Kate Nash has a knack for spinning earworms around life's simplest moments. But the British pop star's tortuous career in the past 15 years hasn't been complicated at all. In 2007, her debut album Made of brick It topped the charts and the hit song "Foundations" became the de facto choice of MySpace profile songs. When Nash's second album failed to achieve the same commercial success three years later, she was unofficially dropped by her label. Suddenly, Nash finds herself alone, penniless, and abandoned by the society that once put her on a pedestal.
But Nash is not one to ask, why me? Now she said to me "You can get up when they kick you down". "Just be good to people, and you'll always have friends who help you when the going gets tough." I agreed to participate in documentary On her experience, she landed gigs at Coachella and Lollapalooza, and eventually landed a role on Netflix's popular women's wrestling drama radiates. As she continued to carve out her future—a future beyond the boundaries of what the music industry calls "scary and detached"—Nash has been secretly writing about rejection, resilience, and eventually learning to love yourself again.
Fifteen years later, those deeply personal songs make up the score gold only, Off-Broadway musical about forbidden romance. The music and lyrics are all composed by Nash, who is also on the show; Story and book by Andy Blankenbueller (in the heightsAnd the HamiltonAnd the band platform) and Ted Malar (everything beautiful happens at night). "I am so honored to have such talented people working with my music," Nash says. "I love collaboration."
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Below, the singer-songwriter opens up about transitioning from pop music to musicals, navigating new creative areas, and why she always thought it was "ok to make mistakes."
just gone It's fun and whimsical, the ultimate antidote to the past few years. When did you first get the idea?
dew [Blankenbuehler] He approached me 12 years ago and told me he wanted to do a musical with my music. I had no idea what that really meant, but we talked about his idea over dinner. We called right away. Over the years, the story has changed a lot, but its core message is the same. I started meeting him every time I was in NYC for shows, and eventually started taking trips specifically for the music. I've learned a lot as a songwriter. I really enjoy writing for the characters and for the story, because it keeps everything fresh. There is more to take advantage of. In terms of the original vision, I had no idea what to expect, but the premise always felt like what our show was really about: a story about the heart. We've tried to put that on top of the show. We've always said we never want relationships to feel neatly tied in a bow, but to feel complicated and messy, just like real life.
How is working on a piece of music different from writing an album?
The best part is meeting so many amazing people and artists. I am constantly inspired and laugh at work. I think working on a musical is the ultimate creative collaboration. Many items must be put in place to achieve magic. I've never even worked with dancers gold only, And now I am sure that musicians and dancers should always be friends. The way the dancers give life to the music really touches me. It's very inspiring. I am amazed every day by everyone in our show.
Kate Nash performs just gone.
Was it a steep learning curve?
The hardest part was managing stress and outside pressure, finding stillness and breathing, and focusing on what's important. Getting back to the core of the story is the most important thing. It was very difficult to be away from my dog for so long and adjust to life in New York. Working six days a week with rehearsals during technique and previews was probably the hardest time. You learn how much you can push your body and also when you can't.
What's the biggest takeaway you've got since entering this new creative field?
I've learned that it's still possible to fall into old habits even when you're 35. Self-confidence requires constant management and new experiences will always change that. I learned that I can take on new challenges and that I have my own process. It is important that I trust that and trust myself.
What other musicals inspire you?
Musical theater has never been international, but I have made an effort to watch musicals over the years to understand the world in which I work. I think the fact that I'm an outsider is a strength of our show. nightclub It's my favorite musical, it's an iconic show, I saw Emma Stone and Alan Cumming in an edition a few years ago and loved them.
just gone It features a mixture of new music and songs from previous records. How did you decide which songs to include?
It's exciting to see your music given new life. For example, some people will hear songs like "The Most Beautiful Thing" or "Mouthwash" for the first time when they see just gonerather than knowing its true origin. I think it's cool when things like that happen. It gives music a completely different life. I love what was done with "Mouthwash" on the show. It's absolutely surreal to watch. Andy chose the songs he wanted to choreograph. I would send him music and he would have playlists of old songs. Sometimes we needed to tell a more realistic story or needed to write a new song for a particular moment, like "Split in Half," "Paris Allure," and "Bones & Dust." These songs aren't found anywhere else except on the show, and that's pretty exciting.
cast just gone.
You've talked about feeling like you never fit in the music industry. Did that shape you as an artist?
I was dropped by my record company, and I think the media was a bit of a nerd when I first started releasing music. I don't have famous people in my family nor do I come from a wealthy background. My mom is a nurse and my family is Irish and from Dartford [in England]. My grandfather was a book keeper and a boxer. When I got home, my parents couldn't help me the way they wanted to or the way some of my wealthy friends could get help when they were going through something. It really opened my eyes to how different the music industry can be for people from working class backgrounds. Money is thrown around in a ridiculous way and it's scary and disgusting when it doesn't come from money.
What advice would you give to someone navigating the music industry?
Oh my gosh, I think the environment is constantly changing, so I never know what advice I would give that is relevant. Every time I put out an album, I'm treated to a different world. Don't listen to people who say you need to "find your voice" and get stuck in a room with tons of different producers and top artists writing for every other artist. This is boring. Don't lose out on what makes you unique. You have a voice, which is why someone is trying to take advantage of you. Remember that people from industry are business relationships. Keep strict boundaries in place.
I would encourage people to find their creative family, because that will be with you for life, not just when you're profitable. You won't always be disgusting. Only one person was working with me during my first Still Life recording, and of course, a musician. That says it all. I would also say limit your use of social media. It makes the world a bad place and makes people stupider and more egotistical. Art is not about sitting pretty. Find creative allies, creative partners, and collaborators. I don't think art is an individual journey. Take risks, say no when you feel wrong, don't sign a management contract, get a good lawyer, and make lots of offers. Throw paint on the wall and trust your gut. Your head is not thinking straight. It's okay to make mistakes. You can get up when they kick you down. Just be good to people and you'll always have friends to help you when the shit gets tough.
This interview has been edited and condensed for clarity.
Rose is a senior editor at ELLE and oversees articles and projects related to women's issues. She is an accomplished and empathetic storyteller and editor who excels at getting exclusive interviews and spotting compelling features.
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