From Balsall Heath, Birmingham, Tamara Jenna is a singer, songwriter, rapper, producer, and guitarist. As part of the 90th anniversary celebrations at Abbey Road, Tamara’s single “Mary J” featuring CGH was showcased. Sound On Sound Magazine Editor in Chief, Sam Inglis, selected the song for an in-studio assessment by Abbey Road Engineers. Who “really loved the track” all of them. Check out the exclusive interview below:
1. Can you tell us a bit about where you come from and how it all got started?
TAMARA JENNA: Hey, sure. So I’m from Balsall Heath in South Birmingham. It’s a very diverse area with a wide range of creatives. I’m really proud of living here, I mean it’s the birth place of some of the world’s most notable creatives, from UB40 to the inventor of the board game Cluedo. I think for me, everything started before I was two years old. I was singing at 18/20 months old shaking my head in time and everything (although that soon stopped once understood the concept of others). So glad I have that recorded on video tape because people don’t believe me! I would play around with sounds on piano and bang pots and pans telling everyone that I was writing songs before I was 3.
2. Did you have any formal training or are you self-taught?
TAMARA JENNA: I was obsessed with learning guitar from around 5 onwards so when I was 9 I started lessons at school. So grateful to have had that opportunity as it’s not one that everyone gets to have but I was and am lucky enough to have a mother who supported and funded that for many years. I found my old guitar teacher online and emailed him to thank him and he actually remembered me over 2 decades later. Things went sour and I lost my love for music for many years once I chose it at GCSE level. I was at the point where I wanted to create and not be taught or told how I should do it. I failed music GCSE because I had no interest in theory and every desire to create freely. As an artist, I never had the confidence to go for things properly until 2019. I taught myself everything I know today from YouTube and Instagram. The only training I’ve had was in guitar and even then the majority of that was by ear and improvisation. I’m still learning and wouldn’t say my music is ever ready or good enough but that’s a battle that many of us have in life.
3. What do you feel are the key elements in your music that should resonate with listeners, and how would you personally describe your sound?
TAMARA JENNA: I think the most important thing for me isn’t how many people love it, it’s about who feels it. If my words resonate with the feelings and experiences of others then honestly, that’s everything. I’d say that my sound is different. It’s not for everyone. I don’t stick to one route, but I’d say that my main sound is rap. I’m a poet at heart. Rapping just allows me to say those words with confidence against a backdrop of sound. Sounds have an amazing way of connecting with people’s thoughts and emotions and all that any of us really want is to feel understood.
4. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?
TAMARA JENNA: I think that music is a form of expression and unless it is intended for harm, it should be allowed to exist freely. Entertainment too of course. Music can exist for several purposes all at once or individually.
5. Do you feel that your music is giving you back just as much fulfillment as the amount of work you are putting into it or are you expecting something more, or different in the future?
TAMARA JENNA: I have a hard time believing in my craft enough to promote it the same way as I do other artists. That’s something I’ve had a word with myself about this year. I don’t push the business side of things enough for myself and so I haven’t been seeing the same level of results that other artists do. Does recognition from others equate to fulfilment? In an ideal world no, but to measure impact we require external engagement for us to comprehend its overall value.
6. Could you describe your creative processes? How do usually start, and go about shaping ideas into a completed song? Do you usually start with a tune, a beat, or a narrative in your head? And do you collaborate with others in this process?
TAMARA JENNA: It really depends on the music that I’m creating at the time.
7. On the contrary, what would you consider a successful, proud or significant point in your life or music career so far?
TAMARA JENNA: I think my proudest moment was when I truly took the step towards releasing my own music. From there things developed and I’ve ended up with some massive achievements and experiences behind me that are true pinch me moments. From having one of my songs chosen and played by Abbey Road Studios in the iconic Studio 2 to having my debut album on sale in HMV Vault. It really is quite unbelievable to me that those things happened.
8. With social media having a heavy impact on our lives and the music business in general, how do you handle criticism, haters, and/or naysayers in general? Is it something you pay attention to, or simply ignore?
TAMARA JENNA: I haven’t actually received any to my knowledge. I mean that could be for many reasons.
9. Creative work in a studio or home environment, or interaction with a live audience? Which of these two options excites you most, and why?
TAMARA JENNA: 100% the creative work. I wouldn’t say that I’m a natural performer at all. I’m too much of a perfectionist.
10. Do you think is it important for fans of your music to understand the real story and message driving each of your songs, or do you think everyone should be free to interpret your songs in their own personal way?
TAMARA JENNA: I think that the beauty behind art is the potential for anybody to attach their own perspectives and emotions onto it. Does art really hold value to others if they can’t interpret it in their own way? In music, the words usually speak for themselves but the connection lies in how the listener attaches their own feelings and experiences to those songs.
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