Terry Tyldesley - Kat Five
Terry Tyldesley is a veteran of Music Tech Fest. She attended the very first one in London in 2012 and has gone from reporting about it, to performing at it, to producing it.
Terry is a journalist and writer, singer and band member, advisor and board member, mentor for music tech startups, media producer, activist and a lot more besides - and she joins MTF director Andrew Dubber to discuss an astonishing portfolio career in music tech that keeps growing and evolving by the day.
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Music: Tundra (Instrumental Version) by Tomas Novoa, used under licence from Artlist.io / reCreation by airtone (c) copyright 2019
Licensed under a Creative Commons Attribution (3.0) license.
AI Transcription
SUMMARY KEYWORDS
tech fest, people, music, programme, artists, festivals, bit, mtf, called, resonate, fellows, support, band, technologies, played, year, terry, jam, manchester, women
SPEAKERS
Terry Tyldesley, Andrew Dubber
Andrew Dubber
Hi, I’m Andrew Dubber. I’m the director of Music Tech Fest, and this is the MTF podcast. Now, about three weeks ago, I was in Manchester, it was just at the point where people were starting to really talk seriously, in this part of the world, about not going to Manchester or anywhere else for that matter. I was there for an convention, a very well established conference for the independent music sector. This was their hundred and fifth edition. And I was moderating a panel session about the state of the industry and all the different major factors affecting it. And while of course, the coronavirus was certainly a topic of conversation. It wasn’t like it is today, the topic of conversation. But still, we were already bumping elbows and mostly observing a certain degree of personal space. But now of course, the world’s quite a different place. I hope you’re well, and I hope you’re safe. Not everyone I know is. Now while I was in Manchester, I was lucky enough to get time to sit down with my friend Terry Tyldesley. I’ve known Terry since before I heard of Music Tech Fest, we spoke on a panel together in London back in 2013. And since then, we’ve had the chance not only to cross paths, but to work together pretty closely. Terry was the producer at MTF, Berlin back in 2016. And, well, normally this is the point in the introduction, where I tell you what else this week’s guest does and what makes them interesting. But I also like to keep the introduction shorter than the interview. So let’s just say that Terry’s a music tech generalist, not in the sense of dabbling, but in the sense of being incredibly accomplished at an astonishing range of things, supporting and advancing all sorts of causes, and taking on enormous challenges with an amazing degree of success. As you’ll see, from unconventional Manchester back before the lockdown is MTF, veteran, and role model. Terry Tyldesley. Enjoy. Terry, thanks so much for being on the podcast today.
Terry Tyldesley
It’s great to be here. And in a temporary Music Tech Fest space, which is wonderful, wonderful.
Andrew Dubber
And we were just talking about what we should call you, what’s your title, and we went through a range of options as creative technologies producer and tutor and of course, you’re a blogger, and you’re a musician, and you do all of these things. So how do you explain to people when they say also, what do you do?
Terry Tyldesley
I asked how long they’ve got. It’s a very live conversation. I’ve been having an unconventional actually, because there are lots of people with many different hats. And we’re thinking what can we call ourselves? There should be some music and tech equivalent of renaissance man or woman that sounds a bit 22nd century. So all offers greatly received?
Andrew Dubber
Yeah, absolutely. Because you do have this kind of portfolio career. But it’s a deliberate career that you seem to have carved out. And I want to talk about that in a little bit. But the thing that’s kind of flagging up at the moment is this jump thing. And to me, that’s new, you want to explain a little bit about what jump is?
Terry Tyldesley
Yes, it’s a super exciting music market accelerator programme. Now in its second year, and it brings together fellows from all over Europe with tutors from all over Europe, they get paired, and we have to be paired with someone from a different country, to to nurture, encourage, help bring forward and move forward. All kinds of ideas ranging from platforms for better ethical, social impact events in music through to I’m I’ve got an amazing fellow who’s got a project called Sensi, and it’s modular MIDI controller slash instruments. So I’m very lucky to have a hardware and software project from high Nevers, right, and
Andrew Dubber
you’re essentially mentoring that process.
Terry Tyldesley
Yes. So and the mentoring can take many different forms from hardcore through financial mentoring through to more creative product messaging, mentoring, the fellows a match with a tutor and in the boost scheme for more advanced projects. The tutors also get together to talk with all the fellows and that’s brilliant. So when we had a debrief yesterday, there was someone who is an expert in finding manufacturers for prototypes, who was chipping in with advice for my fellow.
Andrew Dubber
Right, so who’s behind all this? What’s, where does junk come from?
Terry Tyldesley
It’s come out of the Malmo festival and brilliant team that’s headed up by Laura, Goddess from France. She’s based in Paris, and it’s linked up with festivals across Europe. So the fellows get to experience and learn at different music conferences, and it’s funded by it’s funded by the creative Europe programme.
Andrew Dubber
Okay, so, is that going to make a huge difference when the UK leaves your participation in that or is that already sort of solid and solved
Terry Tyldesley
and my personal participation It’s just for this year anyway for the programme till October, and we understand the programme will continue. And but I think there’s a lot of things to be decided, certainly from the British end, unfortunately. Yeah, of course.
Andrew Dubber
So So what are the sort of the projects that are being supported through this? Obviously, you’ve got this hardware software one, but are there others in the same vein, are they very different,
Terry Tyldesley
they’re all very different. And it’s one of the joys of the programme. So also, on the boost scheme, there’s terrible much who have very innovative way of creating and running merge that’s also has a great environmental advantage, because their system means there’s no stockpiling of old merchandise that doesn’t get used and many more brilliant things. And then there’s things like network that’s forming, or someone’s forming a network of venues in Eastern European countries to create more of a touring circuit in those countries. So it’s all very collaborative. And quite apart from the sort of fellow and tutor relationship. I personally am, everyone on the scheme is getting to meet some really fantastic people. And we’re already having many ideas even beyond the programme, and it’s only the first session of the programme this year.
Andrew Dubber
Well, your connection with music Tech has gone back quite some way. I mean, that kid monsters tell us a little bit about that, where that comes from and join the dots there.
Terry Tyldesley
And yes, I was very frustrated as a musician, when I wanted to buy some new equipment is a very simple kind of, this is why I started it. And it’s it’s grown into something quite different. But I wanted to buy a new amp, I was in an all female garish punk band at the time. And you look and see who’s who’s using the gear, I think you’ll see who the influence influences are. And the one I was most interested in, I looked at their influences. And it was people who were the artists ambassadors, and they were all guys, I thought Hang on, you know, 50 people on your artists List and they’re all guys is not single woman, you might use an AMP you could have found. So that was very irksome. But also when you go visit shops, and this isn’t just a female thing, actually, sometimes people can be very supercilious or assume you know, it’s your boyfriend who wants to buy the equipment, and you don’t necessarily get very good service. And so I found myself asking bands after events about their gear. And I thought, well, this is information other people should have. So I started the website with the aim of getting a very real non press release 360 view of how people make music and the craft. And, yes, the idea to make it very inclusive, and really accessible so that you can have very in depth interview, which may contain all the technical details and a good geek out. But in language that would mean as somebody who was very new to music could understand. And I have a background in journalism and TV producing and directing. And my role has often been to explain madly complicated things in a in a straightforward way. So I enjoy that.
Andrew Dubber
So what’s your technical background? Where does this knowledge come from that you can I mean, obviously, to explain to the general public something that’s very complicated, you need to understand the thing that’s very complicated.
Terry Tyldesley
I think you do, I’ve always loved science and technology. But I don’t have a special science or technology background. It’s not something I studied. I studied languages, I studied journalism. So it’s a combination of me to being interested in picking things up along the way. And also asking the right questions of people. I did a wonderful interview with Halldor from Iceland who made this crazy and wonderful instrument called the hell doorphone. And it’s one that’s the Oscar winning composer hildur gonna tear used on the Joker score. And I was fascinated by this amazing thing. And so he very kindly agreed to an interview. And he wrote back and said, I love your questions. And it is that that sort of, I suppose that combination of interest and analysis and trying to ask things that will tease information out in in a good way. But also, with being a journalist, and also working in some quite high profile, Current Affairs programmes over the years, you have to be able to zoom in on a subject and pick it up very quickly. And make sure you view across all the key details and accurate even if you’re not an expert, because you can talk to experts for the expert opinion.
Andrew Dubber
So you were working for the BBC, you were working as a journalist and a lot of people’s minds, that’s kind of the very solid job for life, he kind of thing. That’s not what you do now. And what you’ve kind of seemed to have done is gone for things that fascinate you rather than things that you can necessarily rely on, do not talk about sort of the, I don’t know, I guess the psychology behind that what drives you towards things that are at least a little bit speculative.
Terry Tyldesley
And I’m not sure so much fits the psychology or if it’s a number of life changing moments of which Music Tech Fest is one, but I’ll come back to that. I have a perpetual curiosity. I’ve always been passionate about music and very interested in technology. And when I was studying and going to university, there wasn’t so much of that kind of thing around and things are very analogue and old school wasn’t very intimidating. So although I’ve always gone to those gigs, and played guitar and done all these things, I wasn’t I didn’t see any particular way forward. And then working in TV, I pursued my passions as best I could sometimes in quite a funny way. So getting a drum and bass into very serious current affair, programme, title sequences, things like that. And there’s a lovely little thing where I was doing a panorama, and a lot of it was based in Liverpool. And the editor said, Oh, and what some music from Liverpool, and so put in a band up coming at that time called choral. He said, What’s this? It’s not the Beatles. I said, it’s the coolest band around in Liverpool we’re having in and I won that one. But, um, but yes, there is this curiosity. And I’ve been lucky enough, having come through television to realise that there was more I wanted to do, and I changed, changed my route, if you like, by starting kit monsters, and aiming to make that a business. And actually, it’s become more of a stepping stone to other things and a big business in itself. But it’s been great. And I love supporting and giving a platform to new artists, makers, innovators, some of whom have then ended up doing things at Music Tech Fest. Sure,
Andrew Dubber
sure. And one of the things that this all led you to was resonate, you want to tell me a little bit about that journey. And what what resonators?
Terry Tyldesley
Yes, resonate is an ethical music streaming cooperative. And it’s setting out to change the music ecosystem. And give artists both more money, so that there’s a fair trade kind of streaming, a share of profits, and also a say, because artists have to kind of fit in with all these huge businesses and technologies that aren’t designed around them. And the firm belief at resonate is that artists should own the technologies that they use and also own their own data. So they can take that with them rather than having, you know, if a platform goes down or gets less values like MySpace, you know, people still have groups of fans from my space that they bring into their, their current lives. So I’m on the board of resonate, and representing both the artists view and and doing outreach and so on. And we’ve currently we’re currently in advanced beta. So we’ve got about 12,000 tracks, hundreds of labels, a lot of self releasing artists. And it’s very exciting time, because we’ve got a new CEO, who’s from Seattle, rich Jensen, and he was one of the original subpop team. So brings a wealth of music industry experience to complement what we’ve already been doing,
Andrew Dubber
because it’s there was a kind of a blockchain technology basis for what resonate does. And I know that that was kind of buzzword II, about a year or so ago. But did that make things difficult for you to communicate to people about why this was a good thing? Or was blockchain useful to you in that respect?
Terry Tyldesley
I think let’s see, it was a bit of a mixed bag in many ways on on reflection, because obviously, there are huge possibilities there still are in the realms of music and what artists might need smart contracts, swift payments, recording their phone records of tunes and stem so they can receive royalties. And people like Imogen Heap with my Celia have recognised that and done a lot of work in that. So you know, there are huge potentials and possibilities. But also, there was a huge amount of hype because a lot of people saw blockchain as Oh, it’s all about cryptocurrency and getting rich quickly. And as we’ve seen from the crypto tanking last year, it’s not quite that simple. So and I think one of the things when you’re doing something innovative that potentially combines different technologies, is you do have quite a lot of explaining to do. And not everyone’s interested in all the different bits. But at the end of the day, we have a very you know, it’s a very simple concept, resonate which is you you join you become a member you Part family or a Coptic member, and and it’s your cooperative, and that doesn’t change and technologies may change the blockchains may come and go, because there’s more than one people. I’m always having to explain this. There’s not just one blockchain blockchain, there’s lots. And that gives you a kind of a strength.
Andrew Dubber
Right? And does it require scale in order to work economically for the people involved? Or can remain 12,000 tracks and and a handful of, you know, exciting record labels?
Terry Tyldesley
Oh, no, of course, we were aiming to scale. And it’s been designed to be scalable. It’s something that started off as a volunteer led proof of concept has had many iterations. But the most recent work of the past couple of years has been to make it eminently scalable. And we want to be a home for for music fans, active music fans, I mean, all music fans are welcome. But people who care about music, so, you know, we’re alternative with value driven. And there is a real thirst for that. Because as people become more aware of the fact that musicians aren’t getting the benefits of all these streams in many cases, and that the people make the most money out of music seem to be big technology companies, you know, there are people who want to support artists and artists can, you know, obviously invite people to, to support them there.
Andrew Dubber
Let’s talk a little bit about your pop music career, or should I say electro punk? Or do you have a categorization that you prefer? Or is it just it’s music that you make?
Terry Tyldesley
Well, I’ve got a couple of hats at the moment in terms of music making. So I have a band Pharrell five, which is an electro punk band. So it’s kind of big beats electronics, punk attitude, songs that talk about weird things like AI, Robo companions, and so on. So, I do that love performing. And it’s very much a 5050 setup in the band. So myself, my bandmate, Andrew Smith, we writes, produce, arrange, and do all that together. And that’s
Andrew Dubber
going really well. I mean, that’s, that’s become really visible and some real kind of notable successes and broadcasts and releases and so on.
Thank you.
Andrew Dubber
Is that a strange thing to experience as well, I guess, as a grown up,
Terry Tyldesley
um, it’s strange and delightful, because, you know, we’re not young. And so we set out to do what we wanted to do. We have no idea of what people you know, might make of it or are making of it and but it has caught you know, it has caught people’s imagination, and people are enjoying it. And we have, yeah, we get played on. You know, BBC Radio six music and radio x, we’ve had some music and film, and supported some of our favourite legendary artists like black grave and shriek back and test department. And we even played in the National Portrait Gallery as well, which was astonishing, and
Andrew Dubber
somehow inappropriate.
Terry Tyldesley
I know it’s delightfully inappropriate. And there’s an amazing photo of me, I don’t always just talk about me and amazing photos. But there’s an amazing photo of me raising my fist, and the National Portrait Gallery singing what is a actually an anti Trump songs in front of this legendary portrayed of black clad parliamentarians. And that’s all thanks to Martin ware of human D Kevin 17. Because he put on a night there as an experimental night of music art film, to celebrate Picasso portraits
Andrew Dubber
well, and your other musical hat. I’m other musical hat.
Terry Tyldesley
So I’ve also been making bit of experimental music and sound art contributed to a couple of events. And I released my first ever solo single last week, congratulations, thank you called butterfly wings. And that was a complete joy doing something very different. It’s much quieter and downtempo. Features alive, butterfly sound from butterfly that came into my studio. And, and sort of put it out there not knowing what to expect at all. And john kennedy played on radio x, which I was delighted and amazed about. And it’s give me a chance to kind of experiment a bit more and paint with sound if you like. So maybe a bit of a late starter in the kind of sailor single, but hey, never say never.
Andrew Dubber
Well, I mean, Never Say Never would be a good thing to have as your motto, I think because it sounds like the things that interest you. You go and try them and you you go and make something of them because there’s this always kind of ever evolving aspect to your career. Is it deliberate? Or is it something you find yourself falling into?
Terry Tyldesley
I’m probably a bit of both. But yes, trying things out. It’s very important to me. So if I’m writing about something, an app or whatever, I do want to try it. out first and and then we’ll see you can ask better questions about it. But yes, I think kind of getting stuck into everything is really important. Sure,
Andrew Dubber
sure. So let’s talk about Music Tech Fest because you were there before I was. You were the first. And that was 2012. Yeah, the first one and what was I? So what was your first introduction to the world of Music Tech Fest? I can
Terry Tyldesley
honestly say Music Tech Fest has changed my life. Absolutely. And so I was really running the blog and I heard about this first ever Music Tech Fest, I thought, oh, wow, I’ll have some of that. Let me go along. And so I went and reported on it met some incredible people, some of whom I’m still kind of friends or even workmates with today. And, and the relationship gradually grew over the episodes Music Tech Fest to contributing ideas for performers or people with you music gear. I’ve presented a talk I’ve performed at Music Tech Fest. And let’s just
Andrew Dubber
pause for a second because the performance at Music Tech Fest is kind of iconic and sort of the history of Music Tech Fest because it wasn’t just you on stage you’re playing if I remember rightly, or broken speaking spell device, there was people with hacked remote controllers performing you had a 3d printer playing the drums. You had Louis Edmonds from public image joining you on what seemed like a handmade getting made. Yeah, yeah. And that and it was one of those things that was sort of a jam that just became all this kind of iconic and and the sort of legendary performance at MTF, how did that actually come together? How organic was that? planned?
Terry Tyldesley
It was it was joyful anarchy. And it was the concept of Music Tech Fest is you don’t play your normal set, there’s something extra different. And that’s why people who get to be there find it so magical, because you can see stars jamming with all sorts of people like Ray Massey from eight to eight state. So we’d been recording and doing it with a 3d printer and did a song looking ahead to the idea, the concept of 3d printing humans and who’s in control? And what are the ethics around that? I love exploring interesting topics in quite a political way and try and turn them into kind of electro punk pop songs, I suppose. And yes, so we so we were exploring that whole field and, and been sampling 3d printing and creating 3d printed artwork to accompany a vinyl release. I think we were the first person to get 3d printed artwork into record shops, that Rough Trade, but um, there wasn’t a cup or a metal for me on Japan. Sure. And so with the invitation to be part of Music Tech Fest on stage, the idea was to have a jam and and so Music Tech Fest idea was well, we’ve got Lou Edmonds from public image, adore public image, and jam with him and with fake bit Polytechnic, because they’ve got upcycled video game controllers. So it was just crazy joy. And I got given a hacked speaking spell. Yeah. Which I used an MTF, Paris, actually in a jam. That’s right, which is also awesome. So we could probably done a few hours, if we’d had the stage time. Yeah, we’d have enjoyed it, even if nobody else
Andrew Dubber
went down very well. But you became more and more involved in Music Tech Fest as it went along. And so when we got to Germany, and Berlin in 2016, which was a second bill and Music Tech Fest, you were producing,
Terry Tyldesley
I was and it was a magic moment, because I’ve been on the advisory board and contributing ideas and helping with the programming of the first version of Music Tech Fest in Berlin, which was smaller. And then in 2016, you’d negotiated to have this incredible historic venue that the funkhaus and to ramp things up to quite an epic scale. Yes. And I had the joy of of producing it and the challenges,
Andrew Dubber
yeah, but what you brought to it, I guess, from my perspective, was a real performance led element to it. And I think that this just kind of curated stage that that you put together with something that sort of lifted the game on Music Tech Fest on that front quite substantially. What was your thinking going into that and what you wanted to sort of communicate or present,
Terry Tyldesley
I think, definitely build on the on the sort of history of Music Tech Fest with people collaborating. And also, you know, sometimes people who make amazing new instruments and prototypes aren’t necessarily performers and to bring their vision alive. You want performers who want to get stuck in and do things. And so bringing in people like eska, who is an amazing artist, nominated for Mercury Prize, her debut album, but loves experimenting. And I’d really interviewed her and knew that she’d given her band a few quid to go to the pound shop and bring back strange things to perform on the album. So I knew she had that sensibility. And so bringing someone like her in to collaborate and try new things out. Yes, I think it really did make for a fantastic atmosphere. And afterwards, she said, Oh, it’s like a creative summer camp. And I thought, What a lovely description.
Andrew Dubber
Yeah, there’s a good and what was great for me was I was already a big fan of eskers album. And her work was 07. And then I found out by her going to Music Tech Fest, that she was actually this postgraduate mathematics, you know, expert, and she was getting involved in the hackathon making things with Tom Fox, and, you know, winning prizes as a hacker and not just getting up on stage and, and singing. So it was quite extraordinary that some of the overlaps that people have,
Terry Tyldesley
it was astonishing. And also when when you look at the footage and photos, somehow, ask is everywhere. I had no idea she was outside with the polyrhythmic choir and so on. And she was performing close with me and bang.
Andrew Dubber
Yeah, absolutely. So yeah, it was one of these things. And she kind of embodied I guess the spirit of MTF is that everybody does everything, or everybody tries everything, or collaborates with everybody. And the results of that get showcased on the stage. And I guess that sort of performance element that you sort of really kind of pushed at that side really kind of help with that. But you also kind of work, I guess what I would call the vehicle for extending this gender equality side of what Music Tech Fest is, and try to really make sure that that was kind of a front foot.
Terry Tyldesley
It’s something I’m very passionate about. And it was great that, you know, you wanted to wanted that to happen. And so so yes, I tried to bring in as many new people as possible. And also, it’s quite a lesson to be learned for any organisation, I think, which is, you know, when you hear people say, oh, there aren’t enough of whatever you want around, if there aren’t enough around, you’re not doing your outreach. Right. You know, I’m not saying Music Tech Fest wasn’t doing outreach, right. But I think you do have to reach out and and show people that you know, the way in, encourage people to apply, and Music Tech Fest for that Music Tech Fest, there was the open application process, but also finding amazing women who might want to come and inviting them over
Andrew Dubber
upgrade mobage people who might not put themselves forward necessarily for things.
Terry Tyldesley
Yeah. And, and also, I mean, music making is crazy and experimental by its very nature, but people don’t always think of themselves as music, tech people within that. But that doesn’t mean that people who are crazy experimental, can’t do great things, when you know, when they have the opportunity to work with other people. But one thing that did really strike me actually was when looking at the the application call out process. And what came in was that a lot of female artists and innovators are not backed in the same way by universities or don’t have artists endorsements with with big companies. And that means it’s much harder for them to access festivals and events off their own bat. And I think it’s very important to look at that very carefully. If you’re running an event, and it’s one thing you’re finding people are encouraging to apply. But can can they get there? Will they have enough support? and so on. I know we’re only sort of four years down the road from that, but you do think generally things are getting better on that front? And I think that do you mean music or music tech? Well,
Andrew Dubber
I guess you choose. I was gonna say music generally, there seems to be a push like the for instance, the prs Foundation’s, I
Terry Tyldesley
think there’s a you know, there’s a growing awareness. There are some great schemes. You know, key change EU really has changed the debate. I think some people are quite sceptical of it, what can they really achieve? There’s a lot of debate, we really need action and look at how to remove barriers to action. I think, you know, there’s a lot of grassroots action there are collectives who, for example, book female artists, put on their own festivals have radio shows and websites like lab women getting her ears. But we’re still seeing a kind of resistance at the top end of things and those hideous graphics of festivals with all the the male names removed, and you see like one or two little tiny print names of a female artists and and there’s some great research going on. I think that has also opened a lot of doors because, you know, if you don’t have the stats and the research to back things up, then people go Oh, You know, it’s just those women moaning. And then you’ve got someone like Vic Bain, who’s very eminent in the industry, and has done some very valuable research about not just festivals, but about how few women are actually signed to labels or to publishing companies. And so there is a pipeline problem. So, so I think, you know, we’re in a much better place than we were. A few years ago, grassroots level is so much more going on, people are actively trying to improve their their diversity. But there is still quite a lot of change needed.
Andrew Dubber
Well, one of the things that I’ve done while I’ve been here and convention was to moderate a panel that was about sort of the state of the music industry in 2020. And I did the same state of the industry last year, I’ve done it before in different iterations. This is the first time it’s been really optimistic people are saying there is definite, positive change in this realm, in environment in how people are treated in the thinking about things like mental health and about, you know, all the opportunities that are end, even though people realise it’s sort of they’re faced with hard things, particularly here in Britain, where he has sort of been cut off as an island from the rest of Europe, but also in terms of, you know, government support for Creative Industries, all those sorts of things. And yet there is this incredible positivity going on. Like, for instance, a lot of identification of there are a lot more women, for instance, working behind the scenes and festivals and record labels and those sorts of things. And then ever before, do you think that optimism is sort of defiant in the face of terrible odds? Or do you think there’s actually reason for optimism now that there wasn’t before?
Terry Tyldesley
I think there’s huge reason for optimism because, you know, people are sourced and a few years go by going to music conferences, it would be What’s it like being a Warner Music and then after like, you know, a load of years ago, God, this is so boring, it should be, you know, what are we going to do about it? How are we going to change things? And now added to that is, right, well, I’ve just done this new thing, not personally, but other people. And, you know, there’s new festivals springing up all over the place, there was an amazing one last year called croaker land, and effortlessly had a 5050 bill of superb up and coming bands. You know, john candy Frederick’s was there scouting, you know, it’s all there. And also, you know, just seeing, I think I’ve said this already, but grassroots level, the sort of diversity in bands at the moment, it’s very encouraging. So I think people people are sort of clued up now think, well, I am going to have to do my bit to make this happen. But I’m happy to do that. And there’s so much solidarity and support. And I think there’s been a cliche of the years that perhaps a women don’t support each other. And absolutely the opposite is true. The the support the solidarity, that sort of giving people a hand up, both in terms of performers, and people behind the scenes is it’s a huge, huge strength. And also, it’s a generational thing, you know, people who are through coming through, you know, in their sort of late teens, 20s, or 30s, they, you know, they’ve seen the way things should be, and they are the people who are making it happen.
Andrew Dubber
And now you’re mentoring this just go back to jump, and you’re mentoring and seeing, I guess, the next generation come through, are the attitudes that you’re seeing with this generation different than what you grew up around? Or is it? Is it just more justified now?
Terry Tyldesley
The attitudes are very different. I think there’s more of a sense of possibility. And, and also with the digital world, there are so many more opportunities to find things out and to experiment with things and and make music yourself. So a lot of barriers have been removed.
Andrew Dubber
Yeah. And and I guess you don’t have to be 18 years old for those barriers to be removed and for you to act on them either. No. Terry, it’s been really great. Thanks very much your time today.
Terry Tyldesley
Thank you so much. It’s been brilliant.
Andrew Dubber
That’s Terry Tyldesley, aka Kat Five. You can find Terry on Twitte: Kat with a K underscore five, the word five, not the number (@katfive). And of course, you can go and check out Kitmonsters.com for music, tech gear, and lots more, including this fantastic interview with pitch black, whose latest album as an absolute favourite of mine. And well, that’s the MTF podcast, if you enjoyed that. And given that you’re still here, I’d consider that a pretty good sign. why not check out some of the other back episodes of the MTF podcast, there’s bound to be something of interest in there for you. And of course, subscribe, rate, review, share, like all usual, and I’ll catch you back here next week. In the meantime, stay safe. Stay home if you can, and we will talk soon
