Kelela

Musician

100 Quotes

I do like things the way that I like them. But I'm trying not to be - I don't wanna be that way. I'm not a control freak; I wanna protect my agency. It's a weird question as a black woman.

My music sounds like one synergised thing, one message.

That's pretty much how every song of mine works - I start with gibberish and melody and phrasing. I speak it naturally first. And then I think about lyrics that fit into that.

I'm pushing back against the white, misogynistic, heterosexual establishment in the music industry. Like, literally, in all its forms.

Sometimes I learn by someone giving me warnings and giving me advice about what to do next. And other times, a lot of times, I have to put my hand into the fire.

My queer black women peers are the ones who make me not feel crazy. The way we act is so instinctive.

The goal is to blow the audience's mind.

No one is making extraordinary things alone. They might be alone in their bedroom while they're recording or writing, but they didn't actually conjure that thing out of nothing - without influence - without assistance - without anything.

A black woman's handbook in this industry is, 'Whoa.' The chapter on 'Don't go there.' The chapter on 'How to say that nicely,' how to express that you don't like something so that you don't lose the opportunity - which is what we're doing all day long.

When I was little, my parents would have these gatherings, and it was a common thing for me and my cousins to have to put on, like, shows.

I'm interested in bridging and filling in space that hasn't already been filled, so when it comes to making music, I've just always wanted to be able to reference things that producers in the big pop major label context do, without compromising the entire sound of the record.

Often, I write to feel better and to heal - to cope with things that I'm dealing with. I'm either writing to get out of a feeling or to get into the feeling, to feel it more. Usually it's the perfect remedy, but if it isn't, I focus on other parts of what I'm making that don't involve writing. If neither are working, I simply forfeit the day.

As much as we like to pretend we're just getting on stage and whatever, it's like, no, I practiced in front of the mirror my whole life.

I'm coming from the zone of Faith Evans, but with weird production.

It's such a challenging time, and in my small way, I will make it so that other younger women, and maybe older women, will be able to do the things they want to do, and accept themselves and their experience.

I guess the bottom line is I don't make music that is consumed en masse.

I would say Tracy Chapman was the first time I obsessed over an entire record. I knew every song; I knew the exact amount of seconds between each song. That's the level of obsession that I had.

The whole thing about 'progressive R&B' blows my mind. Black music has always been progressive.

I want to soundtrack people's layered feelings.

'Seat at the Table' has expressed real adversity, struggle, and also triumph and joy.

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