Enfnts Terribles

Contrary to what the name of your EP suggests, Goodbye, Then! is a pleasant introduction. How was your general experience with creating this project?

You make a good point! Although I released an EP in 2019, Burnout, I think Goodbye, Then! is a clearer introduction to the sound that I want to make now. Having said that, I think developing my sound is a constant process, so I can’t make any promises that what I put out in the future will sound the same … The experience of making this project was a long one; it began in 2018 and went through a lot of iterations—and lockdowns. After a certain amount of time had passed, I decided I just wanted to make it absolutely perfect—visually, sonically, the release strategy: everything I could control—which probably added on another year after the songs were finished. It’s impossible to predict whether the music is going to propel you to anything greater than itself, so the most important thing for me is feeling really proud of what I’ve created and happy about it existing forever, whether I have ten fans or 10,000.

Before you returned to London, you lived in different big cities all over the world. Did that affect your perspective on music?

My perspective on music is shaped more by the people that I meet rather than the places I’ve been, but I do think geography is important, even if it only seeps in by osmosis. All of these songs were written in London, and I think you can feel that. One of my producers once said that our music sounded a bit like a night bus—though I’m pretty sure he told me not to quote him on that.

You started as an opera singer. Do you see any parallels between your new music and classical music?

I left opera behind because I found the culture around it quite outdated and conservative. I did enjoy those big dramatic arias, but just like any other part of the music industry, it’s so competitive and grueling. And frankly, I just didn’t love opera enough for the sacrifices and the work it required. I don’t think there are direct parallels with my new music, but I think I inherited a sense of harmony that is rooted in classical music. There are certain pieces that are very much imprinted on my brain. Fauré’s “Après Un Rêve”, Purcell’s “When I Am Laid in Earth”, Catalani’s “Ebben? Ne andrò lontana”: these songs still bring me to tears. They’re usually about taking yourself to the mountain to die. It’s probably where I get my sense of melodrama from.

The visuals for the EP were created in collaboration with Ben Cole. Tell us more about the collaboration.

Ben is a total superstar. We are both terrible with our phones, so our conversations consist of these very incongruous voice notes of fleeting thoughts and “You’re amazing!”. I am so lucky to work with him because he is destined for (even more) greatness. We first met at a house party forever ago, and after we followed each other on Instagram, I saw all the work he was doing with another incredibly talented songwriter and musician, XATIVA. I was totally blown away, and I just knew he’d vibe with the aesthetic that myself and my wonderful friend and part-time creative director, Kat Beckwith, were moodboarding for the EP. There was never really anyone else I was interested in working with. As soon as I started talking to Ben about using elements of horror, and this sort of trapped housewife idea to mimic the EP’s storyline, he had all these great ideas and suggestions for MUAs and stylists, and we just clicked. We shot four cover arts and three visualizers on one day in deepest darkest January. Thanks to my mum for keeping us fed.

What are your main goals with the EP?

If I could just get a little slot on the Pyramid Stage, that would be great! No, but in all seriousness, I disappeared for a little bit after my first EP, and my main goal with this EP is to reestablish Paige Bea on the scene. I got off the train, but I am not planning on getting off it again. I would love a publishing deal or a booking agent pretty soon, but mainly, I just want this EP to mean I can play more shows, connect with more people, and be relevant as an artist again.

Since 2022 is coming to an end, which artists or music has shaped you this year?

Brilliant question. This year I’ve had an amazing time writing with an incredibly talented artist and producer Gabriel Gifford, who is based in Berlin. He actually mixed the Goodbye, Then! EP, and then we started doing these remote writing sessions that were loads of fun as we both work really fast and are down for whatever. We’ve got a bunch of tracks now, and we’re just deciding what to do with them. Gabe actually has an album coming out next year, so keep your eyes peeled!

Listening-wise, we’d honestly be here forever. I listen to a sickening amount of music, and I’ve also started DJing, so I’m now one of these music nerds that scroll through Bandcamp for hours, trying to sift through and find the gold. I think some art that has really stuck with me has to be Sudan Archives’ Natural Brown Prom Queen, Marina Herlop’s Pripyat, the Jockstrap album, anything and everything by Shygirl, and Léa Sen’s stunning “I Like Dis”. And recently, I can’t stop listening to RAYE’s “Escapism”—her lyricism is next level. Oh, and check out Tsatsamis before he gets big. There’s just so much.

Pictures by Ben Cole