The multi-talented Kinzoogianna, also known as Anna Stubbs, captivates listeners once again with her highly anticipated new single, “Cherry Devoy”. This track marks the first glimpse into her upcoming second album, ‘The Clique of ’86’, slated for release in 2025. Known for her dynamic presence in the Nu Jazz, Broken Beat, and Jazztronica scenes, Kinzoogianna continues to push boundaries and evolve as an artist. We catch up with Kinzoogianna about the incredible release…
Hey Kinzoogianna, how are you? We absolutely love Cherry Devoy here at Urbanista! It’s so great to talk to you.
Thank you! I love your questions, looking forward to this.
“Cherry Devoy” taps into the vibrant energy of the 80s London club scene. What inspired you to blend hip hop, house, and electro for this track?
I’ve always been listening to this kind of music, but I’ve been going back to my dancing roots a lot more, and my drum programming skills are up for something quicker now, so I thought I’d go for a dance album exploring 120-130 BPM (or hip hop). I love the raw beats and grooves from that era. The broken beat scene in London is my home and that naturally has come out of those dance floor rhythms.
Your upcoming album, ‘The Clique of ’86,’ promises a unique sonic experience. How does ‘Cherry Devoy’ set the stage for the rest of the album?
Cherry is the first character off of the album. He really encapsulates what UK dance music is all about, the raw sexuality of a dance floor, the glamour, the nostalgia, the hedonism. I want all the tunes to show a different facet of music culture (and the different parts of myself) expressed through a character or characters. Some of the tunes are going to be more rebellious, or more intellectual, and hopefully, the grooves and beats I’ve chosen suit the character. For example, the hip hop version of ‘I Love Music’ is sung by Queenie, who thinks she’s Shirley Bassey!
The video for “Cherry Devoy” features dynamic dance moves by Jutsu. How did that collaboration come about?
I had a dream about how Cherry Devoy would look like and within one minute online I’d found Jutsu, who was perfect. So I attended his popping/locking dance class at Pineapple Dance Studios for a few weeks and he came up with a choreographed routine for us. For the rest of it, he/we improvised. When he dances the whole world stops and watches. I’m looking forward to working with him again, he’s a genius.
You’ve collaborated with top talents like Rob Mullarkey and Richard Spaven. How does collaboration shape your creative process, and what did the creative process look like?
For my first album, I pretty much wrote every bass part and much of the drum parts, as well as the guide piano and voices, before sending the lads the recordings. I wrote charts for them as guides and they together (live) replaced what was already recorded with accomplished inspired beautiful bass and drums. It sounds like we were playing live because I then re-recorded the voices and pianos around their new recordings. It was an unusual and convoluted process but that’s the kind of thing that happened in lockdown. I was listening to a lot of Joni Mitchell at the time and going on long walks, so my lifelong fire for dance music was on simmer!
Your music spans genres from Nu Jazz to Broken Beat. How do you navigate these different styles, and what draws you to experiment with such diverse musical influences?
I am a mad House Music raver who took a detour through formal jazz training and gigging so it was as natural as breathing to try and add drum and bass rhythms, and funk rhythms to jazz harmony, which morphed into the broken beat style we know today. I did this with the bands that I ran from 1995-2000 leading up to Brotherly, and Rob Mullarkey really broke the mold when he started producing beats. On the other hand, my hip-hop playlist is 500-600 long, and I love that slower funk too. I got a scholarship to study at The Guildhall School of Music and Drama, so then came the strings sections and other experiments in the basement studios with D&B and orchestra. I love that combination of filthy grooves and beautiful string, vocal or synth sounds.
Who are the biggest influences on your sound?
The Rotary Connection, Herbie Hancock, Chick Corea, Mary J Blige, Kendrick Lamar, Dilla, Kaidi Tatham, MJ, Joni, Steely Dan, Stevie Wonder, Jazzanova, Louis Cole, Disclosure, Kerri Chandler, Aleem, Nas…..
If you could create a playlist with three of your songs and three songs from your biggest influences, what would you pick?
Listen to Cherry Devoy on SPOTIFY | APPLE MUSIC
