Kat Healy is an Edinburgh based songstress, placing herself at the heart of a notional ‘Music Club’, a collective of talented musicians who have leant their skills to her work.
Heavily influenced by a number of female singer-songwriters from the past and present, Kat mostly evokes thoughts of a raw Joni Mitchell or Bon Iver if his songs were written in an Edinburgh tenement rather than a forest shack in between offing the local deer population.
Gigging for a while now, recent highlights have included supporting ex-Quicksand/Rivals Schools man Walter Schrieffels on his ‘troubadour’ tour and sharing a stage with one man looping genius Esperi at the Voodoo Rooms.
We endeavoured to find out a little more about this chatty, enthusiastic and very talented lady.
Tell me a bit more about yourself:
I’m female. 5′ 6″. I have red hair, freckles, and a hybrid accent due to growing up in different parts of the world. Thankfully I ended up in Edinburgh and have been here, happily, for nine years. I had one of those “what the hell am I doing??” moments when I was about 24 years old…total cliché; working a job I hated, bored beyond belief, and feeling really numb to everything. I was also adapting to a very raw, lengthy, period of grief, which I honestly felt like I’d never find away out of.
Luckily, just at the right time, I went to see one of my all time favourite acts play live, at the Queens Hall, and had the ‘‘light bulb’ moment. Next day, I handed in my notice, applied to study music, learned four chords on the guitar… and here I am five years later; happier, calmer, definitely more inspired, and can probably now play (reasonably) about six chords on the guitar…
I love writing songs and I love singing them. If I was able to, I would spend each available hour working away at my compulsive and obsessive need to write better and to sing better. Sadly the rest of life tends to get in the way…
What’s your approach to song writing, both lyrically and musically?
Lyrically, for me, has always been the easier part of writing. I’ve always written things down.I’ve always kept some kind of journal, and I’m forever scribbling stuff onto bus tickets, menus and (frequently) receipts when I need to. I love, love, love how phrases can be put together, words, sounds, shapes, all of those things can be used to help vocalise thoughts, emotions, and images. I prefer not to write too directly about myself, and leave interpretation to the listeners. I feel I’ve achieved something lyrically when people find themselves relating to what I’m singing or saying. It’s really tough to get that right. I just tap into what feels natural to me and then try to visualise, then vocalise, that feeling or emotion. The songs I’ve written recently have definitely become more subtle but they still have strength. It’s such an evolving, infuriating process. Nothing gratifies me more.
Musically I’ve always had a very ‘self taught’ approach to the writing process. I came to the whole music theory thing late on and so I kind of had to fast track! It had never really occurred to me I would have to ‘count’ things out, especially when working with a band. When I write, I follow my vocal, so my chord changes are often in obscure places. This can make the songs sound a little unexpected. It also means I have time changes throughout, or extra bars. Early on I was really unhappy with this and kept thinking I would have to correct it, or, ‘fix it’. Thankfully an early ‘mentor’ and friend pointed out that I shouldn’t, I should use it to my advantage and think of it as being ‘stylistic’.
It’s great to be individual in your work, if it’s natural, don’t force it. Don’t be pretentious … just work to your strengths. Now I’ve got a proper handle on my ‘flaws’ and I can incorporate them into the writing process with much more structure. Even if something is in ‘free time’ I’ve learned how to make it feel deliberate!
Can we expect an album anytime soon?
Yes! Not until after the summer though… but that feels very exciting. Especially on a personal level as it took me a long time to feel confident enough to record my work. Most people are desperate to record, release, and get a profile. I’ve always been shrouded in pathetic amounts of fear about it. Always ‘never ready’. Now I’m working with Graeme Steel who is talented, reassuring, and very encouraging. He’s also my good friend. I trust him, and I trust his ears.
I think we’ve created an album which feels much darker and atmospheric that the usual ‘female acoustic’ (i.e. slightly bland) sound. We were both very vocal about the fact we were not interested in making an album that sounded ‘folksy’ or straightforward acoustic. I wanted depth, imagination, and some really big and bold sounds from the production.
‘Broken Bones’ and ‘Another Way to Fall’ have actually got a ‘brighter’ tone. The album overall will probably have a much bolder, spacious, sound. I’m really proud of it.
How did you end up working with the musicians in the Music Club?
I stalked them all. I’m not even lying. I bumped into them at gigs, made notes… then followed them home.
Graham McLeod is an extraordinary guitarist. He plays acoustic guitar beautifully and that’s what I saw straight away. He has a genuine, hard to come by, natural talent. I often see people approach him after a show and comment on his work. It’s well earned! He’s also been using his electric now too and the work he has done in the studio is beyond impressive, we were all astonished. A lot of it was improvised and very intuitive to each track. I’m excited about people hearing it.
Andy Mcleod is Graham’s twin brother… so it made sense that I would have him too! He’s a fantastic percussionist and will happily jump between the kit and the cajon to suit the venue/event.
Jodie Bremeneson is on bass and, similar to Graham, plays very melodically and sympathetically. He’s in so many bands! From screaming metal to jazz/funk and Celtic. This means he can readily adapt to anything and he’s a-ma-zing when arranging stuff with the band. He’s a very bright musician.
Additionally (as if I wasn’t being greedy enough!) I have Rune Lilledal Hansen, from Stanley Odd, beefing up the guitars and Michael McLennan on piano, who is a great singer songwriter as well. They too have been a wonderful addition to the sound and are both joyously talented.
Any key influences?
To name but a few!! Joni (obviously), Emmy Lou (obviously), Jewel Kilcher, Chrissie Hynde, Beth Orton, Neil Young, The Band, Dylan, Ray La Montagne, John Prine, Gram Parsons, Woody Guthrie… Martha Waignwright, Edith Piaf, Bon Iver and Dolly Parton (I LOVE HER!!) [Kat actually mentions quite a few more artists at this point but we've kept the list to the ones we like the best and see as most relevant, with the exception of Dolly Parton...].
How was playing with Walter Schrieffels?
The gig went great and I was hugely surprised by his set. They didn’t have time to soundcheck but still nailed a full kit set and had everyone jumping. I was allowed to watch it from the behind the stage and it was really awesome. Lovely guy too, very genuine and great songs! I even enjoyed the Rival Schools one he did!
You can have a listen to recent single Broken Bones below. An album is expected in June and you can find out more here.
