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Friday 25th June

Delilah Montagu

Delilah cannot remember a time without music. She’s been songwriting since childhood. “I’m influenced just by hearing people. I listen to f*cking loads of music all the time,” she says. She uses her piano as a thinking space. It’s not easy to intellectualise that. “I write songs in the same way every time,” she explains. “I sit down at the piano or with a guitar and start singing. I do it all at once.” Writing songs is never pre-meditated. It’s a momentary capture, and once it’s done there’s not much Delilah has to do to tweak things. “One of the things I struggle with is knowing how I’m feeling. Writing songs is a way to figure that out,” she says. It’s the polar opposite of post-modern pop music. It’s traditional but it’s also refreshingly candid and pure.

Based in London now, Delilah has spread herself all over the city while growing up and learning about her own existence. It’s been a coming-of-age, and one that’s reflected in her debut EP. Titled “In Gold” it’s a celebration and an aspiration. The EP is one of firsts: the first time she’s ever worked in a studio, the first time she’s ever collaborated with producers, the first time she’s ever put music out under her own name. First single ‘Temptation’ – a piano driven soulful ballad, as lofty as Coldplay via Florence & The Machine – is about an ex. It’s also the song that changed her life. When she first came to London to pursue music after finishing school at the age of 18, she played it at a show, impressed a manager in the room unbeknownst to her, and the next day found herself flooded with emails. It was the only her second week in the city. The team she has today remain the same as the ones she met from that fateful night.

The EP consists of songs she wrote in her mid- late teens, on her own. They aren’t whole truths, they’re searches for real moments amid the confusion of growing up and not knowing who or what you are. Delilah is not shy about her struggles with her own self-confidence, her idea of love, and her battle with ego. On the classic piano number ‘7 Days Of Rain’, she sings about her own privilege. On ‘In Gold’ she explores the feeling of falling for someone and feeling entirely surprised. ‘Next To Me’ is a post break-up song about missing someone even though you’re over it. She asks questions of herself, constantly assesses her own behaviour and ultimately knows how to practice forgiveness, patience and balance. She doesn’t seem to possess many of the tropes of her generation, rejecting the pressures of social media, and being relatively non-fussed about trends, both in music and in the wider culture.

 

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