Singer Kate Rusby was born in Yorkshire, England, and spent her childhood traveling to folk festivals and listening to traditional music with her family. She became a teen star with Kathryn Roberts in The Equation, then a member of The Poozies, before launching her solo career to great international acclaim.
(This interview was recorded in Edinburgh by Lucy Newman for The Thistle & Shamrock in 1999.)
Okay, Kate, now for listeners that don't know you as a solo artist, they might know you for your work with The Poozies, they might know you for your work with Kathryn Roberts, but do you want to just bring us up to date a bit, going back to the earliest roots, tell us about how you started playing, how you started performing and singing.
Right then, I started singing from when I could talk really, because both my parents have always been involved in folk music in one way or another. Like my Dad does sound at lots of folk festivals, so from being really young we've been taken along to bizarre folk festivals in weird places like Cleethorpes, which is a really weird place up on the East Coast of England.
And your family are all still quite involved in your career aren't they, your Mum and Dad. How does that work? And your family are all still quite involved in your career aren't they, your Mum and Dad. How does that work?
Oh yeah, it's absolutely brilliant because, coming from Yorkshire, we're kind of a race that trusts nobody and want to keep control of everything all the time, you know. So it's really, really nice, because my Mum and Dad run our own record company called Pure records which is what we bring the albums out on over here, and my Dad's my agent as well, so he gets all the bookings and stuff, and my brother is my sound engineer, live sound engineer, so it's kind of, it's really great.
Now, I suppose folk music in England has a bit of a reputation of being a bit dead compared with the folk scene elsewhere. How do you find it? Has that been your experience?
Well, no, because, as I say, I've been going to these festivals and things for like, well since I was three or four or something like that, so I've always been involved with some kind of folk scene, whether it's kind of a lot smaller or not than up here in Scotland or in Ireland you know.
And have you found that that's sort of focused in small little pockets or is that just generally across the country?
Yeah, I think so. It's really happening, all over. These festivals I keep talking about are made up from lots of the folk clubs and they're just all over the place, you know, all over the country. So it's kind of there, but whether you look far enough in to find it or not, yeah, but it is there.
Now a lot of people, as I've said, will know you for your work with the Poozies. How did you get involved with them?
Well, em, let me think. I used to be in a band with Kathryn Roberts called The Equation, and The Equation got offered a big record deal from a big company to make it more commercialized and more poppy, and I wasn't really into that because this kind of music is my first love really.
And that must mean that things are quite busy for you. How do you fit everything in?
Well, tour time is kind of split in half. I'll only kind of tour for half the year, in blocks. Like I'll have a month on and a month off, and a month on and a month off, and like I'll do one month with The Poozies, or two weeks with The Poozies and two weeks solo touring, and it just all kind of gets evened out really, over the year.
You can choose to ignore this question, or to answer it on a personal or professional level, but you do lots of work with John McCusker from The Battlefield Band. He's obviously very busy as well. How do you manage to make that work?
Well, we kind of sit down with diaries and say, "So you're touring then, so right then I'll..." It's kind of another thing that gets taken into consideration when I work out when I'm touring really, so we can have some time off at the same time to do whatever we're going to do, make albums or whatever. It's nice!
Now, you write quite a lot of your own material as well as doing a lot of traditional songs and covers.
Yeah, I think I do actually do more trad stuff than I do write actually, but I don't know if that's just because I don't get enough time or I don't know. I don't kind of view myself as a songwriter yet really. Although I've written a few, most of them just go in the bin really and I go, "That's awful, chuck it away!"
With the songs that you write, they obviously sound quite traditional as well. Do you make an effort to write them like that, or is that just how it happens?
Yeah, I think that's just how it kind of happens, because that's what kind of music I've known for years, you know, I wasn't really into pop music until I was, I don't know, seventeen. Everybody was walking around with Bon Jovi on their walk-mans and I had some old fiddler from England or something on my Walkman and everyone was going, "She's weird."
And with your accent as well, I mean, you sing in a very broad Yorkshire accent. Is that just natural?
Yeah, it is. I've never kind of thought about that either and it wasn't until I'd made that first record with Kathryn that people were saying, "Gosh, it's really weird. You sing like you talk," and I'm thinking, "Yeah, well what am I supposed to sing like?"
You've done some British Council Tours, in Malaysia, India, Egypt, Turkey. How did that come about?
Well, The British Council used to send big opera packages and orchestras out to these countries and kind of cottoned on that it would be a lot cheaper to send a folk band of four people I think, and a bit of British culture as well thrown in. So they started finding tapes of people and listening out for folk and phoning us up and said, "Do you want to go out and do this thing in Egypt?" and we were all like, "Yeah we'd love to, we've never been there before!"
Now, I know that your albums are distributed in The States on Compass, but you've not actually been out. Do you have hopes to travel out that way?
Yes, yes. In the bag. Or not, in the bag, but in the sack and just waiting to peep out and get confirmed is a tour with me and John McCusker from Battlefield Band and Andy Cutting as well, an accordion player from over here. We're kind of thinking to come out in December and do a small tour over there, so hopefully that should happen.
Tell us a bit about the new album.
The new album, it's called Sleepless and it's coming out May or June and it's very much like Hourglass but it's kind of a bit more grown up, I think, and there's a bit more of a weird aspect as well. Every now and then there's little quirky things on it that we really like and have kept in.
That's the nice thing isn't it, I mean about the folk music scene, that it is very much that there are friendships that develop and people are very generous with their time and playing on other people's albums.
Yeah, it's great. I'm kind of still in awe that people like that want to come and play with me. You know, like I keep going, "Ha, there's Ian Carr on my record over there. He's brilliant!" It's really nice.
Now, I read somewhere that you do a bit of step dancing and clog dancing.
Yeah, yeah, I do, but I don't really get time to do that any more. I went Irish dancing when I was, I don't know, about six 'til I was about ten, I think, and kind of entered those competition things, but I always got second place and never first because I didn't have the right socks!
Are your parents from Yorkshire originally? They haven't sort of come across from Ireland?
No, no. They're both definitely from Yorkshire.
You talked a bit about the folk scene in England, how it is at the moment and the fact that there's all these young people, up and coming young people, who are kids of people who maybe back in the '60s or '70s were really going for it. Where do you see folk music going?
I'm not sure, you know. Even in my kind of time that I've lived, I've noticed that folk music surges up to the kind of commercial level almost. Like the media kind of sit up and start to take notice and you'll hear bits of folk music in the pop music that's in the Top 10, you know, there'll be a fiddle in there or, there'll be, I don't know, a whistle or something, and it kind of comes up to the surface and then it all kind of dies back down again and it's not trendy any more.
You think you will be doing it forever? I mean, you don't seem very concerned by the fashion or the trendy side to it.
No, because I kind of really, really love the music and love the songs really, which is what it is, and the scene is just great. The people who play, you know, it's just really, really nice, and I'm sure it wouldn't be like that in the pop scene or in a different scene of the music so no, I just love it and I think I'm going to stay put.
Coming to your songs, your individual songs, what inspires you to write, the songs you actually have written yourself, what inspires you and where would you hope to be taking your song writing, I mean, do you want to become a songwriter? You don't consider yourself one yet.
No, I don't really. I kind of don't really want to be known as that either, because like I keep saying, the trad stuff is what really gets me. Only every now and again do I come across a modern song that'll have that same effect on me, you know, like that heart wrenching, "Oh, that's really sad and tragic," thing.
And how do you go about selecting which traditional songs you're going to put on your albums?
It's mainly the words really, that kind of really get me. If I read it and I go, I would really, really love to do that, that's a really beautiful passage or great chorus or something, I'll try to work it out so that I can do it.
So it's very much about communicating an emotion. Is there anything else you would particularly like to talk about, that you would like to get across to an American audience?
No, I don't think so. We've covered it all really…
No great hopes for the future? Five year career plan?
Five year plan, I don't really have one, because we have this kind of saying in Yorkshire, "Steady Away." You know, it's just kind of rolling on. We're not kind of setting big targets to reach by a certain time, because most likely we'll never reach them, so what's the point in kind of doing that, you know.
That's great. Thank you very much.