A shorter version of this interview was originally published in LeftLion magazine.
Due out on April 20th, Solo Dancing will be Indiana’s fourth release for Sony, following last year’s Bound, Smoking Gun and Mess Around. Premiered on Radio One as Zane Lowe’s “hottest record in the world right now”, championed by Popjustice as “something very special indeed”, and blogged into the Number One slot on the influential Hype Machine aggregator chart, it’s already her most talked about single to date, and potentially her breakthrough track.
“I wasn’t expecting it”, she tells me. “I was hoping that something would break through, because everything [to date] has been OK with radio and stuff, but nothing has started off as well as this one. So I am quite excited about it.”
In a marked departure from Indiana’s previous videos, the Solo Dancing video is intentionally funny, and stuffed full with visual puns for an altogether more intimate type of solo activity: beans are flicked, chains are yanked, pussies are stroked, you get the picture. It’s not what you might call a typical Indiana vibe, to say the least.
“This is actually the first video that I haven’t had anything do with, [in terms of] the writing or directing”, she admits. “I took a step back from all of that, and let Sony get some directors in, and they thought up this concept. So I, er… I went along with it. “
She’s sounding a little cautious, a little hesitant. Did she maybe worry that the video was cheapening the art? “Um, yeah, kind of. I was a little apprehensive. But I said I’m never gonna put out there, what it’s about. Some people don’t get it, some people think it’s just weird, and I’m happy with that. The weirder the better, with me. I’d rather be referred to as odd than normal. So those kinds of comments are cool. It’s good to get people talking, in any sense.”
“The song is about empowerment”, she explains. “It’s not necessarily going out dancing. It can be a metaphor for anything: just to be comfortable in your own skin, and to be able to do something on your own. So it’s not about what the actual video is about!”
In reality, Indiana has never turned up to a club by herself. “I’ve probably ended up being on my own”, she laughs, “but I’ve never set out on my own. I used to [go clubbing] a lot, and I do enjoy it when I do get a chance to go out, but I’m not really a clubby kind of girl now. I like going out and watching a band, having a few beers and socialising.”
Although Solo Dancing is her most uptempo track to date, “it’s not a dance BPM – it’s only 109 – so you’d maybe dance uncomfortably to it. It’s a good head-bobber, I think. But I have enjoyed writing a bit more uptempo than I normally am. I like to think the lyrics are intelligent, but they’re not as deep as I would often go, like Animal or Mess Around.”
Despite her fondness for lyrical darkness, which tends to explore the more dysfunctional aspects of relationships – betrayal and vengeance, addiction and co-dependence – Indiana is actually a happily settled mother of two, whose personal circumstances appear to contradict her subject matter. So where does this darkness come from?
“They’re not all necessarily about relationships “, she suggests. “I like to tell stories, and most of them are not true to facts, but I do draw on some experiences and refer to them in songs. I like to put on my story-telling hat; I think it’s more entertaining than ‘girl loves boy’ or ‘boy doesn’t love girl’. And I probably don’t come across as it, but I am quite a dark person, and the darker things interest me – so that comes across in my music.”
In terms of the songwriting process, Indiana favours an evolutionary approach. “It takes a lot for me to say, OK, that’s finished, because I keep going back, taking things out and putting things in. Lyrically, I take more time than some songwriters that I know, because I like to research and think of other words. I like to use a thesaurus, to use words that people wouldn’t often hear in songs. So I do take my time writing and producing.”
Once the songs have been completed in the studio, they are introduced to the band, whose job it is to reproduce them as faithfully as possible on stage. For Indiana’s headline show at the Bodega in February, we were introduced to a brand new line-up – Angelo on keys and bass, Tim on guitar, Ed on drums – all of whom hail from Nottingham. The geographic closeness works in everybody’s favour, as the previous band “were based in London, and with acoustic nights and live lounges and things that I have coming up, I want people to be able to hop in the car, come round to my house, and have a jam.” At the show, you could already sense a greater degree of engagement between the singer and her musicians. To put it baldly, they felt less like hired hands, and more like an integrated unit, in tune with Indiana’s vision.
Two new songs were premiered that night: Never Born (“a revenge song”) and Shadow Flash, inspired by a move in Mortal Kombat that makes one of the female characters immune to projectiles. Both, in their own ways, offered further representations of strength and empowerment. And although the set list was still short, the track listing for the début album has been steadily edging towards completion.
“I have a lot [of songs], but it’s finding that common thread: having songs that lift you, while other songs are quite deep, and finding that perfect kind of flow. I wanted another one that was a bit more uptempo, like Solo Dancing, and I think I’ve just nailed that. But the label hasn’t heard it yet, so we’ll see! Hopefully they’ll like it! I think once that is done, the album will be complete. I don’t know when it will be released. I might have another single after this one, and then the album, but it changes all the time.”
Inevitably, given the age-old conflict between art and commerce, certain battles have had to be fought with the record company. As an artist who likes to be “quite hands-on with everything” in terms of songwriting, production, video direction and personal styling, Indiana places a high value on retaining overall control, and keeping her operations in-house wherever possible; she is currently designing her album artwork with her boyfriend James, for example.
“I might have developed a little bit of a name for myself, with throwing my toys out of the pram too many times”, she giggles, when questioned about possible diva moments, “but I’ve got really strong opinions on how I think I should be portrayed. I might have been a diva a couple of times – not because I didn’t have all-blue M&Ms, but because I like to have creative control.”
“I think I’m a lot more knowledgeable now”, she continues. “I know a lot more about the music industry, and it’s not all good. There’s a lot that I’ve learnt over the past couple of years. I’ve come a long way. My first gig was only two years ago, and I had no idea what the music industry was about.”
The past two years have been peppered with highlights: a show at Glastonbury, the main stage at Splendour, and most recently a début London gig which “blew me away. I was so scared, because it wasn’t a crowd of fans, like in Nottingham. It was industry people, and they talk; they’re there to socialise, not just to watch me. In Nottingham, they kind of hang on my every word, and it’s really boosted my confidence, I’m like, oh my God, these people actually really like me!”
“So I’ve got that hanging over me, but there was complete silence for Blind As I Am. When I did the big ‘I’m rubbing gold’ bit, they all cheered, and then were silent again – and when I did it again, they cheered and were silent again. I came off, and my whole body was shaking. I felt like someone had spiked my drink. I was like, what’s going on, I can’t believe that, this feels amazing. It was because I’d won them over. I was so scared, just before I walked on. I felt really faint, because I’d been away from the gigging game for a little while, having a baby. So it was a big moment.”
In June 2013, Indiana was selected to perform live in front of the Queen, backed by The Script, for a rendition of David Bowie’s Heroes: a song which contains the potentially treasonous line “I will be Queen”. Naturally, such cheek required some measure of prior vetting.
“They have to read the lyrics, to kind of Queen-proof it. First of all, her people said: we’re going to have to make her change the words, and she’ll sing something else. Then they spoke to the Queen, and she said: no, it’s fine, just don’t look at me. So, then it got back to me: don’t look at the Queen when you sing ‘I will be Queen’. The thing is, when it was coming up to singing that line, I was so conscious not to look at her, that my eyes were darting round the room, and they hit her a couple of times. So I did actually look at her when I sang ‘I will be Queen’!”
What was the first record you bought?
Robbie Williams: Freedom. I was a big Take That fan when I was a little girl.
What was your first gig?
Oasis at Wembley.
Favourite recent single and album?
MS MR – Secondhand Rapture / Lorde – Royals.
If your house was on fire, and you could only save one possession, what would it be?
My MacBook – it’s got all my songs and stuff.
It’s my round at the bar. What are you drinking?
A bottle of beer.
Best holiday destination ever?
I had a really good time in Ibiza when I was 20. (Giggles)
You’re about to get on a plane. Which magazine do you buy from Smiths?
Heat magazine, for my sins – I’m a bit of a gossip mag reader.
Are you a dog person, a cat person, or neither?
Both – I couldn’t decide. I have four cats, and the only reason I don’t have a dog is because my lifestyle won’t let me.
What was your worst fashion mistake ever?
Bleaching the two bits at the front of my hair with toilet bleach.
Which decade had the best music?
Describe yourself in three words.
Creative, odd, dorky.
If you could send a message back to the Indiana of two years ago, what would you tell her?
You’ll never guess what; you’re going to sing for the Queen.