Beverley Knight is mid song. Joss Stone’s Super Duper Love is playing in the restaurant we’re meeting in, and I’ve caught her lost in the music. “Yeah, I’m diggin’ on you, now baby? Yeah,” she warbles at low volume, yet with all the same soul, depth and tender warmth that earned her the nickname “Little Aretha” from her noteworthy admirer: David Bowie.
“I have a natural instinct to sing,” she explains. “When I hear a song, it’s almost automatic for me to join in and sing along. It’s a very natural response.”
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The Knight, known for her decades-long career as a highly acclaimed artist with award-winning status and famous mentors like Prince and Ice Cube, continues to surprise with her love for singing. She has also made a name for herself in the West End, excelling in musical theatre and earning nominations and a win for her performances in Memphis, The Drifter’s Girl, and Sylvia – a lesser-known suffragette musical known for her role as Emmeline Pankhurst at the Old Vic.
During this month, she will once again play the main character Deloris Van Cartier in Sister Act, alongside Ruth Jones, who is known for her work on Gavin & Stacey, and singer Lemar.
Knight didn’t anticipate that musical theater would play such a significant role in her life. As she recalls, she was approaching 40 and contemplating her next steps when the universe presented an unexpected opportunity: to play Rachel Marron in The Bodyguard. This role marked Knight’s debut into musical theater in 2013. It led her down a different career path, but in a way, it brought her back to her roots from her childhood.
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Knight was born in Wolverhampton and grew up in a household with Jamaican parents who held a deep commitment to their Pentecostal church. At the church’s gospel choir, Knight found her love for singing. She joined the Wolverhampton youth theatre when she was 11 and spent her summers performing on stage with them. Little did she know then that she would return to singing years later.
Nowadays, she resides in London with her spouse. However, it’s evident that she still has a strong interest in the West Midlands and its prosperity. It’s not everyday that while interviewing a renowned vocalist, the discussion shifts to city development (at one point, Knight ponders on the traffic around Birmingham’s Bullring). Yet, she is particularly protective of her hometown.
As a child, Wolverhampton was full of energy and diversity, with a mix of different ethnicities and cultures that I saw as a positive aspect. However, the Wolverhampton of today is even more varied, but it’s unfortunately becoming a declining city. The rate of unemployment is high and the local government is facing challenges, but the root of the issue lies with the central government.
She catches herself.
“Oh God, look at me, I’m already talking about politics,” she says, and laughs. “I’d just love to see the north rise again.” She names Hull, Liverpool, Manchester and Birmingham as cultural beacons. “I look at the Black Country and think we could do with some of that. The Hippodrome in Dudley (six miles south-east of Wolverhampton) has just closed. Wolverhampton lost the Light House cinema. There’s not much in the way of celebrating arts and culture. And the people need it. Not everybody wants to pack up and come to London.”
At 22 years old, Knight relocated to the capital city, feeling like a young child in a Citroën AX and believing she was going to achieve great things. This was around the same time that her debut album, The B-Funk, was released, which will soon turn 30 years old.
She would later gain recognition as one of the most well-known soul singers in the UK. She has put out nine albums, with multiple reaching the Top 10 and four of them earning gold status. She has also been nominated for a Mercury prize and has won two Mobo awards. Her collaborations include working with popular musicians like Jamiroquai and respected jazz artist Courtney Pine, as well as opening for Prince during his 2007 London residency and performing with Stevie Wonder. Knight’s 2008 performance with Wonder at Prince’s Oscars party even moved veteran producer Quincy Jones to give her a standing ovation. Her talent has not gone unnoticed by critics either – Billboard predicted her international stardom in 1995, Q magazine praised her breathtaking voice in 1998, and she has continued to receive positive reviews throughout her career.
However, the admiration for Knight comes with a hint of sadness. Despite receiving praise for her exceptional talent and captivating presence, her commercial triumphs have fallen short. Even in the world of theatre, upon closer examination, it becomes apparent that Knight’s value and worth are not fully recognized. In the words of the Evening Standard’s critique of Sylvia, “She consistently elevates subpar material, showcasing her stellar abilities. Is it too much to ask for a role that truly does her talent justice?”
I
In the past few years, there has been a widespread introspection regarding the treatment of pop stars. These individuals, often young women, are forced into the spotlight by an industry dominated by men. They are then subjected to scrutiny and criticism by a sexist media, with little regard for their overall welfare. Their experiences shed light on the concerning manner in which female artists have been viewed and dehumanized.
Knight remembers feeling pressure to sexualize herself in the early stages of her career, but she chose to resist. She wanted to establish herself and didn’t want anything to take away from that goal while she was a young woman.
I was extremely dedicated to my craft. I emerged during a time when the majority of Black female artists were from the United States. In Britain, there were only a few, including Sade who was known for her unique and brilliant talent, and also Eternal, Michelle Gayle, and Gabrielle. Apart from them, there was an influx of American artists, mostly portraying toughness or sexiness. However, I didn’t come from that background. I simply wanted my music to convey its message.
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“I may have been too serious about it, to be honest. I could have let loose a bit more,” she admits. “Now I’m comfortable wearing short booty shorts all day long. It’s almost like a statement at my age, saying ‘I’ll wear whatever I please’.”
Being a Black woman has resulted in her being stereotyped. She contemplates, “When it comes to music, people assume they have me figured out. They’ll say, ‘You’re probably a fan of soul and R&B’ – and they’re right. But I also have a deep appreciation for Radiohead. The Clash, in my opinion, are simply amazing.”
Her most recent album, The Fifth Chapter, released last year, ranges in style from Ibiza floor-fillers to disco.
“I have a diverse and varied range of preferences,” she states. “But when I share music that may not align with people’s assumptions, they often express surprise.” She goes on to explain that while she does enjoy Motown, some of it can be overly sugary for her taste. On the other hand, she has a deep appreciation for rock music. People might also have certain expectations of her when she performs on stage, such as being a poised and elegant diva or a bold and sassy persona with a limited vocabulary. However, she is nothing like those stereotypes.
It is challenging to not interpret this perception as being rooted in racism. There is no other way to characterize the pressure placed on Black female artists to conform to certain expectations or behave in a hypersexual or aggressive manner.
“That is the expectation for some individuals,” she states with a trace of acceptance.
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Some individuals may have strong emotions that are not always rational. I am aware that there are many in the British community who dislike me greatly … and I do have strong opinions.
Knight has spoken out several times about race relations in the UK and has played charity gigs in support of Windrush families and in tribute to Stephen Lawrence. Her support for the LGBTQ+ community, too, is particularly notable – in 2016 she won Attitude magazine’s Ally award for her longstanding advocacy, including her work in the 90s with the HIV support charity the Terrence Higgins Trust, back when there was a lot of stigma attached to the virus.
The person who Knight considered to be his closest friend in school was homosexual, but he was unable to acknowledge it. According to her, it wasn’t until after his parents had passed away that he finally confessed, and she regrets that he wasn’t able to be honest with them while they were alive.
“She let out a sigh and said, “I experienced life in the 1980s.” She recalled the news stories about the “gay disease” and the “gay cancer,” as well as the accepted prejudiced attitudes towards the LGBTQ+ community. As a young person, it was something she couldn’t comprehend. It was simply unjust.”
I held an unpopular opinion at that time, especially among my fellow Jamaicans. However, I spoke my truth that all individuals are born as they are. The unexpected negative reaction I faced caught me off guard.
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She faced backlash and was rejected by many communities, including the urban community. However, she acknowledges that things change and she is now able to do things her own way. She gives examples of singers Raye and Jorja Smith who have also found success by deviating from traditional paths in the music industry. Raye left her label and still went on to win six Brit awards, while Smith left the stressful and unpleasant world of London’s music scene to create music from her hometown. The author also expresses her admiration for Lil Nas X, who fearlessly performed at Glastonbury with a unique style and captured the hearts of many. She believes in the evolution of the world and fully embraces it.
What is her perspective on the ongoing fight for transgender rights? It’s simple, according to her. “Trans women are women. Trans men are men. We are all human beings.” She believes the current moral panic is fabricated to appeal to a certain group of voters, just like how they previously targeted the gay community.
Is Knight currently a fan of the Labour party? “I would choose to have them in power any day of the week and twice on Sunday compared to this current one. This is the most incompetent government I have seen.”
Is this government worse than Thatcher’s? “Absolutely! Thatcher was not my favorite leader. The strikes from teachers and the neglect of Liverpool were not appealing to me. However, she was an unwavering politician. So was Major. They stood by their beliefs. This current group will sway with the wind and do whatever benefits them. I would much rather have a Labour government in power.”
Knight notes that politics has always been ingrained in her life’s journey. She reflects on the British Nationality Act of 1981, which outlined the criteria for automatic British citizenship by birth. This meant that as long as one parent was born in Britain or had established residency, anyone could be granted citizenship. Knight’s parents had to quickly become naturalized citizens to secure the same status for her as her white friends, even though they were all born in the same location. Knight’s upbringing instilled in her an awareness of her differences and the fact that she and her family were not on equal footing with others at the beginning.
She explains that music served as a remedy to politics for her, allowing her to approach life and others with a positive attitude. She acknowledges that if people reject her for her race, gender, political beliefs or diverse group of LGBTQIA friends, she accepts it.
“Everyone is invited to attend a Beverley Knight music concert. My church welcomes all. My embrace is far-reaching and my heart is receptive. This is who I am, and how I want my music to communicate.”
Knight is currently certain about her direction, which involves singing on stage, in a recording studio, or at a dining establishment. She also hints at potential acting opportunities, but is unable to provide details due to confidentiality. However, her main focus is on challenging people’s preconceived notions of her. She believes that as a woman her age in today’s society, one must be assertive and willing to fight for what they want. Knight is ready and equipped with tough determination.
Beverley Knight’s newest album, The Fifth Chapter, is currently available. She is also appearing in the musical comedy, Sister Act, at London’s Dominion Theatre from March 15th to June 8th. Visit sisteractthemusical.co.uk for more information.
Source: theguardian.com
