Album: Nadine Shah – Kitchen Sink

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

share this article

Dinner party sexism displayed

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.
Name that you would like to appear as the author of the comment
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 great deal, and hope you do too.

To take a monthly subscription now simply click here.

Or
Why not take an annual subscription and save a third off our monthly price simply click here.

more new music

Surrealism, social observation and more muscular sound from the Leeds quartet
A powerful personal outpouring of joy and pain - with a great beat
The London quartet have taken to playing large venues with ease, as this career-spanning set showed
The Lebanese-French musician's father was behind a unique musical innovation
The Philadelphia punk rockers continue to impress
A partial account of how Brit-punk absorbed an aspect of reggae
The Fez Festival Of World Sacred Music and the Fes Gathering bring the world together
Bristol band aren't happy but offer up the occasional sing-along
A new album is unveiled and old tunes are played for the last time
Decades of psychedelia and wonder packed into a puzzling construction