Album: Nadine Shah – Kitchen Sink

A fresh look at women's woes from one who knows

Why don’t you have children? Why aren’t you married? Why don’t you own your own home? Why are you a failure? These are the societally enforced questions that, as a 34-year-old woman, Nadine Shah finds inescapable. Much like the rest of us. When talking to friends who also considered themselves “non-achievers”, she realised something was very wrong. And that nothing much has changed in what used to be termed “the battle of the sexes” (hence the Abigail’s Party style artwork). Having covered the refugee crisis, suicide and the state of the nation, now sexual inequality comes under her ever-insightful eye.

As ever, her work is political. And pretty livid. From the cracking opening – howling, cat-calling, basically bristling with anger, “Club Cougar” gives a flavour of what is to come. The single Ladies for Babies (Goats for Love) demonstrates what she thinks of many men, while the powerfully pared back title track spiked with gutsy guitar hints at the Tynesider’s struggles with racism (“all they see is a strange face whose heritage they can’t trace”). Her distinctive song construction continues throughout as do the punch-in-the-guts lyrics (“shave my legs, freeze my eggs” Trad; “running gauntlets, swerving perverts” Walk).

I’d like to sink a few sherries with Nadine Shah. Hear her interviewed and you’ll know what I mean – she sounds a riot. There are certainly moments of humour throughout this 11-song album, her first since being cruelly robbed of the Mercury Prize in 2018. But her music is stark and dark and so the funny lines are – as another journalist has already said – very “Fleabag” in nature. She’s giving you the knowing look, because she knows you know. And she answers the above questions with what all ladies of a certain age would like to say: take your double standards and shove them where the sun certainly doesn’t shine.

 

 

Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.
Nothing much has changed in what used to be termed “the battle of the sexes”

rating

5

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

DFP tag: MPU

more new music

Three supreme musicians from Bamako in transcendent mood
Tropical-tinted downtempo pop that's likeable if uneventful
The Bad Seed explains the cost of home truths while making documentary Ellis Park
Despite unlovely production, the Eighties/Nineties unit retain rowdy ebullience
Lancashire and Texas unite to fashion a 2004 landmark of modern psychedelia
A record this weird should be more interesting, surely
The first of a trove of posthumous recordings from the 1970s and early 1980s
One of the year's most anticipated tours lives up to the hype
Neo soul Londoner's new release outgrows her debut
Definitive box-set celebration of the Sixties California hippie-pop band
While it contains a few goodies, much of the US star's latest album lacks oomph