Written by Yasmine Silva
Izzy finds me in a booth at the Grove in Camberwell. Known artistically as Paul’s Daughter, we discuss her music career so far and what it’s like to have been so quickly propelled into the industry. We met while studying in Camberwell and then after seeing her perform at The Finsbury, I was interested to hear how she came to be all that Paul’s Daughter is.
YS: What’s the story behind your stage name?
“Before I went to LA I recorded in a studio where there was a beer vending machine. When it didn’t work I would pretend to break into Paul’s office (the studio manager) as he had beers there. Me and Danny (her producer) would practise what I would say if I got caught and I would say ‘I’m Paul’s daughter, I’m Paul’s daughter’. It feels old school, gives sonic youth vibes and the colour green to me. I love the word daughter, it’s grounding and reminds me we are all from the same place. It’s funny that this man who has no idea who I am is what I’ve based my whole identity from.”
YS: Give me the story of how you came to be here?
Izzy grew up in Fulham. Her dad only listens to reggae and rap, but her mum would show her music culture not by listening to the radio but by having Izzy crawl into her bed and watching music. The first song I loved because it wasn’t about stereotypical love was ‘Life On Mars’ by David Bowie. “I’ve been in metal bands since I was 14. We would sing in churches on the outskirts of London.” A demo she wrote with her second band is what got her noticed by her first management. “My whole music journey has been backwards. I haven’t had time to be nervous. My management sent me to LA to record for 8 weeks.” Not yet at the legal drinking age for the USA, Izzy knew no one in LA and couldn’t go out. “I had the best time on my own. That really formed my sound being there.”
Izzy and I spoke a lot about the vulnerability and pressure that comes with being seen, releasing music and performing live. “I feel super comforted by writing. Playing live makes me question things a lot. You’re watching people’s reactions. It’s easier to back yourself in the studio when you have one person telling you it’s a good song.” Playing live “it’s like cutting yourself open and showing yourself and you can’t control who sees. Once you have recorded music anyone can access it which is really hard. You can’t be like ‘that’s not for you’, you have to give it to everyone. People can metaphorically and literally undress you in their brains – that’s crazy.”
YS: Whose career do you admire?
“Ethel cain. My absolute goal is to be big in a neeche, widely respected but able to live a somewhat normal life. Adrienne Lenker, Radiohead etc. I love the cinematic feel of Radiohead. I love the ‘weird lore’ of Ethel Cain, the idea of not having to sing about your own life experience. I don’t ever want to give too much away.” Izzy wants to paint all her album covers. “I don’t want my music to be defined by what I look like or what fucking bra size I am. I’d love to create music and it just be beautiful music instead of something you feel forced to identify with”. For Izzy, the lyrics come as a response to the instrumentals. “I will write a whole song without knowing what it means and then six months later I’ll figure it out”. She normally comes into the studio without anything prepared and can leave with a whole new demo.
Izzy is very frank about her pre-show nerves and how after all this time they haven’t subsided. “Once I sing the first song I’m fine”. Her pre show drink? Ginger, lemon and honey tea with a shot of whiskey. It’s clear that for Izzy her music is a place of solace. A space to reach out to those who feel similarly, a curation of imagery, sound and emotion. With two weeks of recording in New York coming soon, I’m excited to hear what the next steps for her are.
SEE IZZY PERFORM HERE:
April 3rd – The Forge at The Lower Third
April 23rd – The Folklore
Stream Telephone here:
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