After releasing one of the Irish albums of the decade, no one expected Cathy Davey to be dropped by her record label. Ahead of the release of her third and most implicitly personal album ever, she spoke to Andrew Hamilton about getting over her musical embarrassment and being forced to really sing for her supper.
The gloves have finally come off. After eight years of writing very personal yet heavy veiled music, Cathy Davey has found a way to be herself. While the confidence garnered from the success of Tales of Silversleeve was certainly a help in this new awakening, more important was her new method, or even the concept, behind the making of this album. Make no mistake, Cathy Davey’s third album, The Nameless - due for release this week - is a concept album. While concept albums have often been used as a means for the artist to take an alternative look at the world, the journey of this record is one of self-discovery, of finding a way of describing what in the past has remained, well, nameless. “I think I’ve always been personal [as a songwriter] but I probably didn’t have as much experience. Interesting things happen as you get older and it would be a shame not to be as candid as you can be. With this record, I was able to get past my own censorship because of the theme of ‘The Nameless’ which I had running through it. The Nameless is the woman in these songs and she is always an exaggerated version of me. So whatever I was going through, I was able to multiply it by 10 in order to go along with her story,” she says.
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