth! And for an industry based off talent and creativity, we really do lack diversity, I’m sure we have all seen the festival line ups, they perfectly sum up the lack of representation in the music industry. I personally think it all stems from the perception many still have of women, if women were taken as seriously as men were would we be having a different conversation?
How are you planning to get the concept out there into the world?
So, in July, we will hopefully be starting our virtual events to teach about self-promotion. We are also running a campaign called Future CEOs where we feature a young woman making her own way into the music industry every week.
I have also done some really cool interviews with Priya from @BhamBNails who spoke about building her own business, doing the nails for Little Mix, Mabel and Jorja Smith and even Serena William’s nails for Wimbledon! We spoke to Manchester band, PINS, who have launched their own label and just from a little bit of self-promo and showcasing their talent got them a song with the legend, Iggy Pop! I also interviewed my most favourite Manchester DJ, Shell Zenner and we talked about how aspiring presenters can help themselves get a job at a radio station and also the high school pettiness that some women still have in this industry.
So yeah lots of new campaigns, events, interviews and of course lots of self-promotion, it seems to be working so the only way is up!
What support have you had with launching the platform?
I launched the business all by myself, told everyone about it, gave myself a week to build a website, write the interviews, start looking at branding which was hectic but done is better than perfect in my eyes so it just needed to be done!
I still solely run Sass and Snarl but have had some amazing opportunities to talk about it like with this interview and the chance to co-host on the BBC Radio which was really awesome. There are so many platforms and organisations trying to help women and new talent in this industry in lots of different ways so building myself into that community has been a lot of fun and has helped me out a lot mentally!
What do you hope it will achieve in the long-term?
Ending the gender divide sounds so bold doesn’t it! But it is truly why a lot of us are here, of course Sass and Snarl isn’t going to change the industry solely on our own but being part of the movement that will, that’s a goal!
For myself, I hope Sass and Snarl inspires people to know their self-worth and want to start their own side hustle and build their own business because it really does feel so good!
And I want to do networking events and travel and meet lots of new people!
Why do you think women find it hard to talk about their achievements?
I think we all find it hard to talk about our achievements, sometimes I think it’s a British awkward thing, sometimes I think it is because we don’t know our worth and sometimes, I think it’s because we care too much about sounding like we have a huge ego and what other people will think!
I was in a webinar, not so long ago and I remember one of the panellists saying care less and share more and I have honestly had that in the back of mind since.
How can we change that as magazines, media platforms, communities?
Giving creatives a chance to show it and being excited when they do. People are putting their heart and soul into their work, if you have the opportunity to share it, not only will it help them feel good but also yourself. A huge part of self-promotion that nobody realises is actually supporting others so if you want to promote your brand, promote others too!
A proud Manc, what are some of your favourite spots in the city?
My favourite ever music venue when I was younger was Sound Control which has now been completely knocked down and is being turned into flats, so this is the perfect time to say to help our grassroots venues.
I’m also a jazz guitarist so having Matt and Phreds on my doorstep is amazing.
I’m a lover for some vegan food, so V Rev is a lovely spot! And if you have never been to Flight Club, I guarantee you that it is so much fun!
How has being from the north shaped you?
My mum has the poshest voice being from Henley on Thames. My dad is from Bolton. I have THE WORST Bolton accent you can ever imagine, and my mum always says, “you’ll never do well in a job interview with that accent” but I think our northern charm reigns supreme and for a brand that is all about communication, I can definitely tell you it hasn’t held me back.
I’ve gone down South for uni and I miss that sense of community that northerners have, I think that is why I am so passionate about it!
If you could dispel one myth about the north what would it be?
That our accents mean we won’t do as well in job interviews.
What inspires you on a personal level?
Good music. That feeling of putting your favourite track when you are feeling on top and then putting on that special playlist to help those bad times feel a little bit lighter. Nothing spurs me on more than that!
Which female musicians should be tuning into right now?
Chika! I swear I say this every week! She is a black, gay, plus size woman in the music industry, every single one of those things makes it so much harder for her but she is killing it! Her EP Industry Games perfectly sums up what is going on in our industry, yet it is so empowering and just makes you want to dance, I honestly have no complaints. 10/10!
Follow Sass and Snarl and Keely for more information of how the music industry is changing and how to get involved.
Keychange is an international initiative which transforms the future of music whilst encouraging festivals and music organisations to achieve a 50:50 gender balance by 2022.
As one of only two women to hold a residency at Manchester’s Haçienda, a venue, which at its peak was one of the most famous venues in the world, Paulette Constable, or DJ Paulette as she is better known, definitely knows a fair bit about club culture and the evolution of the 1990s rave scene and growth of acid house. From her residency at Flesh, Haçienda’s legendary queer night in 1992 to residencies across London, Paris and Ibiza, the DJ turned broadcaster and now youth mentor and activist, has never forgotten her roots in the north. In these lockdown times we had the pleasure of catching up with her to discuss her impressive career, women in the music business and her most memorable sets.
Can I start by asking you to briefly tell us a little bit about yourself, who you are and what you do?
My name is Paulette – known in the industry as DJ Paulette (I am THE ORIGINAL AND REAL DJ PAULETTE – not the shady Italian namesake). I have been DJ’ing since 1992 and working in the music industry on and off since I was 18. DJ’ing is my main occupation, but I also work as a consultant, a radio and TV presenter, I do voice overs, modelling and I also work as a public speaking coach and workshop facilitator.
What are some of your earliest memories from growing up in the north?
I was born in North Manchester General Hospital – and am one of a pair of identical twins. My mum says we were the best Christmas present she was given that year, but I think that’s largely because she is only 4 foot 11 and we both weighed over 7lbs. It’s a lot of extra weight to carry around at Christmas. I was brought up in Prestwich, North Manchester where I have strong memories of Bowker Vale train station, of losing the tickets at the cinema on Cheetham Hill Road, of playing in the children’s playground, in the paddling pool, on the boating lake and always loved the masses of cherry blossom and rhododendrons in Heaton Park. I used to love sitting on the lions outside Heaton Hall and getting ice creams in the café.
How important a role did music play in your life growing up?
Music is the lifeblood in my family. My mum was a well-known Jazz and Cabaret singer in the UK and she came from a well-known musical family in Jamaica. My grandfather played double bass in his own band, my mum, my aunts and uncles all sang – sometimes on the radio. All my family sing, dance, were taught to play musical instruments and are avid record buyers and music collectors.
We are all passionate about music and remain actively enthusiastic about everything from bar sets to club nights, live gigs to festivals and radio, documentaries and live streams. My brother Robert was a DJ and I remember him having a sick carrying box for his 7” singles. I have always loved music and find that I lose track of time when I am listening to or working with music. It’s a good sign.
How did you first get involved in music?
When I was little I was always doing shows, dreaming that I was a famous singer and doing ridiculous dance routines. It was always something I gravitated towards, but the path evaded me. Then I got a job working for Piccadilly Radio as a Junior Reporter on a music / lifestyle kids’ show called Saturday Express for two years – I did all the listings, gig reviews and some pop star interviews. Then I sang in bands for years after I left college, wrote songs, did backing vocals and session singing in studios – Spirit in Stockport, SARM and SARM West in London. When dj’ing came into the picture it became more of a reality. Then I moved to London and it became my life.
How have your own music tastes evolved and changed over time?
I remember the first single I ever played on repeat was a Frankie Lymon tune called ‘Up Jumps A Rabbit’ – me and my twin Paula created a dance routine to it, jumping up and down on the furniture so I think it’s pretty safe to say that my music tastes have become broader and more refined.
As the youngest of eight siblings, I pestered my brothers and sisters to sit with them whilst they listened to their music and I absorbed everything then bought bits I liked with my pocket money and paper round pay. I bought everything from disco to pop to glam rock and inherited albums like T Rex, Roxy Music, David Bowie.
Then when I was 13 I dived into electronic music and punk and bought Kraftwerk, Sparks, Yello, Gary Numan, John Foxx, ABC, Haircut 100, the original Human League, PiL, Dead Kennedys, Sex Pistols, Iggy Pop, Lou Reed, Velvet Underground, DAF, Siouxsie and the Banshees, Echo & The Bunneymen, The Associates, Visage, Depeche Mode, Thomas Dolby, Southern Death Cult, The Cramps, Psychedelic Furs, Soft Cell, Sisters of Mercy – I also bought the The Face, New Sounds New Styles, the NME, Melody Maker and Smash Hits.
I listened to the radio a lot and watched programmes like The Tube, The Oxford Roadshow and The Old Grey Whistle Test and went to lots of gigs so found myself loving Gil Scott Heron, Trouble Funk, The Beastie Boys, Run DMC, U2, Prince, The Smiths and Madonna equally.
When I started work I went through an acoustic/ folk phase and I bought up tons of Joni Mitchell, Suzanne Vega, Kate Bush, Leonard Cohen, Everything But The Girl, Fairground Attraction, Prefab Sprout, Tears For Fears, Deacon Blue. I also loved listening to the Jazz Show on Radio Two on a Sunday (after clubs) so I got into Peggy Lee, Nina Simone, Dinah Washington, Rosemary Clooney, Barbra Streisand, Liza Minelli. At the same time my sisters were going to All Dayers, All Nighters, Southport Weekenders and I got into funk, jazz, jazz funk, soul and electro through them and Mike Shaft and Greg Wilson’s radio shows which my twin religiously taped and I secretly listened to.
I was trained to play the piano and violin (can’t play now) but still love a bit of classical – Chopin, Bach, Beethoven. I discovered Prince, Earth Wind and Fire, Teena Marie and Michael Jackson from my sister Elizabeth. I got mad into Donna Summer, Aretha Franklin, Ashford and Simpson and Diana Ross. I bought Q Magazine and Mojo. Then the 90s brought Acid Jazz and house music – I loved Me’Shell Ndegeocello and Mariah Carey and became a mad Frankie Knuckles and David Morales fiend.
DJ’ing certainly expanded my tastes further – bringing in the works of Mood II Swing, Pepe Braddock, Daft Punk, Larry Heard, Cassius, Leftfield, Orbital, 808 State, Robert Owens, Junior Vasquez, Mood II Swing, Basement Boys, Roy Davis Jnr, Masters At Work, Underground Resistance, Danny Tenaglia all have their place and it just keeps going, I listen to and buy everything from Yazmin Lacey and Kamasi Washington to Green Velvet, Blake Baxter and Abe Duque. I don’t just buy the music I need to work, I still buy music for the pleasure of listening to and learning new things and I sometimes work random bits into a set if the spirit takes me.
The last albums I bought online were Lonnie Liston Smith Expansions, Paul McCartney, Wings Greatest Hits, Yazmin Lacey, Billie Eilish, some August Darnell and old Earth Wind and Fire early releases and a lot of Donny Hathaway. I fell out of love with vinyl for a while after a lot of my collection got stolen as I left France.
Then I lost 2,500 pieces of my prime personal collection to flood damage in Ibiza but happily this lockdown has given what is left of my vinyl collection a new lease of life. I’m not sure if my tastes have matured (as in slowed down a bit) . I still love a good rave up or a silly sing along into my invisible mic. I’m not a snob over vinyl and digital – either will do for me (even though I do get why people are snobs and there ARE some records I want that are only available on vinyl). To me it’s either ‘great music’ or ‘not-for-me music’. It’s all just a matter of personal taste.
You’ll be familiar with the narrative that surrounds The Hacienda years and how the role of women in this era has been typically underplayed, why do you think this is the case?
We live in a patriarchal society. Women’s roles are criminally underplayed in practically every discipline from teaching to training, from politics to psychiatry, from rocket science to domestic science, from acting to art, from maths to music production, sound engineering, events organisation – all creative industries art, music and media. It’s sadly the norm and not specific or unusual to nightclubs. As the grand tenet of second wave feminism cites: ‘The personal is political’.
Which women do you think were fundamental to this period and more generally the music scene in Manchester?
Lucy Scher (RIP) – A Bit Ginger Productions (together with Paul Cons – the team who created and produced ‘Flesh’); Ange Matthews – Haçienda Sue Langford – Boardwalk; Carol Ainscough (RIP) – Manto’s / Paradise Factory; and Kath Mc Dermott (Flesh, Homoelectric).
I think what strikes me about you, is that you completely own your success, you are aware of how much you have contributed to the 90s rave scene and that confidence and acknowledgement of your own contribution is very inspiring, if you could say one thing to women about having pride in what you do, what would it be?
I say the same thing to women as I say to everybody. One man’s trash is another man’s treasure. No one is born knowing how to do whatever they choose to do as a career – no career or job is gendered – if you want to do something, go ahead and learn how to do it. Then make it your own. Be prepared to and keep learning for the rest of your career, be confident in doing your own thing, don’t take no for an answer and be ready to bang your own drum if no one else will bang it for you. And when people do say no (because 99% of working in the creative industry is taking the blow of ‘no’ and carrying on regardless) remember Anthony H Pike’s advice, ‘you can’t be everybody’s cup of tea’. It reminds me not to take things too personally and always keeps me going.
United We Stream has just launched, how did you get involved and what do you hope people will get from it?
When the service was launched, Sacha Lord (Manchester’s Night time Tsar) posted a tweet asking which artists people would like to hear on the UNITED WE STREAM platform. One of my followers, Stephanie Fox sent Sacha a beautiful tweet saying they should book me because I was ‘the Queen and the best female DJ in Manchester’. I will never know whether it was coincidental or if Steph’s tweet was the catalyst but Sacha DM’ed me himself, explained the project and asked if I would like to take part within seconds of her tweet landing. Thanks Stephanie – that was serendipity indeed.
I hope that people will adopt United We Stream as their ‘go-to’ isolation party streaming platform for as long as the lockdown lasts and for as long as it runs. If it continues past the lockdown then I hope people will work it into their social calendar as an addition and an alternative to live gigs and clubs. More importantly, I hope that people will donate as much as they can afford and continue to give once the lockdown is lifted, since the platform has been created as a fundraising vehicle to support the people in the night time whose livelihoods were incinerated when the night time economy ground to a halt. It also benefits the cultural venues that have been closed and will require aid to get up and running again and the local charities that desperately need our help in order to continue supporting the vulnerable in our community.
Outside of music, you are also busy with youth work, activism and mentoring, why is it important for you to give back and what do you get from these experiences?
I do it because I care and because it comes from personal experience. Even though I was academic and always did well at school and college, I was also one of those teenagers that could have achieved much more with a sharp mentor who cared enough, gave me the right encouragement and who asked about and understood my situation. This lack of support I received through school has had a huge impact on my work personality and working life. I’ve travelled and learned a lot and if I can help someone to realise their potential through a project or by creating something unique and if they can somehow benefit from and be inspired by that experience then that’s a beautiful result. It’s a wonderful shared moment when the lightbulb switches on in someone’s head and the ideas start to flow.
I suspect you may have been asked this a fair few times, but for you, what makes Manchester so great?
My roots. Love. My family. The history. The people. The possibilities. The music. The sport. The accent. The politics. The humour. The water. The past. The present. The future. The weather…Oh, and we don’t take any shit from anybody.
This question may be slightly trickier under lockdown, but how do you like to spend your free time?
I have always enjoyed gardening and the lockdown has me enjoying every aspect – weeding included – as a source of ultimate zen. Even the grotty jobs are a blessing now. I have a selection of plants in pots at my front door and am blessed with a tiny jewel of a garden at the back both of which I am enjoying giving my full attention to. I also have a lot of houseplants that are enjoying being fully nurtured again. I cook every day, I listen to lots of music, watch bits of TV (I have to be really gripped by something to watch TV, films and documentaries – TV’s not my favourite pastime). I meditate, do a little yoga and make sure I get around 2 hours exercise (inside – yoga, light workouts or outside – skipping (ten minutes is enough), walking, dog walking) per day. I also write poetry, lyrics, songs and occasional columns – look out for something from me in the relaunched Faith Fanzine. I talk to family and friends – A LOT.
We talk a lot about how location or stereotype should not hinder women’s potential, what is your advice for Northern women who are currently pursuing careers in music?
Embrace who you are, how you are and always take pride in where you come from. Love how you look, sound, feel – your accent, sexuality and all. Never make excuses for it or play small to the disappointing stereotypes or low expectations you will encounter. Be you, do you, make yourself a beautiful and brave focal point and be your own unique selling point.
Finally, what is your favourite thing about the north?
Blood. Water. Fire. Earth. Air. Spirit. It has all the best elements.
Paulette’s most memorable club nights, residencies and festivals over the years:
London 1995 – I drove back from my residency at The Zap Club in Brighton for my debut at the Ministry of Sound. I was playing in the bar area when the dj booth was upstairs where the VIP is now. The decks were suspended on chains that swung backwards and forwards as you played and you had a view from the front to the back of the bar area. I still have a very blurred picture of that in a photo album somewhere. Great night.
Solidays Paris 2005 – it was the first outdoor party I had ever played in Paris and I was on the bill sandwiched in between Etienne De Crecy and Bob Sinclar. I was given a police escort through the streets of Paris to the start of the street parade and the attendance was around 30,000 people. I will never forget the moment when I played the white label of Mason’s ‘Exceeder’ just as we turned up the Pont Neuf and there was just a sea of people jumping and screaming to my set. Unforgettable.
One Night With Paulette – every Friday at Mix Club, Paris 2005 – 2009. Four of the most important years in my dj career were spent as a resident at the biggest club in Paris. I played weekly on Fridays, once a month on Saturdays and special events throughout the year with guests. My party unleashed underground bubblers and superstars like Steve Angello and Sebastian Ingrosso on the Parisian public (they played at my 40th birthday party), Laidback Luke, John Dahlback, Noir, Afrojack. There was always a queue around Montparnasse Station which had to have steel barricades and people were crazy – I topped and tailed the party and had to take pictures and sign autographs with people for an hour each night. Once a month I played the whole session from 10pm till 5am – that was always a lock in.
Technoparade – every September in Paris there was a street party called Technoparade where the best djs in city (and then around 2009/10 the best djs in the world including David Guetta, Afrojack, Laidback Luke, Benny Benassi joined the roster) played in an all day street parade that rolled through the key streets of Paris. I played every year from 2007 to 2012. The route took in the key landmarks of Paris. There are still a few clips of my performances online on Youtube and DailyMotion I believe.
Cocoon, Frankfurt – 2009/2010 – this was concept clubbing par excellence. Conceived, designed and run by Sven Vath, Cocoon had two restaurants (Silk – which was Michelin-starred and Micro exceptional comfort food and both beautifully designed), multiple rooms, a main room built in the round with a DJ booth like a pulpit in the middle. Pods built into the walls surrounding the main room where small groups could sit privately and adjust the volume of the music. DJ booth with a tech spec of dreams, plus a private toilet and a vip seating area of its own. I really miss this club.
Pacha & Space Ibiza – playing for the Ministry of Sound 2000, 2001. In the days when Pacha had a Global and a Funky Room and Space terrace was on the ground floor. So many memories. Just about …
Miami – Nervous Records Denny’s Diner and Armani Exchange street parties – 2000 / 2001. Legendary sessions playing with people like Terry Hunter, Kenny Dope, Louie Vega …
Montreal – Black and Blue Festival – headlining this pivotal event in the LGBT calendar two consecutive years 2009/2010 – in the Stade Olympique in front of 28,000 people and both times nearly getting thrown out by security for dancing on the stage in front of my decks because they thought I was a randomer without authorisation to be there. The last year I was body painted by Zilon Laser (the Canadian equivalent to Keith Haring) which was surreal. I couldn’t get the paint off because the lights had baked it on. I bought out Pharmaprix in order to clean it off.
Homebird Exhibition, The Lowry Art Gallery 2018 – creating and curating an exhibition of my roots, life and career in Gallery B (the permanent LS Lowry collection occupies Gallery A) was an amazing pinnacle. It has been captured for posterity online in a section of my DJ Paulette website www.djpaulette.co.uk/homebird – where you can browse all 15 walls at your leisure and for free.
Janelle Monae – Castlefield Bowl, MIF 2019 – opening for Janelle Monae in front of a capacity, sold out crowd of 8000 people was a mega buzz. House of Ghetto tore it up with the vogueing on stage, I kept the crowd dancing and meeting Janelle at the end was a rare treat. It’s a gig that I still keep getting stopped in the street about.
Bluedot Festival, Jodrell bank 2019 – opening for Derrick Carter in the La Discotheque tent and smashing it. I was worried that I would have an empty tent as my slot coincided with New Order headlining on the main stage. I had no one to start with but I just kept my head down and played- after 20 minutes I looked up and the tent was rocking. Derrick gave me the biggest hug when he arrived. Good times.
United We Stream, which broadcasts Greater Manchester’s unique, world-leading culture to homes around the region and the world continues this weekend.
On Saturday, Manchester’s legendary Haçienda nightclub will come alive again, albeit digitally, for a second instalment of its virtual party initiative. The event follows the club’s stay at home rave that took place on April 11. DJ Paulette will join an A-star line-up of former Haçienda residents including Graeme Park, Jon Dasilva, Allister Whitehead, Peter Hook.
Words: Jenna Campbell
Imagery: Glitterbox shots – Printworks – London 07/03/2020: Kris Humphrys
NRTH LSS had the pleasure to get to know the very talented producer and musician Angela Chan.
Coming to Leeds to study a degree in classical and contemporary music, and a master’s in music production, Angela tells us why she stayed up north as she built her eclectic musical career around her distinctive “fuzzy” sound. Angela also shares some foodie recommendations for the noodle lovers amongst us.
Angela has an impressive discography, including her work as a touring band member of alternative rock group Placebo since 2017, her creative involvement with indie rock band Lanterns on the Lake since 2014 and, more recently, her time on tour with Kyle Falconer of The View.
NRTH LASS: Tell us about a typical day on tour. What are the highs and lows of tour life?
Angela: There’s not much routine to touring. There’s a lot of travelling and packing and unpacking things – vans, boxes, bags, cases. I love the camaraderie of it all especially on the smaller tours where everyone is mucking in. There’s always plenty of chat, jokes and silly games to pass the time. Apparently I sleep a lot too.
NRTH LASS: Would you say that you have a signature “sound” you find yourself returning to?
Angela: My viola and reverb! Other than that, I don’t think I have much of a signature sound … but I do love playing around with other instruments, pedals and getting geeky with tech. I try to mould my sound to fit each band I play with – orchestral strings, dirty fuzzy noise, ethereal soundscapes, synthy pads. I rarely use the same pedalboard setup between bands. I can get really weird with the sound and people often think they’re hearing a guitar. It’s not. It’s a viola!
NRTH LASS: What’s it like being a woman in the music industry? Have you met any gender-based barriers in your career?
Angela: I’ve never felt like I’ve encountered any gender-based barriers, but it’s something that is being talked about a lot at the moment. I went to a “Women in Music” conference recently to try and learn more and after hearing about others’ experiences, I started to think about my own. There are sexist attitudes but it’s very rare that I come across them. On the whole, I find the creative world quite progressive and open. There are many sides to the industry that I’ve not experienced though, so I can’t speak for all women.
NRTH LASS: Tell us about your work as a producer. How does it compare to performing live?
Angela: Performing live is about being in the moment, playing my instrument. In the studio, it’s about crafting and creating. It’s more cerebral, not as automatic, and I’ve got a lot to learn. I like making music for performance art (dance, theatre) and moving image (sound design, film, digital art). I love the relationship between sound and movement. It’s easy to get lost for hours once I get stuck in.
NRTH LASS: What was it that kept you based in Leeds for all these years? Were you ever tempted/encouraged to relocate?
Angela: Leeds ticks a lot of boxes. I came here to study and met lots of people doing exciting things. There’s a lot going on. It’s not an expensive place to live. I found a supportive community and I’ve been well nurtured by it. I lived in Newcastle for a bit and I’d like to go back there in the future. London doesn’t appeal much to me as a place to live. I’m a northern lass.
NRTH LASS: What has been the highlight of your career so far?
Angela: Spending an evening trawling through Gumtree ads and finding the people who became my mentors, best friends and first proper band. I’d recently learned what a pickup was, acquired the cheapest one I could find on eBay, blue-tacked it to my viola and turned up to meet these strangers. Looking back, I’m glad I didn’t get laughed out of the room. I learned almost everything about playing in a band from them. They even equipped me with my first ever pedal. Before them, I never knew what a pedal was. Imagine that.
“Performing live is about being in the moment, playing my instrument. In the studio, it’s about crafting and creating.”
NRTH LASS: How do you balance your personal life with your career? Do you ever feel that you’ve had to sacrifice one for the other?
Angela: If music wasn’t my job it would still be a huge part of my life. Music is very personal to me and through music I’ve made close friends, learned valuable life lessons, travelled the world, experienced adventures and misadventures. It’s not a conventional life, but convention doesn’t excite me. I’ve been told that to sacrifice is to give up something for a greater something else, and if that is the case, it’s not the worst position to be in.
NRTH LASS: What is the best piece of advice you’ve ever received? Or any piece of advice you wish you’d received?
Angela: I’ve had a lot of good advice and yet I can’t recall a single piece right now. All I can say is: surround yourself with good people. They will provide you with all the advice you will need.
NRTH LASS: Finally, and most importantly … where can I get the best noodles and dumplings in Leeds?
Angela: Haha! So you’ve spotted I’m a noodle enthusiast. Well, I’m a big fan of Bánh and Mee for Vietnamese, Noodle House for Hong Kong and Malaysian, and Noodlesta is a recent opening for Northern Chinese hand-pulled noodles. Couple of OK dim sum spots too but I’ve not found a place for proper good dumplings yet. Let me know if you find one.