People are not going to be talking about Love & Affection, that came out in 1976, it is not going to have the success and longevity that it has had just because of me. Petridis, Alexis (17 June 2021). "Joan Armatrading: Consequences review – strikingly inventive songwriter deserves her due". The Guardian. Archived from the original on 27 November 2021 . Retrieved 27 December 2021.

In a video interview, you said how “Already There” was a way of talking about “love at first sight” in another way. I love the line “While you were falling in love, I was already there”. It’s so on point. We really gelled as a band. It was wonderful. The way we rehearsed was we all were in our houses. I used a thing called Jamulus. It’s really good because it allows for that to happen so that you’re in sync. I wanted us to be as if we were in the room together, so I found Jamulus. Every now and again you’ll get a little bit out of sync or a little bit of noise or whatever but in essence, we were just in the same room and it worked great. All of the rehearsals were done like that. We ended up three days in that hall. Really, the three days were for the cameras to get themselves set up on the first day and the second day. On the third day, we did the show. Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. I’m quite good at singing the arrangements. I’d heard an interview with Wynton Marsalis and he said exactly the same thing. He said when he writes he can hear the arrangements so that’s kind of like that. I knew that I wanted it to be very rhythmic, and drums were the way to go, really. That’s where I started. I didn’t start with, Is it going to be on the piano or the guitar? I started with, What’s the rhythm of this? Then I worked on the drums. Knowing what you want in the arrangements, things will suggest themselves to you as you go along.Since 1986, she has been producing herself in the studio and since 2003 been playing almost all instruments on her records. I bet he was the only person in that appliance store who went away and wrote something about it,” she adds.

I thought to myself, ‘What got them to the shouting stage that they are actually in public giving us this performance?' I recently watched the new animated lyric video for “Natural Rhythm”. The animation is so vibrant, playful, and witty. I’d love to know about the concept behind the animation. Around 1988, she wrote a song called The Shouting Stage after watching a heated argument between a couple in an Australian restaurant that resulted in the man storming off, leaving the woman in tears.

It does have a lot of value. The value is that I've lasted this long,” she offers with a warm yet steely laugh. There's actually so many people but I'm not listening to any of them and thinking I need to be like this person. That's not what I'm doing. She was seven when she moved to Brookfields, then a district of Birmingham, to join her parents, who had come over a few years earlier.

laughs] I’ll own up to it being recorded. The place that we were at, the internet access was not great. We would have been stopping and starting every two seconds. I couldn’t put that on people. It’s too worrying. I have heard too many scary stories of people doing “live” livestreams and it’s going horribly wrong. [laughs] I didn’t want to put myself through that thing. Of course, we played live and treated it as a live show. It was fantastic. We really enjoyed it. It sort of lends itself to vibrancy, doesn’t it? The record company thought that an animated lyric video would be good so they suggested the person who is the animator. They put forward one thing to me, but somebody that I know had shown me a video of their children dancing to the song. It just looked so fun, so I said to the record company and the animator, “Make it children dancing to the song”. That’s my only contribution. Everything else is them — the vibrancy — they got that. I had nothing to do with how the drawings were or anything. I just wanted it to be children dancing.She also tells me about Mark Knopfler, frontman of Dire Straits, who wrote one of their biggest hits, Money For Nothing, after a throwaway exchange with a shop clerk. Yes, I couldn’t wait to see what you had in store for us. I’d detected that it was going to be a pre-recorded situation but it still felt exciting because it’s a concert that’s never been seen. All of us could experience it together in real-time. After a year-and-a-half of going through the pandemic, we’ve become accustomed to seeing artists stage livestreams on different platforms. The production values of your concert — sound, lighting, camera angles — were top quality.

Unlike many artists, the singer-songwriter behind timeless songs such as Drop The Pilot and Love & Affection has achieved longevity through consistency and gentle evolution.Monroe, Jazz (5 May 2021). "Joan Armatrading Announces New Album Consequences, Shares Song: Listen". Pitchfork. Archived from the original on 27 December 2021 . Retrieved 26 December 2021. That’s what I wanted. I wanted people to feel as if they were at a concert. I didn’t want them to think we’re going to see Joan in her bedroom — you wouldn’t see that anyway. If I’m doing a tour, I’m going to prepare for a tour so I’m going to have proper rehearsals, I’m going to have proper organizing of, How is the stage going to look? What’s the lighting going to be? I’m going to work with the lighting designer. I’m doing a show and to me, it’s a show. All the qualities that I want when I’m presenting something on stage, I wanted there. I didn’t want people to think, and I’m sure a lot of people thought, Oh it’s going to be whatever. No, it’s going to be this. [laughs] There's an element of fate and being in the right place at the right time,” she explains, ruminating on her success. When I watched the video, of course, I noticed immediately that it was a different mix, even in how the drums start the song off. Describe your approach in creating the single mix for “Natural Rhythm”. I want the songs to complement each other as they go through. You try not to have something where you think, That’s really jarring next to that. You want them to complement each other as they’re going along. As I do on all my tours, I spend a lot of time working out the setlist and just making sure that I get, as best I can, the right song next to the right song. I just try to make it sound as good as I possibly can and have people feel entertained and just really enjoy the experience.