Introducing... Katharine Philippa

Earlier this month I had the pleasure of attending the launch to Belfast Music Week. Held in London Gibson Guitar Studios, it was a showcase of music and film with a preview of critically acclaimed 1970s biopic, ‘Good Vibrations’.

As if that wasn’t enough, we were treated to a spell binding set from one of Northern Irelands most promising talents. There really was only one word on everyone’s lips as we left that night, ‘Katharine’.

Yes, humble Queen’s University student Katharine Philippa.

In the top room of the famous Gibson Studios, packed with intent listeners, all eyes were fixed on the lady behind the piano. Exploring an array of backing effects in perfect harmony with her haunting yet delectable vocals, Katharine captivates the audience within the first breath.

Comparable to the likes of Elena Tonra and Rae Morris, Katharine’s mesmerising vocal abilities display a maturity way beyond her years. Teaming expressive, emotive lyrics with the melodic, atmospheric effects, spinning the listener into a world of tranquility and ambience in an instant. It’s hard to believe we’re stood just minutes away from the bustling London commuters of Tottenham Court Road.

Playing the piano whilst providing drumming beats with her bare foot, the multi instrumentalist is without a doubt one to watch out for in 2013. Having teamed up with The Ulster Orchestra in May 2012 for BBC Northern Ireland, Katharine delivered a faultless performance in perfect harmony with the large orchestra delivering a showcase of melancholy musings.

Following a report earlier this month from the NY Times titled, ‘Northern Ireland’s Musical Riches Emerge from the shadows’, I caught up with Belfast Beauty Katharine to find out what it’s really like trying to break into the music industry.

Daisy Digital: Hi Katharine, many thanks for joining us – first off, what’s your response to the report published earlier in the week, suggesting that it’s a lot tougher to break from Northern Ireland than any place in the U.K?

Katharine Philippa: Thank you for having me! Well… in one sense it doesn’t overly surprise me; but the over-riding thought in my mind is: it’s tough to get a ‘break’ from anywhere. It’s tougher to have a sustainable career. Comparisons after that are redundant and I try not to let them worry, or affect my thinking. The Sea visually produces more distance, even though traveling across mainland to a destination may cover more miles. The guts of the industry is on the mainland, more land-locked. Of course, this won’t necessarily always be the case, who knows.

DD: When did the songwriting process begin?

KP: Good question! I would say that using music to express thoughts has always been present; from the pram (content indefinable!) to just improvising around the house; I remember being bored in car journeys and my sister and I would make up songs about what we saw out the window! This has always been here. I still make up a melodies and sing words instead of speech on occasions. More classically, I suppose I began notating basic composition at about twelve. But I soon started songwriting with my emotions: seriously, and privately, at about fourteen. It was therapy for me, I was trying to make sense of people and I was trying to make sense of me.

DD: Both musically and lyrically, who would you say have been your main influences?

KP: Tough question! Generally, I think that whatever my ears have been exposed to has influenced me and whatever I have read, has also influenced me. Sonically, I see all sounds as ‘music’. So environmental noises and textures certainly do impact me. When I was young, I used to cry when loud noises invaded my ears (I’m a bit braver these days – though only marginally!) There are certain noises and patterns that I know I find distressing, or beautiful. I like poetry – using words for their beauty of shape and sound as well as what it actually all means.

I love minimalist and contemporary classical composers, but I also love popular music. In both there is very good and very bad. If it’s passionate, heartfelt, honest, creative – then I will always find reason to appreciate it.


DD: Being a student, is it hard to fit your passion for music into your busy schedule or is it just something you make time for?

KP: I study Music, and I definitely feel that for my style of writing the studying challenges my thoughts and expands my boundaries; so it sort of moves in parallel motion. I’m a perfectionist, so yes, it is difficult, but I am always learning: balance is key; life is not easily sustained without it. Health is a priority and action flows from there.

DD: Tell us about BBC Introducing, how was that experience?

KP: Wonderful! It was a joy to pop over to Abbey Road Studios and be inspired by the place and the people. Certainly what struck me very clearly is that people (musical and/or non-musical) are completely individual; and if ‘individuals’ only come in packs of one, they cannot, and should not, be compared.

Unfortunately there is a lot of that – in one sense we need it for organizational reasons and to create boundaries. But it should never be all consuming. Everybody is gifted in something, and I just wish for everybody to be able to fully indulge in their gift.

Sometimes it does feel implied that the music industry is too saturated, but I think some things fade and brighten, and some things remain.

DD: Playing with The Ulster Orchestra must have been something special, what’s been your most memorable show to date?

KP: To be honest, playing with the Ulster Orchestra, in the Ulster Hall, probably is my most memorable! That was rather crazy. I am so grateful to the genuinely good people who supported me and gave me the opportunity. I used to go and see the UO play from an early age and I wanted to play with them. In contrast, performing in Belfast Cathedral was also a landmark; quite a lot of people were present and I was a bit overwhelmed. I didn’t have an orchestra, it was just me and my instruments - a completely different feel – but yet, I hope, as emotionally powerful.

DD: Are you looking forward to Belfast Music Week? What have you lined up?

KP: Indeed! It’s something that is gathering momentum and I think everybody always enjoys feeling the wind on their faces!

I’m playing in the Palm House, situated in the Botanic Gardens at Queen’s. A gig admidst tropical plants?! I think the plants will still outnumber the people, but for those who can get tickets, it will be quite a unique experience I would say. I’ll also be playing at the showcase event in the Limelight; so an honour to be included in the line-up of that gig.

DD: Lastly, what can we expect from you in the upcoming year? 

KP: I am recording some new songs; they document a passage of time that has just passed. My first EP was written over a much, much longer time frame and i’m not sure they were quite as emotionally intense, or personal. I do use hidden emotional coding in my music. I like Symbolism. But I think as an overall art form, I want to express emotion; I want to not shy away from expressing emotional darkness. We are human; it will, and does, occur.

I want to be learning and growing, both musically and personally. I want to encourage others. And I hope to do this for as long as I am able.

Thank you so much for having me, and for your kind words.

DD: Many thanks Katharine!