, and record producer, rose to fame with her debut album, “Unwritten”
Natasha Bedingfield gained recognition with the release of her first studio album, “Unwritten”, in which she showcased her talents as a singer, songwriter, and record producer.
In the beginning of the 2000s, my sibling Daniel achieved three top chart positions. In every interview, he would kindly mention my music, saying, “Listen to my sister – she’s also talented!” This support aided in my entry into the music industry. By singing over demo recordings I had created, I landed a record deal. The man who signed me said, “We’re not fans of your songs, but we like you.”
I was taken to Los Angeles to collaborate with mentors in songwriting, which improved my skills but also caused me to be absent for my younger brother Joshua’s 14th birthday. As I was occupied, I did not have the chance to send him a present, so I opted to compose a song for him. Unwritten was created specifically with a 14-year-old in my thoughts.
During that stage of life, one yearns to be treated seriously, yet is constantly questioned about their future plans. There is a great weight to plan out your entire life. Unwritten originally began as a poem and eventually I connected with the talented songwriter Danielle Brisebois, who had extensive experience as a child actor and in the band New Radicals. Together, we explored the concept that every child has the potential to shape their own future.
The song was produced in Venice Beach. I drew inspiration from the Beatles’ time in India for the verse. The section with a gospel choir is based on my childhood experiences as my family was fortunate to attend a fantastic African-Caribbean church in London led by the Wade brothers, who promoted music among children. I initially envisioned using an actual choir for Unwritten, but my sister Nikola was in Los Angeles visiting me at the time. Instead, my friend Jessi Collins and I added layers to the vocals.
Initially, Unwritten reached the Top 10. It may not have been my most successful hit at the time, but its popularity has grown over time, often used to motivate sports teams and similar groups. In the past year, film director Will Gluck incorporated it into the script of the romantic comedy Anyone But You, where it was known as the character Ben’s “serenity song”. This sparked a trend on the social media platform TikTok. I never could have predicted that it would re-enter the Top 20 during its 20th anniversary year, but I believe its positivity is what makes it age well.
Danielle Brisebois, songwriter, co-producer
During my childhood, I attended dance classes at a location near the Brill Building in Manhattan. I would often listen outside the doors, eager to learn the process of writing such amazing songs. As a young girl in the original Broadway production of Annie, I would lay under the piano while Charles Strouse and Martin Charnin crafted songs for the musical. It was there that I saw the birth of songs like “Maybe” and “Easy Street”, and from that moment on, I was captivated.
I had been writing for a considerable amount of time until I met Natasha. She stayed on my couch for a few months. One day, Wayne Rodrigues, the co-producer of Unwritten, visited and created the drum beat. It struck me in that moment. I had envisioned writing a song about the unpredictability of life. I had gone through three different professions and experienced financial ups and downs, including living in a garage at the age of 20. Although I never saw Natasha’s poem for her brother, I did come across the word “unwritten” on her computer. As soon as I started singing the melody, everything fell into place. Writing songs with Natasha was like a back-and-forth tennis match, making it a thrilling experience.
For the chorus, I recalled a time when I lacked funds to ride the bus and it began pouring with rain. But I felt fortunate because those in taxis were missing out on the sensation of rainfall on their skin. For the intro, I hummed a quirky, almost Celtic-style drinking tune, while my husband, Nick Lashley, played it on his acoustic guitar. What was recorded was actually him learning the tune – the microphone placement was incorrect, but the result was perfect. Similarly, Natasha’s powerful note at the end of the gospel section is from the original demo. “We won’t be re-recording it,” I stated. “Although it may not be flawless, it has that special something!”
I helped produce it during a period when there were limited female producers. Natasha delivers a sincere performance of her song Unwritten because it reflects her own experiences. The song encourages listeners to embrace the future without hesitation. It’s incredibly satisfying to see it being played at graduation ceremonies and other events. Gregg Alexander, my fellow band member, originally wrote Murder on the Dancefloor for New Radicals but later gave it to Sophie Ellis-Bextor. To our surprise, both of our songs are experiencing a resurgence in popularity globally after twenty years. What are the chances?
Source: theguardian.com
