Nkechi anele biography of abraham

Everything I can think of feels like a cliche but, essentially being nice and showing commitment goes a long way. Aug 27 How did you get your start as a musician? Has it been something you just had to do, or did you make a conscious decision to become a musician at some point? If so, can you tell us about them and how you approached them? If you could collaborate with any artist living or passed who would you choose?

What has been your most memorable moment of your career thus far? What tips would you give an artist trying to succeed in Australia? Is there a certain route they should take? Beyonce — Love on Top. Share this interview on. Follow Nkechi Anele instagram. More Interviews. Emily Wurramara Artist. Jujulipps Artist. Sign Up Sign up to our newsletter to stay across our events, opportunities and news for people in the music industry.

There are all these moments that nkechi aneled biography of abraham in this like tiny little nugget in Melbourne. Um, but yeah, being able to travel overseas and perform internationally and meet, like, go from liking somebody, or like, hearing someone's music and then meeting them within a really short period of time because they're playing at a festival that you're at is just like mind blowing.

And at the time did you, did you get to celebrate any of the wins? You've done that tour. It just, does it feel like it was all just a massive whirlwind? And also realising now that's not normal to perform that much or to fly that much around Australia to perform. Especially after our second album came out, which is where we kind of got that momentum and support by triple J um, in Australia, which kind of opened us up to so many festivals.

There were definitely moments where I actually actively, um, would take a moment while performing on stage to just be right to just, to look around and be like, this is what we're doing right now. Um, and also knowing like the backgrounds in which all of us who come into this band and thinking like where these nerdy kids that retreated into music to find ourselves, or to get away from whatever.

And we're standing on this big stage with this whole crowd of thousands of people supporting us. Yeah - there's definitely moments. I definitely took in a lot of moments. Um, we played Glastonbury, I think ed, Edinburgh, fringe festival. And I remember on the last night. Like it was always on the last night that everything would come together.

Cause that first kind of, the first performance is you're shitting yourselves. And normally the first performance is the most like, everything kind of, you're working out, if at all, everything will work live. And then when things stuff up, you come back and you're just like, right. We're going to nail this and then you get performance fee and then it's like, you don't even, it's like, you don't even have to try - you get this freedom because you've had so much rehearsal time.

But yeah, I definitely take every moment in, like going to New York for the first time and being around like heaps of black people. Also for me, like being able to travel, I went to the UK and got to meet family who I don't think I'd ever meet if I wasn't touring. Like that was our kind of first introduction to each other. It's like, I realise now that it's not normal, but also it was like everything that I wanted in life.

So it it's the dream that I had, the dream and the want that I had. So I didn't care that it wasn't a normal thing because I've found that my people in my place that I knew I wanted to belong to since I was a kid. And at times I kind of feel like a, I miss it, but I'm, I know this is really bad to say, but I'm glad Saskwatch finished up last year because like I'd stopped performing.

I didn't lose anything. Creatively like this time around, I asked Olaf our keys player for a keyboard because he has my, I go given a piano when I was really little, like a really beautiful, upright piano, but I have no room for it in my place. And my parents were like, well, we're going to sell this.

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And I was like, you can't because it's actually my piano, but I know someone who wants a piano. So we kind of have a friendship loan where until I can have a house, whatever. Um, but like until I have a space. Where I want a piano, Olaf can keep it. Um, and I've got his keyboard, so we've got this beautiful trade going on. Um, and so I had that, which has been fun to play.

Um, I don't know. Um, because I, I had spent 10 years with music. This there's so much stuff that you learned post being in a band that has a level of success that we'd been touring for 10 years. And I've got some, really, some really toxic habits that I had to unlearn that are acceptable as a touring band, but not a, not a way of living and ensuring longevity of life as an everyday person.

Cause like you said, like this industry is a steam roll of an industry. That is fuelled by alcohol and reckless behaviour in the name of creativity. I had to learn to stop being a little like grungy rock star and my behaviour around certain things as well. That's been something that I've had to unlearn. Like seeing older say older, but they're not really that much older than me realistically, but musicians who've come before our band.

Like, why are they so dysfunctional? Imagine that your job is to go to party, like is to create a party for people all the time to put your emotional weight into ensuring that other people have the best night of their lives. And it's scary. And a lot of people numb that out with a lot of different things or deal with the stress of touring and being stuck with like a certain number of people for sometimes months on end, um, by doing destructive behaviors that we support because creativity and, and like insanity are kind of very close together.

And so our industry supports people in tearing themselves down if they can be creative out of that.

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And so even though, like, I've never, like in saying that I've never been at the very extreme end, I just recognise that there, because I'm around people who are some people who are very much on the I was like, oh, I'm not like them. But then when I interact with people who haven't had that lifestyle. I've realised, Oh my God, I've got these really, really bad traits that are not functional in everyday living.

And also it's going to shorten my lifespan or like end it. And I don't want that. I want to be able to have the memories of the past decade. I don't want to lose that. We wouldn't do the same for somebody in any other industry. Which really talks about the female narrative of this industry. It's the first time. And at a very specific time for me, where I realised that I really craved female friends in this industry and didn't have them because I saw them as competition because that's the way this industry was built.

Men were fine. It's like, because most bands like a majority male. Anyway, with like a female lead singer. Um, because people wouldn't hire female musicians to be in their band. So there was this like huge disparity. And because of that, instead of women banding together, we became competitive against each other. And so we lie to each other and act like one of the boys and everything's fun and ra ra ra ra ra.

Everything was great. Our tour was amazing. Everything went well. And that's not the truth of it. At all! I've seen people do performances off their fucking head and seen like their managers support that behaviour, if not facilitate it. It doesn't happen anywhere else. I think there needs to be more nurturing and I definitely feel that when you see that people to, when you'd go on these like really great big festivals, even Blues Fest does, does this really well for me, the first ones who did it, they had like physios backstage.

And it was amazing. They, and they had this as well. I know this is so ridiculous and it will probably get laughed at, by people listening to this, but they have like soup and salad. That's just like on tap backstage all the time. And so like the amount of love that you felt because you had like, had this like physical nurturing and always feeling like you could be fed, so you weren't waiting on your rider or drinking alcohol to stop feeling hungry or whatever.

Um, people gave their best performances. And, and are loyal to that festival and I, and that is happening a lot more now, but I think like we, we look the other way in this industry when people are like extremely vulnerable and, and in really toxic and dangerous situations, like we really, uh, it scares me now is like someone who's 30 looking back at how young we were like 21, 22 completely wasted.

And managers kind of are like, well, I'm not your parent. I can't do anything about it. But if this was in a, in a work setting and somebody turned up to work in a building in an office like that, you would get them help straight away. It's just like this thing, I don't know.

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Like, it's not to say that we need to clean up everything. Like, of course we're very hedonistic - artistic people are quite hedonistic by nature anyway, but I just feel like there needs to be more of a, like a catchment system to make sure that people don't really dive bomb through. And I feel like people need to be more aware of that in venues in with management.

And when you, when people are taking care of artists, like, I don't think that's there. And I see a lot of artists burn out. Like, I feel like Kaiit even said in her Aria speech, like take care of your artists. I think this industry loves burning through vulnerable people. And when you took away all the money that we owed; we were left with fuck-all.

I was working three to four jobs. I was, I gave up a full-time job, a very secure full-time job to be in the band out of passion. I had, uh, I used to do days where I would wake up, work in a, in one of those like nkechi anele biography of abraham centres, but where they're not selling anyone like a survey, one, do that for seven hours and catch a bus to like a restaurant work there till like and then catch another bus and go work at a bar until one o'clock in the morning.

And then repeat that over the weekend. Or I would do a gig for Saskwatch, go to bed, wake up at six o'clock in the morning, go to my job, work that, come home, go to a rehearsal like two days later - people don't see that stuff. And because it is like really enjoyable, like it really is to be traveling, but to feel so, like it got to the point where taking a flight somewhere felt like catching the bus to me.

But there's so much money that artists spend just so that they can share their art. And it's weird as well now being like someone who's gone through 10 years of it is now on the more industry side, seeing like younger people come through and, and just hoping that this industry is treats them better. But I think like I do see signs of it. I do see signs of this industry changing and I, and I want to change with it.

I cried. The women in there that I thought were really strong and powerful and should have been untouchable and hearing that they had experiences that were similar to mine, broke me. And, um, and I think it broke a lot of women and made us realise that we needed to stick together and also needed to hand down that knowledge of what to do.

Or that expectation of how we should be seen and treated. Do you feel that it's changed your relationship with music? And I love it [laughs]. Continuing to advocate for Australian artists, Nkechi joined the Board of Directors for Music Victoria in and has since spoken and moderated industry panels nationally. I didn't know what to write for International Women's Day, so I did what any full-grown adult woman would do: I called my mum for advice.

While riding the bus home from work, tired, my mum simply said, "Tell the truth. It's hard to describe womanhood. It's deep and complicated.

Nkechi anele biography of abraham: Nkechi Anele from Saskwatch: 'I've

It hurts and feels empowering. It's scary and yet makes us fearless. It's constantly evolving, whether we know it or not, and it is often out of our control. My story is singular to my experience, but while thinking about this year's theme, "Invest in Women: Accelerate Progress," I have thought about my journey from being a "boys' girl" to a fearless woman.

I'm aware that today is a hard day to celebrate. Just look at the news and talk to your female friends. You will find endless stories about the struggle of womanhood and how little progress we as a society have made to ensure that women are respected, listened to, and safe. I thought about writing about the recent and ongoing atrocities of war, capitalism, colonialism, paradigms of misogyny, and institutional abuse across industries.

Still, I lack the experience and expert knowledge to give you the facts, and I don't want to mislead anyone. I will only speak on what I have lived through to demonstrate why we still need to acknowledge this day, even when the celebration feels inappropriate. I once thought of myself as a "boy's girl," navigating a world that seemed ill-equipped for the complexities of womanhood.

Witnessing the treatment of girls and women in society, I opted out of embracing certain feminine aspects, feeling a safer path lay in aligning myself with the perceived expectations of the masculine world. I found female friendships challenging for a long time, fearing superficiality and competition. I remember dreading being in bands with other women, anticipating conversations centred solely on aesthetics and choreography.