Joan Armatrading - Live at Asylum Chapel (Contains Signed Insert)

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I have to say, the song that excited me during the livestream was “Mama Mercy”. You could have heard me shout “Yes!” all the way from New York. I’ve always wondered what was the driving force behind that song when you wrote it? That’s what I wanted. I wanted people to feel as if they were at a concert. I didn’t want them to think we’re going to see Joan in her bedroom — you wouldn’t see that anyway. If I’m doing a tour, I’m going to prepare for a tour so I’m going to have proper rehearsals, I’m going to have proper organizing of, How is the stage going to look? What’s the lighting going to be? I’m going to work with the lighting designer. I’m doing a show and to me, it’s a show. All the qualities that I want when I’m presenting something on stage, I wanted there. I didn’t want people to think, and I’m sure a lot of people thought, Oh it’s going to be whatever. No, it’s going to be this. [laughs] It sort of lends itself to vibrancy, doesn’t it? The record company thought that an animated lyric video would be good so they suggested the person who is the animator. They put forward one thing to me, but somebody that I know had shown me a video of their children dancing to the song. It just looked so fun, so I said to the record company and the animator, “Make it children dancing to the song”. That’s my only contribution. Everything else is them — the vibrancy — they got that. I had nothing to do with how the drawings were or anything. I just wanted it to be children dancing.

I thought to myself, ‘What got them to the shouting stage that they are actually in public giving us this performance?' In a video interview, you said how “Already There” was a way of talking about “love at first sight” in another way. I love the line “While you were falling in love, I was already there”. It’s so on point. She also tells me about Mark Knopfler, frontman of Dire Straits, who wrote one of their biggest hits, Money For Nothing, after a throwaway exchange with a shop clerk. It’s got a great sound. I’m hoping you thought the sound was good. It’s very very ambient, so you have to kind of tame it a little bit. You’ve got that nice resonance straight away, so it’s great. That was very important for me. Just like I try and do my records, I try to make them sound as best as I can. It’s just a matter of keeping a certain quality, as I tend to do. Photo: Courtesy of BMGI decided not to tour, to do any extensive touring after 2018, but when I did the album, I really liked the album and I thought it would be great to do a show, having the new songs, and do a show in the way that I do, which is old and new songs. I’m really glad I did it because we really had a great time. The reception for the concert has been great. Anybody who’s seen it has seemed to absolutely love it, so I’m hoping you were one of those! [laughs] I’m very often writing about love and emotions and how people connect to each other,” says Joan Armatrading. Indeed, the acclaimed singer-songwriter is known for exploring different dimensions of love while giving listeners new language to convey their most intimate thoughts and feelings. Her boundless gift for articulating the joy and complexities of relationships once again informs her latest set, Consequences (2021). The album marks her 22nd release on the eve of celebrating her 50th anniversary as a recording artist next year. The video for “Already There” was such a lovely way to introduce Consequences earlier this summer. I recognized the setting — Rivoli Ballroom in London. I recently watched the new animated lyric video for “Natural Rhythm”. The animation is so vibrant, playful, and witty. I’d love to know about the concept behind the animation. Zimmerman, Lee (18 June 2021). "Review: Joan Armatrading Reaps Full Consequences". American Songwriter. Archived from the original on 27 June 2021 . Retrieved 27 December 2021.

I want the songs to complement each other as they go through. You try not to have something where you think, That’s really jarring next to that. You want them to complement each other as they’re going along. As I do on all my tours, I spend a lot of time working out the setlist and just making sure that I get, as best I can, the right song next to the right song. I just try to make it sound as good as I possibly can and have people feel entertained and just really enjoy the experience. I was looking at different places. Somebody suggested one place. I looked at it and I thought it’s alright but it actually looks quite cold. I just looked around for something that I thought was really atmospheric and I found Asylum Chapel. I thought that’s really good because it’s sort of run-down, but it’s run down in the best possible way. It’s got an incredible atmosphere. Around 1988, she wrote a song called The Shouting Stage after watching a heated argument between a couple in an Australian restaurant that resulted in the man storming off, leaving the woman in tears. Before you played “Kissin’ and A Huggin'”, you set us up for the next song after that and said, “First, ‘Kissin’ and A Huggin” … and then watch me get excited”. I was so curious to see what song was gonna make you excited, and it was “Drop the Pilot”. It excited me that you were excited to play it. Petridis, Alexis (17 June 2021). "Joan Armatrading: Consequences review – strikingly inventive songwriter deserves her due". The Guardian. Archived from the original on 27 November 2021 . Retrieved 27 December 2021.

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Although her debut was release in 1972, her breakthrough came four years later with her self-titled album, which contained the hit Love & Affection.