Kirsty Almeida - The Meaning of Magic
In this episode of the MTF podcast Kirsty discusses her time in the public eye, her return to releasing music and her thoughts about creativity, inspiration and the magic that you find in an old parlour guitar from the 1800s.
AI Transcription
SUMMARY KEYWORDS
world, people, music, album, create, virtual reality, trauma, realised, signed, songs, potentially, kirsty, guitar, play, moved, called, musician, magic, major label, creative
SPEAKERS
Andrew Dubber, Kirsty Almeida
Andrew Dubber
Hi, I’m Dubber. I’m the director of Music Tech Fest, and this is the MTF podcast. I first came across the name Kirsty Almeida. About eight or nine years back she recorded this great song called spider and there was a really lovely Mr. Scruff reworking called pickled spider and since I tend to follow what Mr. Scruff puts out, she popped up on my radar. Now she was signed to Decca Records at the time and was known for bringing together this quirky mix of pop jazz world music and folk, and she put out a few albums and singles and then for a long time, I didn’t hear her name so much. But earlier this year, at an unconventional event in Manchester, I met Kirsty and we got talking about all sorts of things. She’s done so much in those intervening years, personally, privately, professionally, creatively. And as she puts it spiritually, it was a fascinating and a wide ranging conversation, we talked about the more traditional music technologies of wood and string, about the environment about being a citizen of the world about making music for films about the responsibilities of parenthood, about the virtual reality that Kirsty says that we’re all living in right now about rewriting the whole education system about how to make the world a better place, and about magic, here’s Scottish Gibraltarian, World folk singer songwriter and lifelong musician, Kirsty Almeida. So Kirsty Almeida. Thank you so much for joining us for the podcast.
Kirsty Almeida
Thank you for asking me.
Andrew Dubber
Where did you grow up?
Kirsty Almeida
Everywhere. Scotland, Venezuela, Gibraltar, Spain, Indiana, Chicago, many Philippines, Brunei everywhere.
Andrew Dubber
What sort of impact did that have on what you ended up doing?
Kirsty Almeida
Well, it definitely brought a lot of world music to my sound. So I love world music. I love World Folk I love I love music from everywhere. To me, I love indigenous sounds and I love tribal sounds. I love Brazilian music and South American music and you know, just the music of the people wherever those people are. That’s when I love that. So I think that definitely had a big impact on on the music that I write.
Andrew Dubber
And how long did that go on for this sort of moving around a lot? It’s gonna do.
Kirsty Almeida
Yeah, it’s still going. So I I only just recently, so I’m 43 now and I only just recently chose a place to route. And that’s because I have a child now. So So I moved to have them Britain. But even then, like, you know, that there’s this part. I mean, it’s just like, come on, when we’re gonna go on the road again, like, it’s like being at home is out of a suitcase. It’s really easy for me to, to jump into a suitcase and fly,
Andrew Dubber
right? So the the idea that you would become a musician, how did that come about?
Kirsty Almeida
At so I was just always a musician. There was no becoming it was. I just was and I think there was just a lot of fight to keep that. So because my father had been through something like that, like he was nearly signed to EMI when he was a kid and Okay, and he had done the whole, you know, not without my band. And they didn’t want the band. And I think that potentially hurt him or something. I don’t need to ask him those stories. But so it became this thing that I should be a lawyer. I mean, and family wanted me to be a lawyer. And so there was a lot of me kind of neglecting my music or neglecting that part of me that that was just so inherent and so natural. And so it was still there. Like I remember, you know, every school that I went to would be like, right now you play the piano because we need to just bump up the fingers of the amount of people who are doing the lessons or else we’ll lose the money. So I was always the person who was that downgrade to flute for no reason and recorder and playing a double bass and just doing one of those things. I never really became a musician. It just was a way of life.
Andrew Dubber
So what’s your instrument?
Kirsty Almeida
So now is a voice definitely so I think. But now I play. I play in 1800s and 1900s pilot guitars, okay. And specifically because bigger guitars hurt me. They just hurt my back to lay out everything I play is very cyclic, and repetitive. And yeah, just small guitars seem to work and someone one day just suggested, you know, have you thought about playing a smaller guitar and then this little pilot guitar arrived in my world from the 1800s and I fell in love with it and and then just discovered that really old instruments have a magic to them. That’s it’s like they have their own story. And so every time I pick up a really old instrument, I feel like they just want to write I mean there’s there’s just epic amounts of songs in them already and I don’t have to do anything. I just got a channel whatever that is.
Andrew Dubber
Tell me about the the sort of the physicality of there because obviously you pick something up obviously has a smell or it has a feel to it or is that something that kind of inspired As the music and you I mean, you say that the songs and the instrument, but clearly the songs new as well,
Kirsty Almeida
yeah, definitely, I think Get the out of timeless is really beautiful to me like magic is very important to me. And just the meaning of magic, like what is magic and there’s something very magical that seems to happen when I pick up a really old guitar that that in me unlocks a timelessness where I’m just like this guitar, and people made this in the 1800s. And they made it with love and, and these pieces that I’m touching have been touched for hundreds of years. And who touched them, I mean, that kind of. So sitting with that, and also just the sound of it. So there’s something very beautiful about a parlour guitar sound, it just sounds like a harp. So something in there just unlock something magical and mean. And then and then I get into a definitely get into a zone. And then the zone out of that zone. Sometimes it like it might take a couple of weeks to get into the zone. And then some will fly out in as long as it takes to, to sing the song, the whole thing will just come where it’s melody lyrics. But up, do you
Andrew Dubber
think it’s possible to sort of embed that magic with a new things that we make now that future generations will be able to use? Or do you think that there’s something particular about our past, which is special and magical? I think
Kirsty Almeida
magic is alignment? I think magic can? It can come from many things. But essentially, it’s when we become a channel for creation and creation comes from creativity, or creativity comes from creation and creationism is as we are creating waves all around. Like if this is a virtual reality, which I’m absolutely certain it is, then then, you know, sitting and being very present with something. So my love for a party guitar and that, you know, makes me very present with that instrument, right. But for someone else that presence can come from, you know, a four track recorder or it could come from an iPhone, you know, just being very present. And then that kind of channels creativity and creation.
Andrew Dubber
What do you mean when you say that we’re in a virtual reality? And I have to kind of explore that, because obviously, in our sort of music tech community, there’s a lot of exploration into, you know, what can we do with virtual reality? How can virtual reality be used for music making or music consumption? All those sorts of things you get? No, no, no, we’re already in it.
Kirsty Almeida
No, we’re in it. And this is it. So I wake up every day next to my child, you know, wake up next to, you know, my child, you work out, you wake up in your world, I wake up in mind. where like, the things that I’m touching the energy that you know, the feel of everything is its energy, everything you are energy, this is energy, this microphone is energy. That energetic value, like what that is that cellular structure of what that is, is a virtual reality, like it is. It’s like a very futuristic form of some of the greatest computer games that now we’re blown away by. So I feel like at some point, this was already created, but we’ve been kept in the we’ve been kept in the belief system, that that we are not the navigators of our virtual reality that, that this is a reality that that
Andrew Dubber
that we have to be reactive to not proactive within, right. And I guess that sort of potentially gives you some agency in the world. You go, No, I can make my decisions, you make my decision about how, yeah, tell me about some of those decisions, because you’ve made some really, particularly from the point of view of somebody who gets signed to major record label release albums, you know, become essentially a pop star, you made some quite interesting decisions in response to that. Can you tell us a little bit about that?
Kirsty Almeida
I remember when I remember years ago, so I’ve always been a big believer in how we can manipulate our own reality. And we can manipulate our reality with our minds. So we’ve now become five D creatures. So at one point, we were 3d were locked within the 3d grid. The 3d grid is a fear based grid where we were led to believe that that we can’t create with our own minds. But I think from very young age, I realised that that wasn’t quite that that wasn’t quite and I was really interested in how to manipulate my own reality via my mind and thinking, well, if I believe I can, or I believe a con, then I’m right. And the only thing that’s stopping me is my own blocks. Those blocks are created through via trauma. And our trauma blocks are the only things that stop us from moving head. And our trauma blocks are the only things that keep us in a perpetual cycle of repetition. And that repetition is always going to keep repeating itself until we look at the trauma that is holding us in that lock. And as soon as we release that trauma, we then move into a new, a new upgrade of the system and the virtual reality that we’re living in. So that’s been really clear to me and years ago, I remember just thinking As, as a kind of experiment, I would play with that and see what would happen. So I moved myself, I moved myself into the summer house of a friend’s house, took a guitar, shut down all the work that I was doing at the time, I wasn’t feeling really self satisfied with any of that. And just thought, there’s got to be more and had this burning desire to write an album. And I’d never written an album before. So that way, I’m gonna go and write an album. And I realised at the time that I had the, I had the beauty of youth on my side and thought, you know, if I waste some time, right now, it doesn’t really matter. It doesn’t matter. I’ve got loads of it. And so moved into this into this place, but what I did was a row every day. But I also affirmed every day, and I had this, I didn’t realise quite what I was doing at the time. But I had a little poster that I wrote on the wall. It said, I, financially, creatively and spiritually rich. And I’ve been signed to a major label.
Andrew Dubber
And you weren’t saying those things? Because they were true, but because you wanted them to be true.
Kirsty Almeida
No, I was. So they weren’t true. I was doing it as an experiment, because I didn’t care to me. And so I didn’t care about whether I was sent to a major record label that or not lots more friends, because I went to I studied pop music University. So lots of my friends. That was their wish, but I didn’t have that as a wish. So so I knew that I wasn’t, I wasn’t emotionally attached to it. So it was like so if this happens, it happens. And if it doesn’t, then great, doesn’t really matter. Right? So So I said that every day. So I said it when I woke up and before I went to bed and just use that as an experiment. And then within three months, I was signed to a major label. And I was in Sheffield. Like I didn’t even have friends in London, in the industry, I had nothing at one a really small award that had given me 1000 pounds for being an up and coming jazz composer that I hadn’t applied for amazingly that somebody had nominated me for it. And then that gave me the luxury of this thousand pounds to move into this summer house,
Andrew Dubber
right? Presumably you did some other things other than just sort of read what was written on the piece of paper in the morning and in the evening.
Kirsty Almeida
is really important to me. And so even in that world of manifestations, which now you know, science is starting to backup, like I can’t give you any of the backup. But I work with people who are like, Oh my god, it’s all backed up. And you know, this and that the other and the Gregg Bradens. And, you know, there’s all these amazing biologists who are backing that up. But inherently for me, I knew that if I change my mindset, and then I create action in that direction, that energetically something had to change. So yes, it was amazing to see how that worked. And, but of course, being you know, beings who are in trauma, and we are in trauma, our parents create that that happens as soon as we’re born. That doesn’t mean that you can remember how to do that all the time, you know, because then you still have your emotional journey. So I did that then. And then so many other things would be coming up that I couldn’t just go. I’ve won the mercury awards domain or whatever it was, because there was a lot of self worth issues that came out of that. But yeah, interesting. So I’ve done that a lot. Just
Andrew Dubber
did you wish you’d written something else on paper?
Kirsty Almeida
And no, no, because that was, it was a really exciting way for things to happen. It was really the same. And it was like that album breath so quickly. So that album came out of me within less than two months. I mean, I wrote a whole album, in less than two months, I’d never written an album before then that was signed to Decca that album, and then they were, you know, like, come on, we’re gonna record this in two weeks time. So it was a really fast process. And then that put me on to, you know, stages where I was seeing intellect, you know, thousands of people collaboratively with other people. And so it was a really exciting time. But I hadn’t realised that I had a lot of work to do. I mean, just emotionally to be able to, to, to be able to feel any joy from that, you know, the journey was hard.
Andrew Dubber
And what was that journey, like being signed to a major record label? What was the expectation on you, and how did you kind of respond to that,
Kirsty Almeida
and I found it really hard, because I felt like I had to control something. I felt like I had to manage it. And I had a great manager. I had an amazing manager, actually. And we were really tight. Like we really worked together and he was a great manifester. It was a real positive power of positivity. And it was really interesting, because we did the first part really amazingly well. I mean, and like we really played played the game as it was a game where I played the artists really well, he played the manager really well. And but what happened was, we were then out of our depth, and we were in a sea that we didn’t expect it was very difficult. And that difficulty, mainly lay around expectation, and yet navigating the industry and the industry was trying to navigate itself and everyone that everyone within the industry was really worried about their own jobs. So that level of pressure meant that they were putting pressure on the artists that we were horses in a horse race,
Andrew Dubber
right? So the expectations, your expectations of the industry or the industry’s expectations of you
Kirsty Almeida
both. So select for example, you know, when I got signed, I said it’s really important to me that I have creative autonomy is really important. I get called to creative shots. And if I can’t do that, then I don’t want to sign up I’d rather not sign. And they agreed that and that was in my contract. And that was all discussed. But then as soon as I was saying, I think there was a lot of silences where I be like, Why is everyone What’s going on? And I could just, you know, like people, people whispering and, and then it’d be like, Oh, well, we’ve organised a photoshoot for you. And we’ve already come up with the whole themes. And, you know, there’s five themes, and we’re just basically just going to make you look mad, because we’re going to try and sell you to 13 year olds with me, my lyrics aren’t even for 13 years, they’re not going to get it. Right. You know, that’s like, what are you doing? And, you know, having people who were like, his, you know, past job was maybe marketing and shoes, and having them make choices about the cover of my album. And me. So my expectation was that maybe the creative in music industry was going to be a place where it was filled with creatives who knew what they were doing, and then getting there and be like, shit, this is sales. I mean, I’m just, I’m a pawn in a sale industry. And I found that really difficult, maybe, you know, maybe it would have been different if I could have surrendered to that and just gone great at whatever. You’ll put my covers out however you want and do the artwork any way you want. I didn’t do that, you know, I kind of fought it and said, like, I want to be creative within this. And that wasn’t great. That Yeah, I think there was a lot of fist bumping on tables from executives, who were calling me a really difficult artist. And then there was a lot of people in the independency in saying you’re not being a difficult artists, you’re being an artist, and you’re not rolling over. Right. So really hard.
Andrew Dubber
Yeah. So, I mean, you say now, maybe it would have been easier if I just sort of played along. Yeah. Was that ever an option? Are you the kind of person that could actually have done?
Kirsty Almeida
Yeah, I think I don’t think that that was the issue. I think the issue was that I was in trauma. I mean, there was a lot of issues. In my past, there was a lot of issues with me, there was a lot of issues with self worth, I was drinking, Decca, and that whole situation really encouraged drinks, so I’d just be like turning up to videos, and when it came when he hung over, you know, like, they’d organise something the night before. And it be, I really felt like I was being manipulated slightly, there was a lot of champagne, and there’s a lot of this and you’re kind of expected to be part of that thing. But then halfway through and my kind of slight drunkenness, I’ll be like, Oh, you were just trying to convince me to say yes, to the photoshoot through that to mean, and that became a really big thing of me. Just not knowing which way I could go or things like the environment was always really important to me. I’ve always been someone who really cares about our earth and cares about the environment, and it’d be sending like, a car to come and pick me up to take me from Manchester, down to hairdressers and shortage, so that they could potentially say she goes to a hairdressers and shortage, that didn’t work. For me, it was that thing of like, no, this isn’t important to me that things that are really important to me, is what I want to be about. So there was a real thing inside me that couldn’t, you know, go with the flow. But I know that now having had many years of therapy, potentially i’d navigate that very differently. Not necessarily surrendering to any of the things that I you know, I still wouldn’t take in the vaults on the bed. You know, there’s I Yeah, I remember, that was the first policy, they were like, we’re gonna dye your hair red. And we want to shoot you on a bed, where you just lying in some really nice negligee and that’s your shot and I was like, no, I’m a singer. I’m not a porn actress. Like, I want to be a role model for our future children. Like I you know, I want to be someone that I can. When I have kids one day God, that’s what I stand for. That’s who I am.
Andrew Dubber
Right? Cuz that was gonna be my next question is was this actually an artist thing? Or was this agenda thing?
Kirsty Almeida
I’m really hard to say. I don’t know. But But I know that the gender thing is a big thing. Like I remember going on a stage I think I opened for the Jazz Festival in London and this really beautiful thing called the voices. And there was some great singers in there and they’d sent a stylist who didn’t get me. I didn’t get myself I didn’t know really who I was yet. And having to go on stage and some dress and I felt so uncomfortable. And I knew I didn’t look good in but then having the head of Decca at a time or someone I don’t know if it was the head of Decca but someone in Decca had just sent a memo back saying make sure she doesn’t wear another dress that’s shorter than the knee. She doesn’t have good legs. But that came back to me to me and that and and that became this big thing for me of like, Who am I doing? What am I in? And what am I fighting here? You know, in this day and age or that was 10 years ago? 10 years ago still like really? are we are we are we going to do this?
Andrew Dubber
Do you think it’s improved at
Kirsty Almeida
all? had to say because I’m not in that industry. Right? I mean, and also I have not had a TV since 2004. So I’ve really disconnected from the world you know, as we know and I very much live in my own bubble of nature.
Andrew Dubber
But your your bubble includes doing other things that mean your creative expression comes through and all sorts of ways if you’ve been a venue owner, you know, so that there are different things that you do that connect you to the world? And is this just about you being an artistic person that needs to find a sort of expression? Or, you know, where does that come from? And? And how do you describe what it is you do?
Kirsty Almeida
So now I describe myself as just someone who’s creative who has to create, and, and a conscious creator. I’m really interested in the conscious world and really interested in how we can. I’m really interested in building the new world, whilst the old world isn’t working for everyone. I mean, so as everyone’s going, Oh, my God, oh, no, oh, my God, it’s the end of the world. I mean, last that day that I’m trying to build a school, you know, and figuring out like, with education, how do we get the right people into the room to say, let’s build a new education instead of just going, this isn’t working? How do we patch it up with what we’ve got? rip it apart? You know, let’s just move totally into a new realm and just go, what would an amazing education system for kids really look like? How do we bring the best people in the world who want to create that into the right space? And how do we not be fearful of you know, the the systems as they are now? And the governments and everything else? Like how do we just disengage? And just go? Well, we’re gonna do it still jump all the hoops, but how do we just make the new world? I’m really interested in that. So?
Andrew Dubber
And what are the answers to that? Or do you have any of them?
Kirsty Almeida
Yeah, I think I think the answers are in community, I think that answers definitely lie in working together towards the greater good, and making the effort to do that. And for each of us to become the best person that we can become individually, to stop being a victim to me in like, the answer is definitely in the trauma triangle, the perpetrator, the rescuer, and the victim, and our society has become so victim was that word like victimised? In our own mentality? That until we step out of that victim? Yeah, that’s the answer. Step out of the victim, that thing of what could you do on your street, it’s gonna benefit, the greater good for the hell of just benefit in the greater good, not because you’re gonna get this out of that, that one, you know, like, just just make it better. And like, just do something in your own life that will make our world a better place, and make that your mission. And, you know, some of us like I’m able to manifest big projects to me, I’m able to work within teams where I’m able to potentially navigate some of that someone else could maybe just make the bins in their area much nicer. I mean, someone else could, I don’t know, plants, more trees, or just not being apathetic, it’s letting go the apathy. And
Andrew Dubber
are you optimistic about that? Or a fight? held battle?
Kirsty Almeida
No, I’m totally optimistic about that. Because, because I know that I think I kind of Cut the bullshit. I mean, like, so even in my own community, like, I know that my responsibility is to clear my own trauma, because I know that the answer is within that, like, I know it, I teach. I see people who are working within it, I see the changes within people when they go, you know, I’m like, I don’t know, I’m a person, my parents got divorced, I’m totally over that stuff. It’s completely fine. Like, I’m fine. I just made sure that, you know, like, Thursday, Friday, Saturday, I go to the pub, and I’m numbing myself, you know, you can kind of see it. So it’s that thing of when we take responsibility for the trauma that’s within us. And that might be through therapy, it might be through trauma release, it might be through a breathwork session, doesn’t really matter. But it’s that thing of where am I hurting, as soon as we deal with our own fear and our own pain, then as a society, we are raising our standards, we are raising our vibrations, and we’re raising the entity that will come in from and and that’s what it’s about. So I have total optimistic view in that. Because I’m seeing it happen, I’m seeing that people have got to a place where I can’t deal with it anymore. And like people have had enough. So the answer to that is to become the greatest version of ourselves individually that we can become. And then by doing that, we’re going to create a better society. And then the other answer is, some people want to go and fix what’s already there. Do I mean, and some people will look to people like Russell Brand and go, Oh, my God, he told everyone not to vote. But essentially, all he was saying at the time was we’re just voting for the same thing. Yeah, so and we’re led to believe this is really controversial. But we’re led to believe that we don’t have any other choices to mean. But potentially our choice is to start creating the new world and figure out how we’re going to do that and stand up and be counted.
Andrew Dubber
You talk about being the best person you can possibly be and he said that you’ve always been a musician, what is the best musician? They can be? Are you gonna make more music release more music? Or is that a part of you that is a private part. And now I’m not a public part.
Kirsty Almeida
No, it’s definitely a public part still. And I still got a new album now that I’m releasing in June, just be mixed and goes to mastering on Monday. It’s an album that I created just before I got pregnant, and then just after the wondering, so it has like a four year break in the middle of it, where I went
Andrew Dubber
the wander around being your venue that I created.
Kirsty Almeida
And also during that time, I had PTSD and postnatal depression and all of that just brought up what I needed to fix anyway. So I’ve said There’s been a really big deal. I mean, there’s been a lot of work and then a lot of plant medicines and going in through other areas to, to get better or to get as well as I could. And what’s what’s what that has flagged up is that I just love saying, and I love it more than there isn’t anywhere in the world, in my life that touches that place, or that I feel as alive. To me when I’m saying I’m alive, really, like every part of me is alive. And that’s the goal. I guess. It’s all just to feel as alive as I can while I’m alive.
Andrew Dubber
And presumably not through a major record label this time,
Kirsty Almeida
I don’t even know like I you know, I don’t I never say never, because I because I have no idea Tell me like whatever the future holds, is the future and potentially, for me to be working with a major label, with the mindset that I have now, potentially would create a new way. I mean, potentially, there would be, you know, a lovely way through that I recognise that major labels and independent labels do a great job. I mean, they do a very hard job. And I know how hard that job is,
Andrew Dubber
that’s a really interesting comment for somebody who’s had your experience and the fact that you’ve walked away from it to actually look at it and say, You guys know what you’re doing,
Kirsty Almeida
and didn’t say they know what they’re doing, that they do a very good job, all those things ever, but but the issue is that the guidance within that within that is very difficult. I mean, so the issue is that they’re still doing that thing of, we don’t know what we’re done, but we’re just gonna keep doing it. And they have all the money to me, or they don’t have all the money. But for a while they had all the money says that thing of a lot of people doing things just because they can do because they have to have their jobs and they’ve got you know, and they had monopoly for a while.
Andrew Dubber
The public sorry, the public part of this is the point of releasing it, to get it to as many areas as possible, or to find your tribe, or just to kind of get it out into the world in some way.
Kirsty Almeida
Well, various different things. Like, I know that when I put an album out, and it goes to a lot of people that brings back lots of amazing opportunities. Like I love making music for films, that’s one of my favourite things. And from putting out the album a decade, I got to write the music for a couple of films. And again, that’s where I felt really alive. So I recognise that my songs are a vehicle, they’re like fishing wires, drumming way, like, throw my songs out into the world, and they have their own life that is gonna go on a journey and, and then come and then from that opportunities come back, like playing festivals going to Slovenia, and those things that happen, that’s where life happens. domains, that’s the bits I didn’t plan. And when life happens, that’s when I feel really alive. So So putting the songs out into the world in the best way that I can, hopefully, will bring back lots of opportunities for me to be alive again, I get to go on stages. I am
Andrew Dubber
interested in the kind of the technological advances in the recording medium, for instance, you talked about, you know, this being a virtual reality, I am interested in actually doing something in you know, virtual reality as we understand it, or doing something with AI or doing something with, you know, new technologies as new forms of energy or new ways of moving into the sort of this new world? Or do you think that the the new world that you’re sort of imagining is very much a sort of back to the 18th century.
Kirsty Almeida
My things about frequency, so I love frequencies, like I love working with actual vibration. So I love acoustic instruments, I’d love to work with an orchestra. I mean, so digital is for me is a format, but that hasn’t. Like I haven’t. I haven’t explored that I was thinking about that about Graham Massey before, I was thinking about the potential of, you know, does music still have the same energetic field value? Like does it still touches in the same way? If you’re working with beats and and you know, the end digital sounds as a string quartet or an orchestra? And I know it does, because I’ve been through the rave culture myself, like I’ve been through that thing of like, Oh, my God, what is this? That tribal thing? That seems to happen? Yeah. And so I don’t know. So I wouldn’t say no to it. But what I love is the magic that happens from instruments and people just sitting and basking in the, you know, the glory of frequency,
Andrew Dubber
wood and strings and
Kirsty Almeida
words and strings and voices and choirs, and yeah, all of that really excites me, but but potentially, that’s me keeping myself in that safe bubble of what I know, maybe I’ve gone to some huge thing, I don’t know, some big digital thing. And that would blow my bubble tea. I don’t know.
Andrew Dubber
So what should like people who listen to this? What should they do next? Now that they’ve just heard you? What would you recommend that they Next go and do is to listen to some of your music is to go and check out some of the stuff you’ve been reading? Well, you know, what’s my next step?
Kirsty Almeida
I think Wade, do you know what I mean. Like listen to my music, but my music is only my journey of me. It’s the journey of me, sure. So nice to listen to the songs because the songs are nice. But that’s the journey of me. I think. Yeah, the big thing that I would say Get on your journey, like, you know, that intuition is so powerful, that little voice is a bit that we will have to listen to. It’s really, really important that’s heart based living. So yeah, just saying where you can make a difference in your own life. And, and then yet getting into the journey, that thing of how can I change things? Like each of us is in charge of our virtual reality. So each of us is in charge of what’s going on in our world, how we’re viewing things, where we’re living, which way we’re going, are we walking in the sunshine? Are we walking in the shade? You know? So like just messing it up a bit? And just going, how do I get up every day and choose a better choice? How do I change the patterns? How do I work with the crazy algorithms that are going on that I just repeat my patterns? And then reading? Yeah, oh, my goodness, wait. And there’s so many incredible books out there as I listen to audiobooks, because I can listen to two or three a week. And I can’t read that fast. And I don’t have the time to read. But I often have, you know, an air. There’s just so many people, amazing people out there making incredible giant leaps of discovery for our world. And as soon as you just start with one put their name in another 10 come up. So I’d say start with Gregg Braden is pretty incredible biologist who realised that or Bruce Lipton, who realised that cellular structures are really affected by the environment, he put them in, just like, we are affected to me like, like, that’s how people are healing themselves of cancer, and in amazing ways. So yeah, I’d say just start start put Bruce Lipton into Google and start your conscious journey, and then come to more winning one of my gigs and tell me about what you’ve learned. I want to hear what everyone else learns. Fantastic. Thanks
Andrew Dubber
so much for your time. Thank you. Thank you. That’s the magic of Kirsty Almeida. And that’s the MTF podcast. Hope you enjoyed and if you did, please make sure you tell someone about it so that they can enjoy it, too. Now, Kirsty’s got a brand new album called moonbird coming out in the new year. And she’s also got a brand new song on Bandcamp, which is her first release since becoming a mother. It’s called you’ll find your way and I can totally recommend it. If you’ve got a second or two, literally a second or two. Please leave us a quick review on your podcast platform of choice. Maybe a handful of stars, five is always a good number. share it on Facebook or Twitter, so other people can discover it as well. And we’ll talk soon. Have a great week. Cheers.
