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Her words have the warmth and wisdom of the elder sister of the women at the centre of some of that art.
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It’s why, as I revisit the art that kept me together this year, through long months of working from home seeing only my husband, my cats and a psychiatrist (virtually), I keep coming back to her New Yorker Festival interview. The Fiona Apple of 2020, in her early 40s, has built a life of her choosing, in a home in Venice Beach she shares with her best friend and their dogs. The album’s overwhelming message, though, is liberationist its title a line by Gillian Anderson’s Stella Gibson in The Fall its architect reckoning with childhood bullies, sexual assault and the trials of fame with a wicked wit. Fetch the Bolt Cutters was recorded over a period of five years almost entirely at home the album’s percussive, beating heart formed of the rattling of everyday objects, barking dogs and battering on the walls. Infamously reclusive, Fiona Apple knows a thing or two about lockdown.
Fiona apple fetch the bolt cutters professional#
But as the more professional streaming setups have shown, there are conversations to be had about accessibility once we are able to return to the hallowed halls and venues where some of our best memories were made. Would I trade 10 months and counting without live music (last gig: The Hold Steady, arguably the best live band in the world, at their annual London “Weekender” at the start of March – I sneezed in the middle of Euston while we waited for our train back to Scotland and tried not to laugh as people backed away slowly, it was a different time, alright?) to watch little-travelled idols perform in, and chat from, their own spaces, over video connections of varying quality? Of course not. We have fun! We can do whatever we want!”Įxperiences like these have been a teeny, tiny crumb of positive over these unending months.