Yasmin Interview

Beautiful and talented, mighty things are expected of the DJ turned artist, singer and songwriter from Glasgow. Here she talks to me about honesty, hard-work and going it on your own.

 

We are in the midst of an explosion in young British music. What has made this generation of new UK music-makers, including yourself, so special?

It’s a DIY generation. We have new forces like the internet, everyone’s get a laptop and makes music. It means you get flooded, but people rise to the top through work ethic, through talent. We have a huge range of influences, listening to diverse radio stations. I think that’s why we’re going through such an exciting time.

What have been your biggest influences, from early on to recent collaborations?

I grew up listening to hip-hop and rap. I was just drawn to it because it was so honest. So raw and uncensored. They said anything. It wasn’t bubble-gum pop it was real. I’m always drawn to honesty - my favourite album of all time is ‘The Miseducation of Lauryn Hill.’ Today I’m inspired by a lot of my peers – people like Labrinth, like Ed Sheeran – these people worked so incredibly hard and they’re so talented and grateful and humble about everything. That’s really inspiring.

How would you describe your music?

Er….. what the fuck music. So when you hear it you can say what the fuck is that!?

Tell us about your DJing and how it has affected making music?

I started DJing at the age of 17. It’s extremely important in being an artist. I grew up listening to so much and I have so many references and inspirations – so much greater than if I’d have just been a music fan. You obviously have a grasp of what works in a club situation – you can judge styles and everything. It’s really helpful.

Throughout your career you have worked with a variety of artists and producers  – from Labyrinth, to Devlin, to Jamie XX. How important is collaboration in the creative process? 

Me personally I don’t produce so I’m always going to collaborate with people. It’s all about finding someone who works with you, somebody that sees your vision and has the confidence to add to it. I view making music like making babies – you wouldn’t just have a baby with anyone; there’s specific qualities in a person that you’d want. And that’s how I go about choosing people to collaborate with.

What was it like touring with such seminal artists as N.E.R.D and Eve?

I was DJing. It was really good. It was a great introduction to the life of touring. More recently I’ve supported Chase and Status and Eliza Doolittle as a singer. I love supporting artists that I’m a fan of especially. You learn a phenomenal amount. Touring with Eve was so great because she’s a female rapper and at the time I was a female DJ. To be a female in such a male dominated world she gave me a lot of confidence – she’s a very inspiring woman. With Chase and Status the live set is so incredible and mind-blowing – they’d watch my show and give me some pointers – that’s what it’s about – I’m still learning so much.

You’ve recently been in Ibiza. How is R’n’B and hip-hop changing, perhaps becoming more integrated into dance music?

Yeah, I can’t say I’m happy about it. There is a lot of this kind of hip-hop R’n’B David Guetta stuff. Personally it’s not my taste. I’m a huge fan of the 90s – using samples – it was such a craft. The hip-hop’s come back but I’m waiting for the R’n’B. I’m waiting patiently.

Debut single ‘On my own’ seems influenced by trip-hop pioneers massive attack, whereas new track ‘Light Up The World’ has a sped up garage sound. Do you enjoy experimenting with musical genres?

Yeah definitely. When I started making music I never thought I had to find one genre. I like being unidentifiable. I like mashing together but not in a contrived way just what feels like the right thing to do at the time. With the horns and strings ‘On My Own’ is very influenced by that trip-hop sound. With ‘Light up the World’ I kind said to Shy Fx just give me breakbeat and reggae. I thought it showed a different side of me – I like to go out and feel good. It was time to reflect that different side of me.

Tell us about your upcoming debut album.

It will be out maybe first quarter of next year. I’m working on it. Debut album – it’s such a big deal. Being close to your music it’s very hard to be like ‘yeah ok I’ve finished it.’ There’s a lot about independence. I’ve spent a lot of time on my own. I want to inspire other people to take risks, and be brave and adventurous – to go for what they really want. Sonically, there’s a lot of reggae and breakbeat. There is also a couple of acoustic moments – I just kind of let the songs do the talking. It’s honest. I’m excited about people hearing it. There are a couple of ex-boyfriends who might be pissed off when they hear it.

What gigs and tours have you got lined up?

I’m doing some headline gigs in November, there are also a couple of festivals left. I’ll be doing loads of shows – I love performing with my band. I’ll definitely be on the road.

http://www.yasminsworld.co.uk/

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'Fit and Proper People' at Soho Theatre

New play, Fit and Proper People, fuses football and theatre with a spot of food on the side for good measure.

 

Located in London’s epicentre of vice, Soho Theatre is surrounded by the sultry glow of neon lights. It seems the perfect venue for Fit and Proper People, a new play by Georgia Fitch, which looks to expose the seedy underbelly of the beautiful game. Daring, relentlessly provocative and darkly familiar, the play is both satire and tribute. It succeeds resoundingly in capturing the atmosphere of the stands, not least by giving out free pies at the half time interval.

Fit and Proper People tells the story of football agent, Casey Layton (Katy Stephens), and her dealings with new millionaire owner Frank Wong (David Yip), as she uses his fortune to buy players and earn promotion to the Premiership. In a furious non-stop narrative of quick-fire exchanges, the cut-throat politics of the board room are laid bare as Casey attempts to oust manager and narcissistic womaniser Tony Whitechapel – played by Steven Hartley with a croaking East End malevolence.

Before writing the script, Georgia immersed herself in a club, travelling with fans, speaking to players, and on her own admission, getting hooked on the world of football and all that surrounds it. “I felt compelled to tell the truth about what is really happening to our national game; my cousin had been dating a Premiership play and England star and her stories gave me the final push.”

Under Steve Marmion’s direction, there was an ingenious use of space, dance routine and intense physical interaction. The characters navigate around a set design that includes a dugout, changing room, grass pitch, floodlights, big screens, four stands seating the audience and electric advertising billboards. “The direction and stage design are inspired,” Georgia said, “Steve knows everything you could ever need to know about football and theatre; it’s great to have his experience and extensive knowledge leading the production. And Tom’s design makes the audience complicit and immersed within the play.’

As the whistle blew for the interval, with the excited babble of the audience gobbling on free pies, it really could have been half time at a football match. This carefree atmosphere was soon demolished in the second half of the play, which brought to light the characters’ disturbing back stories that include sexual abuse, fraud, human rights violations and an ultimate exploitation of fans. It focused on the misogyny that remains at the core of footballing institution, articulated by Tommy the scout (Russell Floyd): “women can’t deliver on the pitch that’s why they are treated the way they are.”

Incredibly ambitious, the script encroaches topics such as football’s imperial legacy and anxiety over the rise of Eastern economic power – all presented in a fragmented collage of surreal canivalesque media images that come to replace reality. We are shown how football gives a phoney and transient meaning as well as a sense of belonging in a ruthless and dehumanising capitalist society. The play is a testament to the potency of both theatre and football. As Georgia surmises: “Both are life choices, both can provide the most defining moments of one’s life.”

Fit and Proper People runs at The Soho Theatre until the 5th of November.