FEATURE:
Modern-Day Queens
queen that is Nadine Shah last year, as she was part of the Together for Palestine single that almost made it to the Christmas number one slot. It was a remarkable and important single that raised money for humanitarian aid in Gaza. Lullaby is this incredible song I asked Nadine Shah abut. Here, I am spotlighting her as a solo artist, as I believe she is currently working on her sixth studio album. 2024’s Filthy Underneath was my favourite of that year and its lead single, Topless Mother, is a song I listen to loads now and absolutely love. The video is amazing too! I am revisiting Nadine Shah, not only because I am a fan, but I feel she is one of the most important voices in music. There are some fascinating interviews from throughout the years I have included in other features about Shah. I am going to dip back into a slightly older one released around the release of the 2020 album, Kitchen Sink. For The Quietus, Nadine Shah selected albums important to her. To provide a bit of context, I will include several that she mentioned that you can sort of detect in her work. Though Shah is a huge original, and the abiding takeaway from her music is this singular and peerless voice.
“Tori Amos
Little Earthquakes
“It’s an honest one, this. I guess I call them my emo years, not that I listened to actual emo. I’d left London for a time and moved back to the north east when I was about 20, and I stayed there for a year. And I realised I’d made a mistake and I wanted to go back to London. I was living with my parents and I had no money and I was saying "Please dad, can you lend me some money so I can move to London?" and he was saying, "No, I already lent you money years ago, you’re not getting anymore. Get a job’; ‘I don’t want a job!’ [laughs]. I was feeling really sorry for myself.
I had a really camp manager at the time, a brilliant guy called Steven Brains, and he was such an advocate for great female musicians I didn’t know about like Diamanda Galas and also Tori Amos. He told me how important she was to him. My mum and dad live by the sea and I would play this Tori Amos album to myself over and over again feeling so sorry for myself. Walking across the dramatic north east coastline looking out to the North Sea and singing along really loudly on the clifftops. I thought she really knew me and she felt my pain. Now I cringe!
There’s something about her vocals that has a unique character. I appreciate artists who show you every bit of them. They’re not there to appease or blend in. These people provide the soundtracks of our lives, and she provided one for me when I was feeling very, very sorry for myself. And it was a really great way to exorcise that pain, so aye, thanks Tori Amos for that”.
Richard Dawson
Nothing’s Important
He’s an old friend of mine. You know when you go to house parties and someone pulls out a guitar and you’re like, "ah right, it’s time to go home"? When a boy pulls out an acoustic guitar, it’s like, ‘Fuck off, he’s gonna play ‘Wonderwall’, see ya later. Time to go to bed, party over’. And when I first knew Richard Dawson years ago, I was at a house party in Newcastle and he gets the guitar and starts playing, and I couldn’t even finish saying "party’s over" because he started to play. Honestly, I’ve never known anything like it. I was spellbound by his voice, his presence, his playing, the way he detuned his guitar strings so they were slack, and I’ve not heard tuning like that ever.
He’s completely phenomenal and he was a cult icon in Newcastle for years. He had a big drinking problem, which he’s talked about, and he’d turn up at parties wasted and play, and then he really got his act together and he honed his craft. He’s been such an inspiration of mine. For me and my friends he was this huge inspiration.
I try not to listen to any Richard Dawson when I’m writing because it makes me want to put the pen down and stop what I’m doing and not bother. I’m in love with his voice too. The lyrics for ‘The Vile Stuff’ are just sensational. And some of the names in the song – I know who those people are! And then I spoke to a music journalist who said, "It’s really clever how he mentions all the Apostles in that song" and I was like, what? Fucking hell, Richard Dawson, you clever bastard. It has all the makings of the perfect song for me, ‘The Vile Stuff’: I love a drunken sea shanty or a song that sounds like you need a tankard to bash against a wooden table. It’s one of the most glorious pieces of music that I’ve ever heard and so different from the music that I do hear or I imagine that I ever will hear. I put it on when I’m mischievous and whisky drunk. Bloody Richard Dawson, he’s the best.
Lauryn Hill
The Miseducation of Lauryn Hill
I would have been 12 when this came out and I think it’s probably one of the only albums I can think back on from childhood that’s quite a cool one. I didn’t have a very musical family, I didn’t have a bunch of muso friends, so I dunno how I stumbled upon it. I would have heard something on Top of the Pops or it would have been on the wall advertised in HMV because it was a really big album and that’s the one you go to.
I knew every word to every song on the album, even the rapping. I’ve been banned from rapping in isolation by my boyfriend which is quite frustrating because I love rapping. I remember being really proud of myself and knowing all the lyrics, but there’s a lot of stark political commentary in her words too, and maybe I wouldn’t have noticed that at the time. There’s beautiful nostalgia attached to it from my childhood but I think it still stands out compared to so much stuff I’ve listened to. Whenever I listen to new music I find it interesting to go back to old favourites, and that still stands out as unique and quite revolutionary.
It’s a really coherent piece of work. It’s amazing, there are all these segues between songs which take place in a classroom, and there’s a teacher talking to the kids. They’re really sweet, lovely, gentle moments, and there’s that one song ‘Doo-Wap (That Thing)’ – it’s quite retro even for the time – and there are these silky songs sung by Lauryn Hill and she just has such a beautiful singing voice. It’s the album I’ve given to people and never got back the most. I swear I’ve replaced it at least 12 times saying, ‘you’ve got to listen to this!’
There wasn’t much after that. You wonder, when you make such a pivotal album, whether an artist feels pressurised and thinks they can’t make anything else like that. And in a way, if you feel within yourself that you can’t make anything better then just leave it at that. You’ve accomplished what you set out to do. Retire as heavyweight champion, why not?”
Last year was a pivotal one for Nadine Shah, I feel. She released her Live in London album. That was taken from her performance at the Kentish Town O2 Forum. I was at that gig, and I can attest at how phenomenal that show was! Such an utterly engrossing and powerful performance that blew me away, Shah also performed at festivals including Glastonbury. One reason why I want to highlight these events is how she used her platform not just to play her music and leave it there. She uses that musical pulpit to talk about vital issues like the genocide in Palestine and humanity. She is an artist who has a huge heart and conscience. Someone who has spoken out against the bloodshed in Gaza and the pacificism of government. Shah also will be busy this year with gigs. I am not sure when a new album is arriving, though I am also going to drop in a review of Filthy Underneath, as it is a masterful and enormously memorable album. One where some of the most potent moments are when Shah opens her soul and brings you into her struggles and tougher elements. Someone who can be very personal and soul-baring, she can mix that deep emotion with humour. Topless Mother is an example of her wit and songwriting genius at the fore! To give a bit of background to Filthy Underneath and Nadine Shah’s life leading up to the recording of that album. It was one of the hardest periods of her life. The Guardian write how “the singer became isolated in grief, PTSD and addiction. But after ‘falling in love with everybody’ in rehab, she’s put her experiences into her biggest music yet”:
“On leaving rehab, she felt sturdier. “In the past, I wouldn’t be able to do an interview or a show without having a drink,” she says. “I didn’t realise how difficult I found it to exist within this industry, being quite an awkward, shy person.” Perhaps inevitably, her skin is much thicker now; her marriage has now ended, but she remains friends with her ex. “I don’t sweat the small stuff. I guess that happens when you nearly die. A lot of things that used to bother me don’t any more. I have no issue with people criticising me on the internet.”
The first thing she did when she got out was get back to work. She’d never acted onstage before until September 2022 when she joined a “gleefully anarchic” Shakespeare North Playhouse production of A Midsummer Night’s Dream, playing Titania; but she revelled in her part’s playfulness and earned a nomination at the What’sOnStage awards.
She also finished her fifth album, written with the same playful spirit. Filthy Underneath is a document of Shah’s downward spiral and recovery set to an impeccable groove. It builds on the sonic world of Kitchen Sink but several songs have a wilder rhythmic looseness, recalling the Burundi beat of 80s new wavers Bow Wow Wow, and the gothic exotica of Siouxsie Sioux’s side project the Creatures. Other songs are shot through with 70s influences, such as the Turkish psych of protest singer Selda Bağcan and Indian siren Asha Puthli’s sensual cosmic disco.
PHOTO CREDIT: Suki Dhanda/The Guardian
I thought: is this too personal? But I lost my mystery a long time ago. I may as well make brutally honest work
The melodies are adventurous, and the contradictions of Shah’s inner psyche loom large, as she confronts her shadow self and ego, and laments the end of her marriage. If that sounds a bit like therapy-speak, lead single Topless Mother takes sardonic aim at some uncomfortable counselling sessions she had during recovery. Its delirious word association (one example: “Sharia, Diana, samosa”) comes off like a playground taunt, as she appears to flip between herself and the voice of her therapist.
Shah uses her vocal range to its fullest, too: there is weightless falsetto and, on the serpentine Food for Fuel, a trill familiar to qawwali, the Arabic-south Asian devotional music style. “I’ve always underplayed my singing, singing in my lower register and not doing too many acrobatics in order to be taken more seriously,” she says. “Whereas actually, I’ve got a big voice.”
It is put to stellar use on Greatest Dancer, a strident goth banger inspired by the time she took some of her mum’s prescription meds in front of an episode of Strictly Come Dancing, and the operatic synthpop ballad Keeping Score – both feel primed for her current shows supporting Depeche Mode in huge arenas. The latter song returns to a familiar theme of hers, toxic relationships, but the subject matter is still raw. “I haven’t worked out how to talk about that one yet,” she says. “It’s about male violence against women, verbal or physical.”
At one point, she was unsure whether she would be able to do this as a job again. But her mum gave her her love of music – especially Scott Walker – and it helps to keep her close: “I am holding the note for her,” as she sings on the deeply moving See My Girl. “I couldn’t give up music because it brings me back to my mam,” she says now. “I’ve got that connection to her, always.”
Another standout is the biting spoken-word sermon of Sad Lads Anonymous, with its wince-worthy depiction of rock bottom. “I’m describing being at an awards show, and my band have left, and I’m still there in a toilet cubicle telling a work experience kid my darkest secrets,” she says. “I look back on this stuff and I’m laughing about a lot of it, but so much of the dumb stuff I did, it was humiliating.” Making Filthy Underneath, Shah thought: “Is this too personal? Is this giving away too much? But I lost my mystery as an artist a long time ago. I’m not gonna get that back, so I might as well just make brutally honest work.”
And there is none more brutally honest than the closing track, the sinister yet wry French Exit, about “sliding off the dancefloor” of life. At first she was apprehensive about showing a song about suicide to Ben Hillier, with whom she makes all her music. But another image springs to mind when she thinks about French Exit now. “We actually used the instrumental of it in A Midsummer Night’s Dream. I have a sexual dance with a donkey to that song”.
There is something I am leading up to before looking ahead to the rest of this year. Uncut wriere full of praise for one fo the true standout albums of 2024. Maybe her finest work to date, I do feel it warranted award recognition. Even so, the live dates Nadine Shah performed were full of fans sending tyheir love to her on the stage. I am so excited to hear what comes next for her:
“After a hellish few years, versatile songwriter produces her best work to date
To say that Nadine Shah has been through a lot since 2020 would be an understatement. On top of a global pandemic, she lost her mother to cancer, got married, attempted suicide, went to rehab and got divorced. All of which is funnelled directly into her latest record. Although it explores pain, death, mental illness and the dizzying process of coming out of all of that, it’s also a record that contains bundles of beauty, tenderness, humour and even joy.
Made in collaboration with her long-term writing partner Ben Hillier, it is also musically the most varied and exciting album the pair have made together. The opening “Even Light” is driven by an infectious and bouncing bassline that drills into the core of the song as Shah’s voice floats atop, while subtle electronics bubble away and brass-like synth stabs punctuate. It sets the tone for an album that is leaps and bounds above anything else Shah has done before – a record that’s layered and detailed, coated with beautifully rich production, yet also spacious and considered.
Lead single “Topless Mother” is perhaps the track that feels most in keeping with Shah’s previous work, with a whiff of the PJ Harvey and Bad Seeds influence still hovering around, but the song is somewhat of an anomaly. The flurry of drums, crunchy guitars and animated vocal delivery – which, combined, could easily be mistaken for something by the Swedish psych-rock outfit Goat – soon gives way to an album that winds things down rather than cranks them up.
Any familiarities quickly dissipate: “Food Or Fuel”, for instance, absorbs the influence of the Indian disco-jazz-pop artist Asha Puthli, and turns it into a subtle funk strut that is soothing and hypnotising as it locks into its twisting, pulsing rhythm. Shah leans into singing more than ever here, so her voice feels like a vital instrumental force as well as functioning as an intimate and captivating narrator. This is most perfectly embodied on the sprechgesang track “Sad Lads Anonymous”, which sees Shah lashing out generous helpings of self-deprecating humour. “This was a dumb idea, even for you,” she begins, as a gothic groove locks in, and she recalls tales from “the madhouse” along with a preceding spiralling period. It’s brilliantly direct songwriting that is honest and raw but also goes way above the diary entry confessional. The lyrics are dark and anguished but biting, funny and vivid; it almost feels perverse to extract such pleasure from something so clearly rooted in torment and turbulence, but such dichotomies are what gives the album its flair and punch.
As a whole, guitars take a backseat role here and are generally utilised for adding texture and atmosphere, while synths are plentiful. Itchy, propulsive post-punk-esque rhythms are largely ditched for a more glacial and unfurling pace that gives Shah’s voice room to breathe and soar. On tracks such as “Greatest Dancer” and “Hyperrealism”, her voice sounds truly remarkable. On the former it wraps itself around immersive electronics and a potently hypnotic beat, while the delicate composition of the latter, merging piano and warm blasts of synth, leaves room for a vocal performance that at one point suggests Nina Simone before gliding into something else, sparkling with pristine and devastatingly beautiful elegance.
The closing track exists as a perfect embodiment of the album and Shah’s approach to tackling the difficult subject matter. Its title, “French Exit”, uses a phrase that means ducking out of a party without saying goodbye to explore her suicide attempt. “Just a French exit/A quiet little way out/Nothing explicit,” she sings over a gentle yet compelling beat that almost recalls Oneohtrix Point Never as it gently builds. It’s a roomy, expansive song that feels quietly haunting and devastating, perhaps even more so because it leaves such space for genuine contemplation as the album ends. It allows you, forces you even, to reflect on the remarkably hard journey this artist has been through, while soaking up the immense beauty that’s been created in its wake”.
I do want to include a live review from last year. Performing in Bradford last year in promotion of Filthy Underneath, On Magazine shared their thoughts and takeaways spent in the company of one of the music world’s greatest live performers. When I saw Shah in London, she caused such an incredible effect. People were talking about the brilliance of the songs, though they were also stunned by what Shah brought to the stage and how hypnotising and jaw-dropping she was. In terms of the power of the performance:
“The dark and moody stage lighting worked perfectly with Nadine’s first offering, ‘Keeping Score’, from her critically acclaimed fifth album, Filthy Underneath, released in February 2024. It’s one of Shah’s most personal and profound lyrical works. The songs are a walk-through of her documented breakdown, mental health struggles, spiralling addiction, a stint in rehab and – more happily – her recovery. They offer a vivid account of what she has overcome.
‘Sad Lads Anonymous’ verges on spoken-word poetry and showcases her Tyneside dialect, drawing the listener in. There’s an abundance of positivity too. A BSL signer stood at the side of the stage, and Shah jests that ‘Topless Mother’ might be an interesting one to interpret. The song, about a counsellor she disliked, is a crowd-pleaser that has the audience hooked. She stalks the stage with jerky but purposeful dance moves.
‘Twenty Things’ appears emotionally draining as she recounts some of the people she met during her recovery. The lyrics, “They’re laying flowers by the bus stop, some poor old junkie’s luck’s up,” echo hauntingly around the auditorium.
“Passion and pain”
Introducing the “serious part” of her set, she urges people not to go to the bar – rightly so, no one moves. Reaching back to her 2015 album Fast Food, she has the audience in the palm of her hand, hanging on every word of ‘Stealing Cars’. Shah then moves on to a BBC 6 Music favourite, ‘Greatest Dancer’, wowing with her stage presence and dominating the entire floor. The band are tight and with her all the way. The crowd is fully on board now – eyes closed, arms in the air. She clearly speaks to people.
If you follow Nadine, you’ll know her political passion. Wearing a Palestine badge on her blazer, she delivers an unbelievable and floor-shaking performance of ‘Out the Way’ from her 2017 album Holiday Destination. Chanting “Ceasefire,” the crowd responds. Her passion and pain are palpable, making it an emotional experience.
Nadine is one of a kind. Her vocal range and gift for storytelling through song are a force to behold. If you’ve never seen her perform, I urge you to – she’s a truly unique and deserving artist”.
Far Out Magazine named Nadine Shah their Spokesperson of the Year. Her tireless dedication to activism and music. That was a great way to end 2025. I feel that the rest of this year is going to be really interesting. Hearing that first taste of new music from Shah:
“For some people, music is a means of escaping the often ugly realities of life, but over the course of the past year, artists like Nadine Shah have been quick to point out that we are well past the point of escapism.
Throughout the entirety of 2025, whether on the news or through a constant stream of content on social media, we have been bombarded with deplorable, heartbreaking scenes from places like Sudan and Palestine. Some of the worst atrocities imaginable – genocide, enforced famine, and the levelling of entire cities – have been beamed into our retinas on a daily basis, yet there is still a plethora of prominent voices telling us to ignore it all.
With that horrifying backdrop, though, one ray of hope over the past 12 months has been the prevalence of artists and musicians using their voices and platforms as a means of political activism.
One of the most important events in the musical calendar – Glastonbury Festival, for example, was awash with admirable activism. Whether it was artists like CMAT or Amyl and the Sniffers halting their performances to stand in solidarity with Palestine, countless calls for the British government to take action, or the farcical controversy surrounding Kneecap and Bob Vylan in the weeks that followed, the weekend was a perfect reflection of just how unavoidable these issues have become.
Perhaps the most powerful speech of the weekend, however, came from Whitburn’s finest, Nadine Shah. On the Other Stage, during an untelevised, early afternoon slot, Shah used her incredible set to bring attention to the war crimes occurring in Palestine and the UK government’s complacency in those horrors.
Reading out an open letter on behalf of the persecuted activism group Palestine Action, the songwriter shared, “Palestine Action is intervening to stop a genocide, it is acting to save life. We deplore the government’s decision to proscribe it, labelling non-violent direct action as terrorism is an abuse of language and an attack on democracy.”
“The real threat to the life of the nation comes not from Palestine Action but from the Home Secretary’s efforts to ban it,” she continued. “We call on the government to withdraw its proscription of Palestine Action and to stop arming Israel.”
It was an incredibly poignant, emotional address to the crowd, and one which was reflected throughout the entirety of Shah’s performance. Throughout the year, and throughout her entire life as a performer and songwriter, Shah has always made an effort to hold up a mirror to injustice and directly call out those responsible for them.
During a performance at Bradford’s St George’s Hall in March, for instance, she had the sign-language interpreter sign the word ‘genocide’, declaring, “Now we can all say it.”
During a year in which countless people in the public eye have been falling over themselves not to take a public stance on the genocide in Gaza, or taking the Israeli government’s clear falsehoods over their war crimes as gospel, the unwavering activism of Nadine Shah has been as essential as it has been refreshing.
So, we can think of nobody more befitting of being Far Out’s ‘Spokesperson of the Year’ for 2025 than Nadine Shah, not just for her undying dedication to speaking out against injustice over the past 12 months, but throughout her illustrious career.
“I’m often mocked over my political outspokenness; it doesn’t bother me,” the performer told Far Out. “I’m not an artist that thinks that all others should follow suit and use their platforms the same way I do, and I won’t engage in pressuring them into doing so either.”
Continuing, Shah highlighted the importance of integrity when it comes to activism. “It’s quite clear when artists are speaking out politically as a result of peer pressure, it feels disingenuous. Just do or don’t, I do and most likely always will…until the day you mute me or until the day the whole world is on fire cause you sat there and took it and did fuck all.”
She signed off, “Namaste”.
As we march on into 2026 – and I’m sorry not to come bearing a festive message of hope and cheer – it seems unlikely that things will improve in the near future, either with relation to the genocide in Gaza and Sudan, or, for instance, President Donald J Trump’s countless illegal actions as he marches the USA further into the bowels of fascist oppression.
If things are to improve, however, then the position of artists like Nadine Shah, and their dedication to raising awareness for these issues when many politicians and traditional spokespeople will not, is utterly essential”.
Nadine Shah has posted to Instagram how she is in the studio and working on her sixth album. I am a huge fan of everything she does, so it is going to be exciting when the album is released. Considering the ongoing genocide in Gaza and the ineffectiveness of world leaders in tackling the dictatorial evil and inhumanity that is affecting so many nations who are in the grip of war and genocide, will Shah’s music react to that? Maybe more to do with relationships and how her life has been transformed the past few years, though things are obviously not perfect. There were some really raw and heartbreaking songs on Filthy Underneath, though there was so much warmth, wit and the sort of distinct and unforgettable music only Nadine Shah can make! That is why I wanted to write about her now. Keep your eyes peeled for what comes next. Even though it has not been released yet, I think her sixth album will be the most important and best…
OF her career.