|Rachael Dadd has recently signed to Memphis Industries who will be releasing new album, FLUX, on 8th November 2019. Part of The Winchester Three (the other members are label mate Rozi Plain, and Kate Stables of This the Kit), Rachael has shared her new single, Cut My Roots, along with a brilliant video for the track, check it out below. Rachael spoke with The Fountain about her new album, the signing and performing at Celtic Connections in 2020.|
TF: Alongside Rozi, you are joining the Memphis Industries family, you must be stoked?
Really stoked yes. It’s an honour to be on a roster alongside Rozi and Jesca Hoop and The Go Team, I’ve loved them all for ages. And it makes all the difference when you get a good team behind you. The Memphis chaps are really experienced and organized, it’s the first time I’ve sensed such an operation. And they’re really nice too, up for my requests and ideas.
TF: And you have a new LP out with them, Flux, do you want to tell us a little more about this record?
It’s a collection of songs that I’ve poured my all into, plus many others have brought their trademark musicianship to it. Marcus Hamblett (James Holden, The Villagers) has produced it. Kate of This is the Kit sings with me on a few about motherhood, as alongside music that’s another thing we share in common. Dear pal, Rozi Plain, sings on a few. Cherished band members Rob Pemberton and Emma Gatrill bring so much to the album. And it was recorded with Jim Barr at JnJ and he plays bass on some songs. I’m very proud of what we’ve made together.
I called it Flux because everything exists amidst many shifting tides bringing multiple states of flux to our existence, both collectively and individually. Flux is my response to these external and internal tides I’ve been experiencing over the past 5 years. It is a response to the flow of life up-rooted and my internal searching and longing; a protest against the flow of recent political history; a celebration of the flow of knowledge and wisdom; an alarm call in response to humans destructive tide; an ode to our natural movements of migration and exodus; a reflection on the flow of evolution; and a diary of the unstoppable flow of life-force that comes with raising two sons.
TF: Following this, you are also performing some dates next year, which also includes Celtic Connections?
I’m doing a tour with the whole five of us in the band, and that’s not happened before and I have to say a big thank you to PRS Momentum funding for making it possible at this timely time. I’m looking forward to being able to translate the record onto the stage in full, with elements of improvisation here and there. The Glasgow date is going to be a lovely one I expect. I’ve played at the Glad Cafe twice before. It’s intimate, so friendly, and they have an upright piano that’s full of character.
TF: How do you personally find the Glasgow crowd?
Yes, so very friendly, open, warm. I’ve felt a connection with Scotland and the various scenes there through Fence records, The Homegame and Lost Map, who I released a single with in the past. I get the sense there’s an inclusive broad musical family that any music lover or audience goer feels a part of. And one that welcomes me from the south so I’m very grateful for that.
TF: What has been your favourite gig to date?
Every show is so different, ummm I’ve had a few life affirming shows over the last six months. Fire in the Mountain festival felt like high times, with new bassist Alex Heane teaming up with Rob Pemberton on drums. They are a tight unit, sensitive too, so playing with them feels like upping my game. Prior to that, our Japan tour was special. Maybe the show in the Planetarium in Kumamoto with the projections on the domed ceiling should get a mention. We improvised more than usual, a lot of emotions welled up, I have a recording somewhere.