Succeeding after thirty in an ungrateful, capricious and fleeting industry can become a real way of the cross staff you rarely get away with unscathed.
Lucky to land on her feet in this scene, the British singer Tor Mariesartistically known as Billy Nomates, has a strength of spirit based on the absence of expectations and on that acid character that we have already seen him represent through his two published works; first, with his corresponding debut in 2020 and now, with his second studio album titled “CACTI” (Invaded Records, 23).
The evolution of his sound has allowed him to turn his impeccable songs into more accessible and catchy material. Something that, despite his natural humility, has ended up resulting in his currently being one of the faces with the most projection on the current British scene. Although this Leicester-born artist is determined to detract from her audacity, the fact that she has built a career from pure DIY and is now about to embark on an extensive tour that will take her beyond her borders for the first time, is a event that well deserves a round of applause on its behalf. A few days after her concerts in Madrid (March 20, El Sol) y Barcelona (March 22, La Nau) Tor answers us by phone to chat for a few minutes.
I imagine that starting a tour is always a reason for a lot of nerves, but much more when this is your first big tour.
Lots of nerves, yes. I often tend to get a little anxious about these things. It gives me for not being able to rehearse properly or even being a little more tense than normal. But I have decided to take things more lightly. Luckily, right now the desire I have to visit countries in which I had never performed before and the urgency to present for the first time some of those songs that have been made for so long and that, for one reason or another, have not yet weighed more. they could have been shared live.
With “CACTI” new nuances are appreciated in your speech. What has it been like for you to transition from a debut to a more formal second job?
Without a doubt, the most differentiating aspect between both works is the fact of having had time to play with experimentation and being able to explore other avenues and sides of composition. Two or three years ago I was combining the elaboration of my songs with various jobs that greatly limited my time to focus on music, and that change is what, without a doubt, has made it easier for my work to grow now as well. But I must point out that, contrary to what people have reflected regarding “CACTI”, this is not an album that is so different or atypical of my usual style. I know that previously I was known for a very specific type of music, but I have always opted to do different things and I have composed songs that touched many genres and very different from each other. For me it would have been a total failure if “CACTI” It would have sounded exactly like my previous album, because I’ve never been a big fan of those bands and those artists who repeat their style over and over again with every new thing they release.
“I’ve also learned over time that, as a singer-songwriter, the only way you can really grow is by developing your sincerity and saying things straight”
The album also has many notes of vulnerability, as we see in songs like “Balance Is Gone”. Do you feel that, over time, you have also been letting go in the way you express yourself?
Yes absolutely. I have never tended to be shy when it comes to expressing my emotions. But over time I’ve also learned that as a singer-songwriter, the only way you can really grow is by developing your sincerity and saying things straight. It is not only about giving the public the transparency they demand, but also about taking yourself to those sentimental limits where you end up discovering more and more about yourself. It’s an adverse gift that dedicating yourself to this gives you, I suppose.
Your career is precisely a good example of how to grow exponentially and without too many resources. What do you think is the worst obstacle an independent artist has to face and how have you overcome them?
That is clear to me… For independent artists and bands in the United Kingdom right now, the worst and toughest challenge is finding economic viability and being able to finance our artistic activity. The independent artists of the United Kingdom are having to overcome obstacles bigger than our own possibilities and, in addition, we have a government that does not value our role in society in the least. But well, I would not like to discourage the new generations with this either. There are always ways to make a name for yourself, find ways and forms of financing and grow. I would say that the key is to take it easy, not expect success to come overnight and know that it is going to be a winding journey.
As you said in your networks, also, the problem of financing is what it has cost you to have to cancel all your dates in the United States and Canada, if I’m not mistaken.
Actually it has been for various reasons, but yes, there are mainly economic reasons. As you know, I release my music through a small label and even if the group of people who accompanies me at the gigs is not very large, playing on another continent is still a sacrifice that, right now, is financially unfeasible for me. Especially for the issue of visas and others. It has been a terrible blow to have to cancel my shows there, really. I would love to be able to work for free, but I don’t [risas].
You mention your label, Invada Records, which we know is owned by Geoff Barrow. What role have they played in launching your career?
Well, I’m not giving away anything by saying that 2020 was a strangest year, of course. However, I was really surprised by how well my record did, given the dire circumstances the scene found itself in and how difficult it is already to grow as a woman and an independent artist in this industry. I was lucky enough to have been signed to Invada the year before and Geoff has always been very supportive of me, giving my work his undivided attention and so on. But to be honest, he doesn’t play any kind of role in the creation of my music, that’s something that runs entirely on me, and he can confirm it for you.
Returning to the issue of economic financing, we often see that you attack how elitist this sector can be. What do you think should happen for the situation to democratize a bit more?
I think the modern music industry is unfortunately a place that only works economically well for the upper and middle classes. Does this give us a healthy climate for the rest of the artists? Absolutely not. I don’t really have the definitive answer on how this could be reversed, but what I do know is that if the right people don’t take sides, the situation in the music industry will only get worse. You could start from education, for example. As I was telling you before, in the UK we have very little funding for music. Our government often cuts budgets in art, music and culture before doing so in any other field, thereby conveying an absolute depreciation for our profession. Let’s start by giving music the funding it deserves and by offering it the space it deserves in schools and so on, for example.
Regarding your album, something that can be appreciated in it is that it has more pop and catchy flashes. However, you don’t give up on writing songs that have anger and complaints. Would you say that you don’t understand the act of making music, if not from that perspective?
I don’t think I’ll ever write a sunny happy California album, no [risas]. At least not in the short term. As much as my life can become privileged at some point, I live in a cold and very problematic country, divided and insular, and that also sets the tone of the songs. Even in the best and most radiant moments, my music continues to offer that yin and yang. Also, personally I must say that I have always found it much more interesting to explore the gray zone of happiness and sadness in my lyrics. They seem to me more complex and interesting topics, and much closer to true life.
“The music industry is very fickle, and especially as a female artist, I know that in five years I won’t be held in high regard anymore”
Do you think that age or privilege could dull the combative tone of your songs?
Well, I think, in musical terms, age only makes your speech better. The music industry is very fickle, and especially as a female artist, I know that in five years I won’t be held in high regard anymore. But it’s not something that worries me much. Bands and artists age and mature at the same time as their fans. People always seek to connect with real speeches close to them. So I hope that as long as I can do my job, I’ll continue to make music no matter what the industry wants or not. Basically, because I don’t make music for the industry, but for my fans.
I know that seeing Sleaford Mods live was what once encouraged you to take this seriously. Would you like to believe that someone could feel so inspired walking out of one of your concerts?
You imagine? It is a very nice reflection. I don’t know, I really enjoy admiring the type of people who come to my concerts. They are usually people of all ages and of all classes. I have never sought to transcend in that way, but if someone felt so inspired after one of my shows to start their own musical career, it would be a real pride for me. And of course, I hope that this hypothetical new artist ends up inviting me to his first concert.
