Rapper Che Lingo opens up about anxiety and eating disorder in new album Coming Up For Air
* Warning – this article contains an account of disordered eating
“I’m super exhaustingly deep,” says Che Lingo, smiling. “But I’m learning to know when to just go with it.” The south London rapper has been talking for almost an hour and could probably keep going for a while. This is a man who has a lot to get off his chest.
Having risen to prominence with the release of debut album The Worst Generation through Idris Elba‘s record label in 2020, his lyrics dealt with themes of anxiety and loss, masculinity, the treatment of black people in society, and the impact growing up on one of the capital’s deprived estates has had on his life.
My Block, a song written about his friend Julian Cole, who was left paralysed and brain damaged at 19 after being arrested following a “scuffle” with officers and door staff outside a nightclub in 2013, became part of the soundtrack to the Black Lives Matter movement.
Now, he is back with Coming Up For Air, which is just as personal, exploring a period during the pandemic in which he battled grief, injury and bulimia. It is rare for a man in the public eye to discuss a problem like this, even more so in the world of rap. He says he understands it is a subject that could draw “ridicule and criticism – even hate”, but it’s an issue he wants to be open about.
Lingo, who keeps his real name private, tells Sky News his looks and weight have always been a subject of inner turmoil; at school, he was bullied for being chubby so as a teenager he threw himself into boxing and working out, becoming “super disciplined” to change the reflection he hated in the mirror.
Stuck indoors when the pandemic hit, he put on weight. And then, playing basketball one day after lockdown lifted, he ruptured his Achilles tendon and was left wearing an orthopaedic boot for six months.
“I was far from obese but a lot bigger than I wanted and I was very uncomfortable in my skin,” he says. “It affected me badly… I didn’t know if was going to be able to use my leg in the same way again, ever, because it’s such a volatile injury. Everywhere I went I was sweating because the boot was so heavy. It was really mentally exhausting as well as physically exhausting.
‘I won’t ever shy away from talking about it’
“I was eating and eating and eating. I was eating and feeling super guilty. That’s the process: you eat, you feel guilty, then you purge, and feel guilty for purging. [I was] hurting my insides. It can kill you if you abuse it too much. I knew it was a problem when I realised nobody could stop me from doing it when I felt the urge.”
Eventually, Lingo told some family members and close friends. “And I put it on the album,” he says, smiling. “From then it was like, okay, this feels better now. And I won’t ever shy away from talking about things in real life that I’ve put on my projects.”
According to eating disorder charities, about 25% of those who suffer are male. Lingo hopes he can help others, particularly men who might be suffering in silence.
“You still struggle with it, every now and again,” he says. “Certain things never go away. At the same time you learn how to manage… it’s something I’m now more prepared to deal with. In the same way, I want the album to make people feel like, yeah, you will sink again at some point, but you might be more prepared to deal with it after you listen to me talk about it.”
The call from Idris Elba
Idris Elba on stage at Glastonbury in 2015. Pic: Guy Bell/Shutterstock
Lingo was raised by his grandmother on his mother’s side. Having written songs since primary school – “I always knew I was good, from the reactions I’d get in the playground” – he started performing in youth clubs as a teenager, graduating to talent shows, building a fanbase online. “I just wanted to be heard,” he says. “I found something I felt was valuable and I wanted to share it with people.”
Getting signed by Elba, who founded the 7Wallace label, was a huge moment. “I was never really one to be starstruck,” he says. “I’ve got family in the early So Solid [Crew] era, so I was always around them.” But he admired Elba’s talent and work ethic, and being able to earn a living through his music – and help support his family – was empowering.
“It’s also a massive responsibility. You almost feel obligated to continue to seek stimulation and live life and figure out ways to say things that are important. If you’re that type of artist, which I believe I am. But yeah, it was a big moment.”
Rather than offer advice, Elba told Lingo to keep doing exactly what he was doing. His son was a fan, he told the rapper, and he had been listening himself for months. “Before we got working on the first album, we had a phone call and he was like, ‘I think you’re a genius, I think what you do is amazing, and I’m just happy you’ve trusted us with the next leg of your career’.”
Releasing The Worst Generation felt almost trivial, he says, as people were dying during the pandemic. But he realised many related to his lyrics, that this wasn’t just his story. The album is a telling of his environment, “growing up as a young black youth in south London and how that affected me; not going down the route of being a product of said environment, which is the majority of people”.
He is tired of stereotypes. The majority of black people living on estates such as the one he grew up on aren’t involved in crime, or “things based on survival that people would consider negative”, he says. “Most are regular people wanting to get on with their day. I wanted to make sure that not only did I get to tell my story, but I got to tell the story of millions and millions of young black youths that come out of south and southwest London”.
‘He was 19, a semi-pro footballer, a sports science student’
Julian Cole. Pic: Cole family
Taking down police brutality in My Block allowed Lingo to vent his anger about what happened to his friend Julian, whose broken neck was only discovered after he had been taken to a police station, rather than a hospital.
Three police officers falsely claimed he had been able to walk to the police van – but CCTV and witnesses proved otherwise. The officers were not accused of causing the injuries, police said, but were later found guilty of gross misconduct and sacked. Following the hearing in 2018, Bedfordshire Police said the officers were in no way to blame for Mr Cole’s “catastrophic” injuries but apologised for their conduct following the incident, saying honesty and integrity were “vital” in policing.
“He was 19, a semi-pro footballer, a sports science student,” Lingo says now. “By the time he reached the police station, his neck was broken and he was paralysed. And three policemen lied about their involvement. Why is nobody in jail? Why is nobody being convicted? Why is the government not paying compensation for his potential, the stress that’s come to his family, and the fact his life will be changed forever?”
The song became part of the Black Lives Matter protests in 2020. While it was written before the death of George Floyd, the rapper says he realised what it meant to people at that time. “There’s a lot of focus on my community and the people that come from it and I felt it was important to try and be a voice for that, or at least get my frustrations off about what I was observing.”
‘I’m still unpacking lots of issues’
Lingo is intensely passionate and deeply thoughtful, slipping into rapping lyrics several times to illustrate a point (sometimes so fluently it’s not always obvious), and fastidiously explaining the meaning behind his songs. He sees his music as therapy. “People don’t really get an opportunity to process what happens in their environment as much as maybe an artist might do. Because you have to sit down and write songs about the things that happen to you, whereas other people might have to pay to talk about them.”
However, he admits he struggles with some of the side-effects of success. “I’m still unpacking all the reasons why I need this attention. I’m still unpacking how I felt like I got lost and then I found myself. I’m still unpacking the idea of when the bulimia decided to rear its head. I’m still unpacking, like, why I feel I need to be at the forefront of this kind of cycle of media and attention and all of the toxic parts of it?”
Ultimately, he says he can’t not do it. In Heart Race, he raps about anxiety, and caring too much. “‘How do we start addressing the trauma the world taught us/ whilst maintaining this sh*t that we need to bring to the table?’ Because it’s all happening at one time. You’ve seen the wars and you’ve done what you can, everybody scrambles to support what they can when they can, and that’s a beautiful thing. But what’s going on in your life as well? What wars are you fighting by yourself?”
Lingo has received several messages from fans, he says, telling him his music has helped them. “I’ve read these things deeply and respectfully… [they’re saying] ‘I felt suicidal at this point of my life and this song really brought me out of that’. Or, ‘this song helped me finish my dissertation and I’ve put you in the credits’. That’s one of the most positive effects you can have on somebody, you’ve made them want to keep living. I’m forever grateful to them for being that vulnerable with me.”
‘Che Lingo-ing’ Freddie Mercury and Queen
Lingo with Queen’s Roger Taylor (front), along with producer Manon Dave and musicians Oliver Hutch and Josh Hawkins outside Abbey Road Studios
The final song on Coming Up For Air is My Radio, a track which samples Freddie Mercury‘s vocals from Queen‘s Radio Gaga. Lingo was picked by drummer Roger Taylor to reinterpret the band’s classic hit and he transformed the track into a song about his grandmother on his father’s side, who died towards the start of the pandemic.
“I was like, I don’t want it to sound anything like the original track. I want to ‘Che Lingo’ this song,” he says. “I started overthinking it, but then was like, this isn’t why they picked me. They picked me to do what I do, and I did that. My grandma would’ve loved it.”
Che Lingo’s Coming Up For Air is out now
Entertainment
Israeli embassy ‘deeply disturbed’ by Bob Vylan’s ‘death to the IDF’ Glastonbury chant
The Israeli embassy has said it’s “deeply disturbed” by chants of “death to the IDF” at Glastonbury – as police also investigate the incident.
Video shows one of the members of Bob Vylan shouting the slogan into the mic and some of the crowd joining in.
The duo were performing ahead of a performance by Kneecap, the Irish act who the prime minister said should be ditched from the line-up.
“The Embassy of Israel in the United Kingdom is deeply disturbed by the inflammatory and hateful rhetoric expressed on stage at the Glastonbury Festival,” a statement said.
It said slogans like Saturday’s chant “advocate for the dismantling of the State of Israel”.
The BBC said some of the comments by Bob Vylan were ‘deeply offensive’. Pic: PA
The post on X added: “When such messages are delivered before tens of thousands of festivalgoers and met with applause, it raises serious concerns about the normalisation of extremist language and the glorification of violence.”
Avon and Somerset Police said they are looking at whether a criminal offence was committed.
Bob Vylan also performed in front of a screen quoting a claim that Israel’s actions in Gaza amount to genocide.
Culture Secretary Lisa Nandy has spoken to BBC boss Tim Davie for an “urgent explanation” about what due diligence it carried out into Bob Vylan.
Thousands watched the set on the West Holts stage. Pic: PA
A spokesman said the government strongly condemned the “threatening comments” by the group, whose X bio describes them as a “punk/rap/alt thing”.
A BBC statement said: “Some of the comments made during Bob Vylan’s set were deeply offensive.
“During this live stream on iPlayer, which reflected what was happening on stage, a warning was issued on screen about the very strong and discriminatory language.
“We have no plans to make the performance available on demand.”
Tory leader Kemi Badenoch re-posted a clip of the incident and called it “grotesque”.
“Violence against Jews isn’t edgy. The West is playing with fire if we allow this sort of behaviour to go unchecked,” she said on X.
Read more:
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A statement from Glastonbury Festival said it “does not condone hate speech or incitement to violence of any kind from its performers”.
Kneecap also performed – with the BBC not showing them live. Pic: Reuters
Irish group Kneecap followed Bob Vylan – with the broadcaster not carrying their performance live amid concern over what they might do or say.
However, it’s understood their show will be made available on demand after a review.
One of its members, Liam Og O hAnnaidh, was charged with a terror offence in May after being accused of displaying a flag in support of proscribed terror group Hezbollah at a gig.
Pic: Reuters
There were Palestinian flags among the crowd for Kneecap’s show. Pic: Reuters
Bandmate Naoise O Caireallain told the packed Glastonbury crowd they should “start a riot outside the courts”, before clarifying: “No riots just love and support, and support for Palestine.”
O hAnnaidh – also known as Mo Chara – wore a Palestinian keffiyeh scarf for Saturday’s set and told fans he was a “free man”.
Entertainment
Calum Scott: Britain’s Got Talent star on fame, mental health and dealing with body dysmorphia
There was a moment in Calum Scott’s life when he found himself contemplating taking his own life.
The 36-year-old singer-songwriter tells Sky News: “I did get to a point where I had a very low self-esteem, very low self-worth… I thought, ‘I can’t see how my life will get any better from this moment’.”
He says it was only the thought of the “shattering” impact his death would have on his mum Debbie that pulled him back from the edge and gave him the momentum to reach out for help.
“What I thought was my lowest moment was probably my most defining moment in terms of being able to pick myself up… and to walk away, albeit with lots of tears and a lot of emotion.
“That was the moment that I needed to pursue better mental health.”
Calum Scott has achieved a billion streams of his music. Pic: Tom Cockram
He’s since racked up a billion streams of his music, joining the likes of The Rolling Stones, Whitney Houston and ABBA in his achievement.
His biggest UK chart hit – a cover of Robyn’s Dancing On My Own – reached number two in the singles chart, with the video having been viewed more than half a billion times on YouTube.
It’s a future he would have found hard to comprehend just a decade ago.
Scott was working in the HR department of Hull City Council when Britain’s Got Talent made him an overnight star after receiving a “golden buzzer” (an automatic pass into the semi-finals) from judge Simon Cowell.
Scott reached the final – which was won by Jules O’Dwyer and her dog Matisse – and the singer’s success was the things dreams are made of. But he admits, it wasn’t all roses.
Calum performing with Take That at the King’s coronation. Pic: PA
“That was when I first started having panic attacks,” he says. “For me to suddenly start down that road was scary.
“There’s no handbook on how to deal with fame. That doesn’t exist, as far as I know.”
A notoriously tough business, Scott says the music scene is one where “people constantly want something from you”.
The death of One Direction star Liam Payne – who rose to fame on talent show X Factor – last year was a stark reminder of the pressure on those in the public eye.
Liam Payne died last year. Pic: Reuters
Scott says Payne’s death could be the “wake-up call that the industry needs” to highlight “the pressure, the expectation (and) the workload” on young artists.
“You need that balance to be able to be creative, and the industry is where art meets consumerism,” he says.
“I think you’ve got to be careful that that line doesn’t start to impose on your soul and in your heart.”
‘A prisoner in your own body’
For Scott, his desire to perform in front of thousands has lived alongside his battle with the debilitating mental health condition, body dysmorphia.
“It’s an industry where people are not only listening to the music, but they’re looking at you and scrutinising you, and it’s difficult to put yourself out there – to be enjoyed and to entertain people – but also to be criticised,” he says.
Estimated to affect up to 2% of the adult population in the UK, according to the Body Dysmorphic Disorder Foundation, sufferers spend hours worrying about perceived flaws in their appearance, which can severely impact work, social life and relationships.
Scott says: “For me, growing up, I had a few issues with my sexuality and my dad leaving when I was young and losing all my friends. A lot of reasons compounded down as to why I ended up with body dysmorphia.”
Pic: Tom Cockram
At his worst, obsessively documenting his perceived flaws, Scott says: “For anybody who’s suffering with body dysmorphia, you feel a prisoner in your own body, and it’s awful.
“With social media, it’s difficult because every facet of every part of our life is documented on Instagram in the perfect way. And that’s just not how life works.
“People aren’t putting their worst parts on social media. Somebody wakes up at six in the morning, they’re beautiful and their hair’s done, but somebody set that camera up to record that moment. It’s not real.”
‘The favourite part of my job’
One thing that is real is Scott’s connection to his fans.
Calum at this year’s Brit Awards. Pic: Reuters
“My favourite part of my job is going to a gig and performing the songs that have resonated with people in such different, vast ways, and watching it happen in real time,” he says.
“It’s like magic, you know? Like the stuff you used to watch – Paul Daniels on the TV, and my god, it just used to buzz you. It’s the same thing.”
With a new album and a 48-city world tour ahead of him, Scott’s story is an inspiring one.
A mental health advocate, his message of hope is one he hopes to share with his fans and beyond: “I wouldn’t be here if I didn’t give myself the opportunity to. It’s important to just stay headstrong, believe in yourself. Anything’s possible.”
Calum Scott’s third studio album, Avenoir, is out on 12 September, followed by his world tour, which kicks off on 12 October in Porto, Portugal.
Anyone feeling emotionally distressed or suicidal can call Samaritans for help on 116 123 or email jo@samaritans.org in the UK. In the US, call the Samaritans branch in your area or 1 (800) 273-TALK
Declaring a ‘Pulp Summer’ on the screen behind them, the band appeared on Glastonbury’s Pyramid Stage for another of the festival’s “surprise” performances.
Billed as the non-existent act Patchwork in the days beforehand, fans knew to expect something big – similar to when The ChurnUps turned out to be the Foo Fighters in 2023.
A group of people mysteriously walked on to the stage in waterproof ponchos before the “secret” was revealed and the Pulp homage to fellow Saturday night performer Charli XCX’s Brat Summer appeared on screen.
Glastonbury’s greatest secret sets of all time
Like Lewis Capaldi’s unannounced set on Friday, everyone at Glastonbury knew who to expect by the time Jarvis Cocker and co began at 6.15pm, thanks to the bookies’ odds, “secret” sources and whispers around the festival.
The Sheffield band were welcomed with a huge turnout at the festival’s biggest stage.
Jarvis Cocker was welcomed with a huge turnout at the festival’s biggest stage. Pic: PA
In tribute to their headline performance in 1995, when they famously took over from The Stone Roses at short notice, Pulp started with Sorted For E’s And Whizz and then straight into Disco 2000 – two songs played live for the first time on this same stage 30 years ago.
“It was the very, very first time they were played – you could say they were born in Glastonbury,” Cocker told the crowd.
From the Mercury Prize-winning Different Class, the album that propelled Pulp to topping the charts and platinum sales, and one of the most critically acclaimed records of the 1990s, the songs prompted a mass sing-along – and jump-along from an enthusiastic crowd who knew every word.
“My name’s Jarvis, this is Pulp,” Cocker announced, just in case anyone was in any doubt. “Sorry for people who were expecting Patchwork. Did you know that we were going to play?”
Cocker mischievously asked crowds: ‘Did you know that we were going to play?’ Pic: PA
After their 1990s hits, the band launched into Spike Island, the lead single from More – their first album in 24 years, released earlier this month.
It was a set full of memorable moments – including the Red Arrows flying over – and Cocker picking up an acoustic guitar for the poignant Something Changed.
Do You Remember The First Time? And Babies also featured, before the band of course ended on their biggest hit – Common People.
Pulp’s appearance came after keyboard player Candida Doyle appeared to confirm the band would not perform at the festival in a BBC interview beforehand, despite much speculation that they would fill one of the unannounced slots.
Read more from Sky News:
Kneecap rapper says he’s a ‘free man‘
Performers criticise political interference
Listen: The future of Glastonbury
Pulp performed songs including Sorted For E’s And Whizz, Disco 2000 and Common People. Pic: PA
“We wanted to, just because it’s the 30th anniversary and that kind of thing, and they weren’t interested,” she said. “And then we were thinking maybe next year, and then they’re not doing it next year.”
Along with the headliners and the Sunday afternoon “legends slots”, unannounced sets from the likes of the Foo Fighters, The Killers, and Radiohead have become some of the most talked-about performances at Glastonbury in recent years.
As well as Capaldi and Pulp, acts including Lorde and Haim have also popped up as “secrets” this year.
Pulp have a history of surprises at the festival, having performed a secret set on the Park Stage in 2011 following their first hiatus.
Formed in 1978, they released three albums in the 1980s and early ’90s before finding mainstream success with 1994’s His And Hers.
Different Class came 18 months later in October 1995 and Pulp became huge, helped in no small part by their memorable performance at Glastonbury earlier in the year.
Thirty years later, they have entered the festival’s history books once again.
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