Born Again: Natalie “The Floacist” Stewart Talks Life After Floetry, the Place of Neo-Soul Today & Working with Thandiswa Mazwai

                                                                       AfriPOP! Magazine

A. You've just released your second solo album after your split from Floetry with Marsha Ambrosius . How has your journey been since the separation?

I didn’t split from Floetry. Floetry is what I do. I, The Floacist, am a poet, who creates poetic delivery with musical intent, a genre of music called Floetry. Marsha left the group in 2006 to pursue a solo career, unfortunately she told a lie stating that I had left the group, so the media ran with that. That is one of a few mistruths that I have had to deal with over the years, along with boycotts from media outlets that previously aired my group but to date have refused to air any of my video content, whilst supporting Marsha healthily. It hasn’t been easy, but many paths worthy of being walked have obstacles along the way. Since Marsha left there has been a lot to do behind the scenes, legalities, unwrapping the red tape that had built up over the years of major label and bloated ego management involvement. I had to rescue the brand from misuse and I had to rescue myself from being sacrificed. So the journey has been one of ownership and independence. My creative partner of 14 years, Nolan Weekes is the head of FREE SUM Music Company, our production house where we have produced my solo albums and solo music videos. Creative control is priceless, so the journey has been very productive. In many ways it has brought me to a new beginning, and it is a blessing to be at a beginning with 10 years behind me.

B. Did you feel the pressure to come out with an even bigger and better follow up as a solo artist after Floetry`s phenomenal success?

I haven’t felt pressure since I accepted the shift that came with Marsha leaving the group. I don’t feel any pressure anymore, I feel creative freedom. I’m not walking a separate journey to my past as it is all connected. I am not launching a solo career, I am continuing what I started. I remember with a full heart my 20’s and the many coming of age experiences that I had during that time. Those times inspire me and give me the foundation to continue to build upon. I am enjoying continuing the exploration of the genre of Floetry, I have been dedicated to this genre’s growth for more than 13 years! Give Thanks!

C.I know you've been asked this question a million times already. Are you still friends with Marsha?

I have known Marsha since I was 11 years old. This isn’t a lightly answered question. Marsha and I haven’t spoken since 2007. At this point, we represent two completely different paths in creativity, one, a mainstream pursuit, one an independent journey. One venturing further away from the floetic ethos and responsibilities of an artist that represents it’s community. I couldn’t do many of the things that Marsha is prepared to do for the sake of fame and ‘success’. I took a stance six years ago when both management and label were attempting to corrupt Floetry to make it more mainstream. I was asked to ‘dumb my lyrics down’ and that’s a direct quote. They wanted to use Floetry to become another vessel to heighten anger and miscommunication amongst our listeners, young, black women mainly. I take these things very seriously, and I have had to walk the path that my stance has led me down. It has been character building and spirit refining, and I don’t regret a moment of it, especially as I understand and accept myself more.

D. Four years is a pretty long time to be hibernating away from your career. Why did you take such a long time after the split to reclaim the spotlight with your solo debut, Floetic Soul in 2010?

 I needed time. To be honest, it didn’t feel too long to me, the first two years past by in a blur. I was very hurt by the way that events unfolded. Spiritually, emotionally, psychologically I was tired and drained. It took a while for me to even register what I was feeling. By the end of 2006 I was quite unwell, ultimately from stress. I tried to work straight away, but I wasn’t ready. I needed time, at home. I needed my family. I needed familiarity. I had been living in the US for six years when everything suddenly turned upside down. Nolan saved me by bringing me home, and letting me stop. I needed to accept the reality, so I needed to be where things were real. I continued to go back and forth to the US between ’07 and ’08. I had recorded a whole album in 2007 that I ‘almost’ released with Hidden Beach in 2008 but that deal fell through as Hidden Beach were going through financial difficulties. I started to find my peace again in 2009. Floetic Soul was ready to be recorded by the time I was approached by Shanachie in 2010, in fact, I recorded the whole project in 16 days! It was quite a release! For me, every day from the last show with Marsha in Birmingham, UK in December 2006 to the release date of Floetic Soul November 9^th 2010 is well accounted for!

E. Your music since the beginning has been described “neo soul,” ,and some people consider you a femcee-a female mc- but is it that simple? How do you describe your sound?

 As the femcee definition articulates some could possibly mistake me for a femcee., but if you are asking me to articulate my identity for myself; I am a Poet. I am a Floacist. I am The Floacist. I named myself this as my flow assists; understanding, innerstanding, overstanding.

F. With regards to you embracing the “neo soul” movement, there’s a lot of people who say that that period in music is over, so where does your style fit in music today?

The genre of Neo-Soul has unfortunately been sacrificed, for no reason other than it represented positive energy and vibrations. It was a genre that represented strength, natural beauty, cultural awareness, union and identity. Marsha released a mixtape called ‘Neo Soul is Dead’ in 2007, a clear signal of her desire to sacrifice what had given her entry into the music industry for the promise of greater fame and recognition. Obviously she wasn’t the only person tempted to turn their backs on the genre. I am quite honored to be associated with the Neo Soul movement. I remember not being comfortable with it in the very beginning, as I was representing Floetry as a genre, but I soon matured to appreciate that this association linked us to a movement of music that stood for and represented more than fame and bright lights. The ‘period’ of Soul will never be over, no matter what games industries and recording artists play. That’s like trying to say that Jazz is over. Real music is never denied, real artists just have to adjust their idea of the prize. There is enough room for everybody. Floetic, Floacism, Flo’Ology and Floetic Soul are most often found in the Soul, Neo Soul and even R&B sections. Floetry Re:Birth is being referred to as having a ‘jazzy’ feel, in review even drawing comparisons to Esperanza Spalding’s ‘Chamber Music Society’ and Robert Glasper’s ‘Black Radio’, (company, which may I add, I am honored to be suggested to keep!) My music, ‘Floetry’; poetic delivery with musical intent, fits quite comfortably in its very own place and I am very content with that.

G. The issues that you address on the new album seem to be intense and personal. Is this something that you set out to do consciously when you write your lyrics?

All of the songs that I have released over my 10 years of releasing music have been ‘intense and personal’ in their own rights! It’s just the difference between the journal pages of a 22 year old girl ‘Floetic’, a 23 year old girl ‘Floacism’, a 25 year old young woman ‘Flo’Ology’, a 31 year old woman ‘Floetic Soul’ and a 33 year old woman ‘Floetry Re:Birth’. I’m sure if you asked most 33 year old women to share their journal pages they would bare some intense and personal thoughts and introspections!

H. You seem to be have a solid connection to South Africa. How so?

Well you know I am one of many displaced children of the Motherland. We all know the journey well. Through the inhumane business of the slave trade my people ended up in Jamaica. I have always had a calling to South Africa, a gentle song in my heart. Growing up I asked many a question onto my soul whilst witnessing reports of the effects of the apartheid regime. Having Jamaican parents, we were drawn to the plight of our beloved and deeply missed Motherland. South Africa, Nelson Mandela and Winnie Mandela made a very deep impression on me, from a young age. In 2004 I was blessed to meet someone who has become a dear sister to me, Demi Mseleku, grand daughter of Pinki Meselku and Grand Niece of Bheki Mseleku. Demi, a proud Zulu daughter has shared a wealth of the musical genius of South Africa with me! Much of which has assisted and guided me through some of my deeper journeys and meditations of the past 4 or 5 years, especially Miriam Makeba, Bheki Mseleku and Thandiswa Mazwai. Demi features on Floetry Re:Birth on Children of the Sun.

I. You share a special frienship with South African songstress Thandiswa Mazwai. Tell us how it came about?

I came to South Africa to do a show in 2006 I met Thandiswa briefly backstage after my set. At the time, I was in a very vulnerable stage of my journey. I was quite distracted. In many ways, I feel as though I am very lucky to have not missed out on connecting with, the most outstanding vocalist I have ever had the pleasure to create with. I didn’t see Thandiswa again until 2011 when Demi and I attended a show in honor of ‘Mama Afrika’ - Miriam Makeba at the Hackney Empire in London, featuring Hugh Masekela, Vusi Mahlasela and Thandiswa. This time I was sure to align our connection! I knew that I wanted to collaborate, I just didn’t know what the concept was at the time, I was in concept overload, it took a while to settle and find the perfect piece/peace! ‘Roots of Love’ was actually recorded both in the UK (my vocals) and South Africa (Thandiswa’s vocals). I look forward to performing Roots of Love live, I think it will be very special! In truth, I would love to make an entire album with Thandiswa. I think it would be a healing to a people, too long separated and far too used to experiencing life as if we are walking completely different paths.

J. Floetry is described as poetic delivery with musical intent. Where do you feel that the genre fits into the whole picture of music today?

I know where Floetry fits in music today. There really is room for everyone, it is not as tight a fit as it is made to seem…especially if you are not doing exactly the same thing as everyone else, and as long as you are not secretly desiring the same thing as everyone else who is doing exactly the same thing as everyone else!

K. In another interview you mentioned that you considered Sade as the godmother of neo soul. How has she influenced your musical path so far?

Growing up in London in the 80’s Sade was everywhere! When the band released Lovers Rock in 2000 I took that title as a message for those who would see it! A shout out to a movement that only a few know, but those who do know it, it is a very special part of our lives. Lovers Rock was a powerful independent Black British Reggae Soul genre that thrived in the 80’s, in a way that hasn’t been repeated by the Black British community since. Amy Winehouse’s Back to Black is the closest I have heard to a Lovers Rock album since. The West Indian culture’s influence on English music and culture has been witnessed through the Ska era, the development of the Punk era and the sounds of artists such as Sting/Police, Eric Clapton and Maddness to name but a few. The impact of Black British bands and artists of the 80’s on the shaping of what was to become the Neo Soul movement is more often than not understated. Yes I see Sade as the God Mother of Neo Soul, absolutely, and there are other Black British founding Icons of the Neo Soul genre in Loose Ends, Soul II Soul, Caron Wheeler, Mica Paris and Omar. Floetry ultimately followed in the footsteps of those who came before it in the ongoing yet under developed relationship between US and UK soul.

L.Some have alluded to the fact that your starting of a British female movement of music with Floetry ultimately had its spin-offs in the style of mainstream English acts such as Adele,Amy Winehouse and Jesse J. Do you feel a connection between your sound and theirs when you listen to them?

Interestingly enough, all three of the artists that you have mentioned all attended the BRIT Performing Arts and Technology School, as did I, and even Marsha. In that way I feel connected! I do keep a close ear on the creations of my fellow BRIT alumni! The major difference in our journeys is that there really wasn’t any avenue for Floetry to be signed to a major label, and have major distribution through a UK record label. As Black British artists the viability for an opportunity to make an eclectic, neo soul, alternative, spoken word, Floetry project, namely ‘Floetic’, in the UK was none. I didn’t even waste my time attempting to pursue any form of industry connections or recording contract dreams. It didn’t even occur to me, I just headed straight to the US. I didn’t even bother to trouble my spirit with the rejection! The Black British equivalents to Jessie J, Amy and Adele don’t get any form of ‘bring in’ or interest in the UK music industry. As far as I know, nobody is looking for Black British female, beautiful, sultry, witty, sassy and soulful singer songwriter. Your best bet is to go on X Factor or Britain’s Got Talent and hope for the best!

That being said, I do love to give credit where credit is due; Jessie J is quite a chameleon of a vocalist! Her Musical Theater background means she has studied performance as well as vocal techniques and this shows in her performance energy. Amy Winehouse, peace to her soul, had the most incredible pen! Her writing and studio performance were absolutely outstanding! Adele has proceeded Amy with class, easing the fans pain to loose such a gifted siren as Ms Winehouse by producing outstanding moments with her signature honest delivery. It would make sense for there to be a connection as we may very well have shared influences by growing up in similar environments, in close enough eras! We are separated by nearly 10 years in age, so it is possible that Floetry albums may be in their CD collections! I have all of their albums. Both Adele and Jessie J have very long careers ahead of them, the ‘best’ of the both of them is very possibly still to come, which says a lot! BRIT is a very special school!

M.Its not the first time you've featured Raheem Devaughn in your solo albums. He is featured in the lead single off 2010`s Floetic Soul. Now he is on the new single off Re:Birth - “Start Again.”.Why did you choose to work with him so much?

‘Keep it Going’ was the third single on Floetic Soul. I enjoy working with Raheem because of his work ethic and his recording technique. Whenever we go into the studio we seem to time warp to somewhere in the 1960’s or 70’s, and I enjoy that. He gives me something pure that I miss when listening to most African American R&B or Soul male vocalists. Raheem can evoke what I think most are missing, sincerity and joy. As ‘Start Again’ began to come together musically, I knew that the vibration would meet Raheem well! We recorded Raheem’s parts in NY just before mastering the album. And as always, I was more than happy with what Raheem delivered!

 N. What were you going for with this new album, and how much of the source material did you ultimately let out,and keep in?

This album is all about rebirth. It is a celebration of creative freedom and independence. We have taken a complete step away from Midi production. This album is organic and pure. Real musicianship, real people, real lives coming together to make a piece of art, not just to make some product to push, but to truly make art that we believe in. I only made 10 songs for this album. Every song created has been used. I lived with every melody, every beat, every break. I already have thoughts and ideas for the next album, and how much freer I can be in that creation! Hopefully I’ll be making that next one in South Africa, or at least in part!

O. You've written songs for some of the biggest acts in music to date, including Michael Jackson. Is writing for other artists something you'd like to go on with in future?

Butterflies was actually written by Marsha, it got to Michael Jackson by way of John McCain, who actually signed Floetry to Dreamworks records in 2000. Butterflies was on the Floetry demo that was circulating the labels at the time and John played it to Michael.

I enjoy songwriting, yes. Writing for and featuring alongside Earth Wind & Fire has been one of the highlights in my ‘songwriting’ career, because it was a genuine intimate creative experience. Still that doesn’t come close to the feeling that I have about creating Floetic music! Writing songs like ‘Roots of Love’ with Thandiswa for Floetry Re:Birth, is where I get my most joy; ‘poetic delivery with musical intent’. As a writer, I feel connected from concept conception, all the way through performance and delivery, so writing songs generically, to just get placed isn’t so much my thing! I like more intimate collaborations. So if I write a song for an artist, it must’ve come through an intimate exchange of energy at some point in the process!

P. Who were your biggest musical influences during your childhood?

Reggae music is my gospel music. A good steady spiritual diet of The Wailers, Bob Marley, Burning Spear, John Holt, Alton Ellis, Gregory Issacs, Dennis Brown, Eek-A-Mouse, Yellow Man, The Ladies of Lovers Rock; Louisa Marks, Janet Kay, Carol Thompson, UK Soul; Soul II Soul, Caron Wheeler, Sade, and a little touch of Nat King Cole and Luther Vandross! When I moved to London in the mid 80’s, there was a lot of good music playing, everywhere! By the time I get to my late teens Bashment is battling against Hip Hop for the number one place in our musically identifying hearts. Then everything was swallowed up by commercialized Hip Hop and Black music and culture has forever been effected, from that moment on.

Q. What was the first ever single you bought?

I can’t remember the first single I ever bought. I am the youngest of three children. My brother had a sound system so was constantly buying music, my sister was and still is, an avid collector of good music, and I always thought that what was theirs was mine…as any meddling little sister does!

R. Any chance of seeing you perform in South Africa soon?

I have been visualizing myself in South Africa performing Children of the Sun and Roots of Love sharing the stage with my sistrens, Demi Mseleku and the magnificent Thandiswa Mazwai. My first and only time performing in South Africa was six years ago, in fact it was a very pivotal time in my career, as Marsha soon left the group after. However, this time around I do not want to just fly in and perform and fly out. When I return I hope to be spending time in South Africa, and of course I look forward to performing too…but more then anything, I look forward to being there!

S. What is next for The Floacist in her career?

A more balanced expression of my creativity. I am poet, writer, orator and a member of my community first. These past 10 years have been based on laying foundations and navigating through the industry and all that comes with it! Now I want to get back to the true essence of my creativity, sharing not only my musical inflections of poetry, but also the written and theatrical aspects of the spoken word. Most importantly, I must give more in direct connectivity. I am just coming out of the hibernation that independence and ownership request of the spirit in order to align and recharge self. In a way, I have done so little, and I am very aware of that. So I am looking forward to more productivity and more selfless ventures of creative expression.