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Everley Knight is currently singing. Joss Stone’s song “Super Duper Love” is playing in the restaurant where we are meeting, and I notice she is completely absorbed in the music. She quietly sings along, showcasing the same soulful, deep and tender tone that earned her the nickname “Little Aretha” from the famous David Bowie.
“It’s second nature for me to sing,” she states. “When I hear a song, I feel compelled to join in. Singing comes completely naturally to me.”
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The fact that the Knight is always prepared to sing may not come as a surprise to those who have glimpsed her successful career spanning several decades. She has earned many awards as an artist, with Prince as her mentor and Ice Cube among her fans. She has also become a darling of the West End, showcasing her talents in various musicals in recent years. This includes receiving two Olivier nominations, one for her role in Memphis in 2015 and another for her role in The Drifter’s Girl in 2022. Last year, she won for her performance as Emmeline Pankhurst in the Old Vic’s Sylvia, a musical based on the life of the lesser-known suffragette, Sylvia Pankhurst.
In the upcoming month, she will once again be playing the lead character Deloris Van Cartier in Sister Act, alongside writer and actor Ruth Jones from Gavin & Stacey and the musician Lemar.
Knight was surprised by how much musical theatre would impact her life. As she approached her 40th birthday, she was at a crossroads and uncertain about her career path. However, the universe presented her with an opportunity – the role of Rachel Marron in The Bodyguard. This marked her introduction to musical theatre in 2013 and ultimately changed the course of her career. Despite it being a new direction, it also felt like a return to her roots, reminding her of the performing she did as a child.
Raised in Wolverhampton, Knight was born to Jamaican parents who were deeply devoted to their Pentecostal church. It was through her involvement in the church’s gospel choir that she first realized her talent for singing. At the age of 11, she became a member of the Wolverhampton youth theatre and spent her summers performing on stage. Little did Knight know at the time that she would one day return to the stage as a profession.
Currently, she resides in London with her spouse. Yet, it is evident that she still has strong ties to the West Midlands and its well-being. It is rare to conduct an interview with a accomplished vocalist and have to redirect the focus away from urban development (at one instance, Knight remarks on the congestion near Birmingham’s Bullring), but she holds a particularly strong sense of loyalty towards her hometown.
As a child, I remember Wolverhampton being a vibrant and diverse city, full of different ethnicities and cultures, which I saw as a strength. However, the Wolverhampton I see today is even more diverse, but unfortunately, it has been experiencing a decline. Unemployment rates are high, and the local government is struggling. However, the biggest issue lies within the central government.
She catches herself.
“Oh God, look at me, I’m already talking about politics,” she says, and laughs. “I’d just love to see the north rise again.” She names Hull, Liverpool, Manchester and Birmingham as cultural beacons. “I look at the Black Country and think we could do with some of that. The Hippodrome in Dudley (six miles south-east of Wolverhampton) has just closed. Wolverhampton lost the Light House cinema. There’s not much in the way of celebrating arts and culture. And the people need it. Not everybody wants to pack up and come to London.”
Knight was just 22 when she made the move down to the capital, a “little kid in a Citroën AX thinking I was about to conquer the world”. It was around the time of her first album release, The B-Funk, which celebrates its 30th anniversary next year.
She eventually became one of the most well-known soul singers in the UK. Throughout her career, she has released nine studio albums, with several reaching the Top 10 and four achieving gold status. She has also been nominated for a Mercury prize and won two Mobo awards. Knight has collaborated with popular artists such as Jamiroquai and esteemed British jazz musician Courtney Pine. She has also performed as an opening act for Prince during his 2007 London residency and has shared the stage with Stevie Wonder. Her 2008 performance with Wonder at Prince’s Oscars party was so impressive that producer Quincy Jones gave her a standing ovation. Knight has received glowing reviews from critics throughout the years, with Billboard declaring her as “on the path to becoming a worldwide sensation” in 1995 and Q magazine praising her voice as breathtaking in 1998. This critical acclaim has continued to follow her career.
However, the admiration for Knight is accompanied by a sense of sadness. Although reviewers recognize Knight as a unique and charismatic talent, her accomplishments have not always translated into significant commercial success. And in the world of theater, there is a belief that Knight is not given the recognition and appreciation she deserves. The Evening Standard’s review of Sylvia stated, “This is the third major show in a row…where she has enhanced subpar material. She is a shining star. Can someone please write a role that does justice to her talent?”
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Recently, there has been a lot of introspection regarding the way pop stars are treated. These stars, who are often young women, are thrust into fame and are then subject to scrutiny by a predominantly male industry and a misogynistic media. Their experiences shed light on the harmful ways in which female artists have been viewed, objectified, and devalued.
According to Knight, there was a pressure for her to become more sexualized in the early days of her career, but she chose to resist it. She explains, “I was a young woman and I wanted to establish myself and I didn’t want anything to distract from that.”
I was extremely dedicated to my craft. I emerged into the music scene at a time when most Black female artists were from the United States. In Britain, there were few like Sade, who had her own exceptional talent, as well as Eternal, Michelle Gayle, and Gabrielle. However, there was a flood of American artists, with their tough and sexy personas. I, on the other hand, did not come from that background. I simply wanted my music to have its own voice.
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She acknowledges that she may have been overly serious in the past and wishes she had allowed herself to have more fun. Now, she confidently embraces wearing short shorts at the age of 50, disregarding any preconceived notions of how she should dress. She simply embraces the idea of being true to herself and wearing whatever makes her happy.
Being a Black woman, she has been pigeonholed into certain expectations when it comes to her musical taste. However, she also enjoys artists like Radiohead and admires the band the Clash.
Last year, she released her latest album titled The Fifth Chapter, which showcases a versatile range of music styles from upbeat Ibiza tunes to disco tracks.
She explains, “My preferences are diverse and varied. However, when I introduce unconventional music, some might be surprised and say things like, ‘Really?’. People often assume I am a huge Motown fan, but although I do enjoy Motown, some of it can be too saccharine for my taste. I also have a deep passion for rock music. On stage, others may anticipate me to strike a statuesque pose as a diva, or exhibit sass and attitude, perhaps even coming across as aggressive or intellectually limited with a narrow vocabulary. However, I am far from fitting those stereotypes.”
It is difficult to see this perception as anything but racist. How else can we explain the pressure to conform to the same standards as other Black female artists, or the insistence on portraying a hypersexual or aggressive image?
“It’s what certain individuals anticipate,” she mentions with a trace of acceptance.
Some individuals may have strong emotions that may not always be logical. I am aware that a large portion of the British population cannot stand me. I am also very outspoken.
Knight has addressed the topic of race relations in the UK on multiple occasions and has performed at benefit concerts for Windrush families and in memory of Stephen Lawrence. She has also shown significant support for the LGBTQ+ community, as demonstrated by her receiving the 2016 Attitude magazine Ally award in recognition of her longtime advocacy efforts. This includes her previous involvement with the Terrence Higgins Trust, an HIV support organization, during a time when the virus faced significant stigma.
The closest friend of Knight during his school days was homosexual, but he was not open about it. When he finally came out, his parents had already passed away and his friend regrets that he was not able to be honest with them.
She lets out a sigh, saying, “I experienced the 80s,” recalling the news stories about the “gay disease,” the “gay cancer,” and the widespread acceptance of homophobia. As a young person, I couldn’t comprehend or accept it. It simply wasn’t fair.
During that time, I was part of the minority, particularly within my Jamaican background. However, I vocalized my belief in the indisputable truth that individuals are born the way they are. The unexpected repercussions I faced caught me off guard.
She faced criticism from various communities, particularly the urban community, but she has overcome this and moved on. She mentions singers Raye and Jorja Smith as examples of women in the pop industry who have been able to carve their own paths. Raye gained attention for leaving her major label and winning six Brit awards, while Smith left the intense and often negative environment of London’s music industry to create music from her hometown in the West Midlands. Knight also admires Lil Nas X for his bold and authentic performances, such as his appearance at Glastonbury with blue hair and covered in glitter, showcasing his true self. The world is constantly changing, and Knight supports and celebrates these changes.
What is her perspective on the current fight for transgender rights? She states, “It’s simple. Transgender women are women. Transgender men are men. All humans are simply human. Period. I believe the current moral hysteria is fabricated and used as a political tactic to appease a specific group of voters. This has also been done in the past towards the LGBTQ+ community.”
Is Knight a supporter of the Labour party? What are her current thoughts about the party? “I would choose to have them in power any day of the week, even twice on Sunday, rather than this one. This current government is the worst I can remember.”
Is this administration worse than Thatcher’s? “Absolutely! Thatcher was definitely not my preferred leader. The strikes by teachers and the neglect of Liverpool were not things I supported. However, she had strong beliefs and convictions. The same can be said for Major. This current administration, on the other hand, just follows whatever is popular. They are only in it for personal gain. I would much rather have a Labour government in power.”
Knight mentions that politics has always been a significant aspect of her life’s journey. She reflects on the British Nationality Act of 1981, which determined automatic British citizenship based on the birthplace of a person’s parent (anyone, as long as one parent was born in Britain or had official settlement status). Knight’s parents had to expedite their naturalization process to ensure she had the same privileges as her white peers, even though she was born in the same location as them. Knight’s parents instilled in her the awareness of being different and starting from a slight disadvantage compared to others.
In her own words, music served as a way for her to escape from the influence of politics and view life and people with a positive attitude. She acknowledges that some may reject her for being Black, female, left-leaning, or for her diverse group of LGBTQIA friends, but she accepts this without hesitation.
“All individuals are invited to attend a Beverley Knight performance. My faith is inclusive and accepting. I have open arms and a welcoming heart. This essence is reflected in my music.”
At present, Knight has a clear understanding of her chosen path. She is committed to singing, whether it be on stage, in a recording studio, or at a dining establishment. Additionally, there is potential for her to pursue acting opportunities (although she cannot provide details at this time). However, her main focus is on challenging others’ perceptions of her. As a woman in this world, Knight recognizes the need to be bold and assertive, and she is prepared to do so with determination.
Beverley Knight’s album The Fifth Chapter is out now. She stars in Sister Act: A Divine Musical Comedy at the Dominion theatre in London from 15 March – 8 June sisteractthemusical.co.uk
Source: theguardian.com
