Tag: Lady Sanity

Posted on

LOCAL PROFILE: Lady Sanity

Words by Jobe Baker-Sullivan / Profile pics by Kristine Lakontra

From the Birmingham Music Awards to the Commonwealth Games closing ceremony on Australia’s Golden Coast, Lady Sanity has been performing her songs across the world. With a new single coming out at the end of February, Erdington Local talked to the Birmingham-based musical artist about her Erdington roots and global ambitions.

Lady Sanity has always lived in Erdington, attending Stockland Green School for her secondary education. Despite being passionate about music from an early age, Sanity told how “I have no musicians in the family – me being a musician was a little bit of a curve ball for everyone… Although my grandfather used to take out his harmonica every now and then.”

Her family did, however, expose her to many different musical genres – encouraging the artist to embrace a variety of genres in her own music. “My cousin was showing me Hip Hop over in America. My sister was listening to bands in the UK. Another cousin was listening to Indie and Rock music… A lot of the music I was listening to were fusions of rap.” Sanity even notes Linkin Park as being an early influence.

At aged 12, Lady Sanity got a guitar from Home Bargains – bought for her by her older sister, which was a “cheap, crappy guitar with nylon strings.” Sanity was self-taught, using ‘tabs’ – a type of musical notation system.

Sanity ‘went electric’ aged 14, which was also around the time she was performing her own original music. She fondly remembers her music teacher, Mr Scott, as “very much encouraging me to rap and play guitar…. I was quite a reserved and quiet kid at school!”

Lady Sanity is one of many great musical artists to have come out of Birmingham – producing music inspired by Jazz, Hip-Hop and Grime.

Having played at many venues and events across the city, including Handsworth/Hockley based urban festival The Flyover Show and the Shard End Park hosted Shardfest, Lady Sanity’s first major festival appearance was at Glastonbury 2016.

Sanity entered into a competition called ‘Glastonbury Emerging Talent’, which although she didn’t win, she benefited from immensely: “I was picked up by other bookers to perform smaller stages of the festival – I had three different slots during the weekend. It was an amazing experience”.

She also recalls performing as part of a Hip Hop conference called ‘New Skool Rules’ in Rotterdam, Netherlands. “There were people from America, Canada, UK,” told Sanity. “Artists who came from all around the world – it’s a great weekend to really jam and connect with people.”

A crowning moment for Lady Sanity was performing at the Gold Coast Australia-Birmingham handover ceremony for the 2018 Commonwealth Games, although it came as a surprise for the young artist. 

“I was asked if I was free for a couple of days. I went down to the Hippodrome for an interview and they said they had a gig for me – the Commonwealth Games gig! That was only the second gig that me and the band played together! They offered me a house-band but I wanted to keep my own musicians.”

Covid has been adverse for many musicians, making live gigs impossible – an important source of income for a touring musician like Lady Sanity. She estimates she had some “20-30 gigs cancelled” and numerous, potential last-minute requests unaccounted for: “I finished touring with Sound UK before lockdown, and I even performed with Pee Wee Ellis – he was James Brown’s saxophonist… Some gigs were postponed – I was supposed to tour Belgium.”

Nonetheless, Lady Sanity adapted to cyberspace, performing on many livestream gigs – including one facilitated by The Sunflower Lounge which she took part in “to support this amazing venue so it can stay open”. It wasn’t as enjoyable as the live experience, but for Lady Sanity it was still “good to get out to gig, although it’s not the same as interacting with a crowd”.

But the web is indeed worldwide, and during the coronavirus lockdowns Lady Sanity has “been in contact people around the world. I’m working with an Italian power ballad singer I met over the Internet… Now is the time I can sit down and work on EPs, because I’m not up and down doing shows.”

On a personal level, Sanity also believes the lockdown has allowed her to “slow down… It’s helped me be grateful for my life and family.”

Lady Sanity is now looking forward to a year of gigs-that-should-have-happened, as well as releasing her new single, ‘Love’ – coming out at the end of February 2021.

“It’s about the different aspects of love,” explained the Erdington born and raised artist, “your family, friends, and yourself.”

For more on Lady Sanity find her on Facebook at www.facebook.com/OfficialSanity

Posted on

OPINION: Change is coming and thinking about 2021

Words by Ammo Talwar MBE / Pics supplied by PUNCH Records

Ammo Talwar, CEO of PUNCH Records and Chair of UK Music’s Diversity Taskforce, reflects on the past six months and looks forward to a year of action and justice.

“…I’m tired of seeing black men die… like a zebra in the clutch of a lion’s jaw,” so said Run the Jewel’s Killer Mike in the wake of George Floyd’s death last year.

Black artists have always raised their voices while others have stayed silent; Howlin’ Wolf spoke about the Mississippi Blues, Jazz and BeBop defied Jim Crow’s America. James Brown post-Watts Uprising shouted “Say It Loud, I’m Black and I’m Proud”. Hip Hop hit back at Reaganomics.

In the UK, Brum Town stalwarts Steel Pulse were talking about Babylon and a Handsworth Revolution. Bashy heralded serious emotions about Black Boys. Stormzy rapped about Grenfell, and Dave echoed what James Brown knew all those years ago; Black is Beautiful.

As a north Birmingham Brummie – Aston-born and Erdington polished — I’ve always believed in diversity of thought; listened to every sort of different sound. I believe in actions rather than words; perhaps from my Punjabi Sikh background which has strong foundations in Seva, giving back — or as we say in the arts; “philanthropy”. Even in my old Perry Barr record store (opposite the infamous Crown & Cushion pub, now burned down) we were event organisers, artist managers and workshop facilitators and cultural activists, always trying to diversify our bottom line. (And there were some great Jazz Funk nights at that pub).

Napster, Limewire, and all the old-skool illegal file sharing platforms dismantled independent music retail as we knew it. PUNCH Records (bricks and mortar) died in 2004, but we were fortunate enough to diversify into DJ workshops and cross curricular work in schools and youth centres (also now dismantled, but not by Napster).

PUNCH were pioneers on the schools engagement scene and really set a benchmark of how to plan, develop, and execute contemporary participatory work with solid outputs and a whole heap of fun. It was always down to one thing, The Team – E Double D, Roc 1, Mad Flow, Magoo, Ade & Andy, DJ Paul, Juice Aleem and many others. True pioneers who are justifiably in Brum Town’s Hall of Fame for transforming thousands of lives.

When the curtains came down on that era, we had worked in over 90% of the secondary schools, 75% of the primary, and 60% of special schools in the city. Today PUNCH does different stuff; touring, festivals, events and loads of talent development.

I’m also the Chair of UK Music’s Diversity Taskforce – it’s a relatively new organisation, and one that does loads of work behind the scenes; shaping public policy, talking to government and ensuring the UK music industry can grow and influence the world.

We ultimately work on behalf of the commercial music industry, including trade bodies like the BPI (who organise the Brits, the Mercury Music Awards, and co-own the official Charts), the Musicians Union, PRS, PPL and many more. These trade bodies represent artists, managers, studios, management agencies, music publishers, major and independent record labels, music licensing companies, the live music sector and much more. The total music ecosystem.

The tragic death of George Floyd last year triggered a global shift, amplified with the Black Lives Matter Movement and a hashtag revolution: #TheShowMustBePausedUK, #BlackOutTuesday.

More importantly UK citizens began to try to understand why we need to create better opportunities and better representation in our modern-day diverse cities and towns.

UK MUSIC and the Diversity Task Force was already hatching a plan to address the lack of diversity in the music industry workforce, one which closely aligns with the demands of many others who are raising their voices against systemic racism.

Last year we rolled out our plan of action. The Ten-Point Plan was based around issues which have been simmering for years, but right now, today, we need transformational thinking, strategic changes with accountability. As the Chair, I know I have ultimate responsibility and should be held accountable to ensure actions are sanctioned, strategy is developed, and systems are changing.

The Ten-Point Plan takes the music industry on a diversity journey and diversity is stronger, smarter, and more stable when “done with” rather than “done to”. But at the same time there are areas where there can be no compromise. Minority communities, working class people and diverse voices demand and deserve sharp actions at pace with respect.

It’s going to be a long journey, but I believe the UK music industry has reached a watershed moment.

To find out more about UK Music’s Diversity Taskforce Ten Point Plan, visit www.ukmusic.org/equality-diversity/ten-point-plan

For more on PUNCH Records, visit www.wearepunch.co.uk