Raye on the fight to release debut album My 21st Century Blues: ‘It’s been a real wild journey’
In 2021, Raye parted ways with her label after claiming on social media that she had been held back from releasing an album. Now, she is a record-breaking Brits nominee with a number one single and MOBO and Ivor Novello awards under her belt. Here is our interview with the star from January 2023, in which she spoke candidly about the fight to make music on her own terms.
Raye is gaining her power back. Not just from the industry that made her feel “mediocre” for so many years, but over past traumas she kept bottled up for a long time.
“Some of my closest friends didn’t even know some of the stuff I’m discussing on my album,” she tells Sky News. “It’s probably the most honest I’ve been. It’s deep and it’s real.”
Raye, real name Rachel Keen, is only 25 but already a music industry veteran; a platinum-selling performer and a songwriter with credits for everyone from Charli XCX and Little Mix to John Legend and Beyonce.
She was just 15 when she released her first song and 17 when all her dreams came true, in the form of a four-album contract with record label Polydor. But after years of what seemed to be a successful career as a vocalist collaborating mainly on other artists’ dance hits, in 2021 she posted a string of tweets claiming the label was holding her back from releasing her own album.
“I’m done being a polite pop star,” she wrote, her frustration and anger palpable. The singer says after years of “trying to make it work”, she had reached the point where she had nothing to lose. “You get to that breaking point, really.”
Shortly after her tweets, it was announced she and Polydor were parting ways, with the label saying the decision had been “amicable and mutual” and wishing her “all the very best for the future”.
Raye claimed her first number one with Escapism at the beginning of 2023. Pic: Official Charts
Fast-forward to now and Raye is in a very different place; making music as an independent artist, in January 2023 she topped the UK charts for the first time with viral hit Escapism. The following month, the debut album she fought so hard to make, My 21st Century Blues, charted at number two. No longer pigeonholed or stifled, this is the real Raye, she says, and it’s been a long time coming.
“The album is discussing a lot of different topics… the deepest depths of really ugly stories about assaults and body dysmorphia and environmental anxiety. I think there’s no limit on what I’ve really spoken on in terms of my perspective on my blues as a woman in the 21st Century.”
‘It’s things I’ve been silent about for so long’
Always outspoken, Raye is not an artist who sticks to trotting out lines of approved PR-speak when she’s being interviewed, and this candidness is evident throughout her music. “Being real and transparent is really important to me, to skip out metaphors and similes and cut straight to the point of what I’m talking about,” she says. “Some of these things I haven’t also entirely healed from.
“It’s definitely going to be a rollercoaster for sure, but one that I’m making the decision to go on. That’s kind of the artist I like to be, transparent, honest. I think that’s what I’m like in real life.”
One song, Ice Cream Man, deals with sexual assault. “It’s things I’ve been silent about for so long and swallowed for so long and self-managed for so long in non-constructive ways,” she says.
“I’ve written pretty transparently about sexual violence… multiple things that occur in a life that you just bury, bury down, hide in a box, don’t tell anyone. And it just festers and manipulates itself into something quite ugly.”
As with Escapism, a dark electro banger about using alcohol, drugs and casual sex as coping mechanisms for dealing with emotional pain, the album is a contrast of often melancholy or dark lyrics, with beats that will fill a dance floor, as well as a range of genres.
“You’ve got songs with a contrasting sonic landscape,” she says. “I find it really exciting to tell a story and then the music feel the opposite so I think there’s a lot of juxtaposition there.”
Irony in its ‘most hilarious and ridiculous form’
Escapism’s success feels ironic to Raye. “With the previous music, not in a bad way, but it was more about the song than about the artist. The big dance songs or whatever, they don’t necessarily say anything about me as a person. I never necessarily wanted to be someone who did huge, huge hits, but without depth and substance or discussing things I’m passionate about, or breaking a couple of rules.
“Escapism is such a personal story. It’s kind of dark. It’s extremely explicit and honest and raw… I really told myself on the beginning of this next chapter, I’m not creating music with the intent or purpose to sell loads of copies, it’s about integrity and telling these uncomfortable stories that I think are really important.
“I had all the preparation in the world for building a small, steady fanbase bit by bit, and to not expect anything in terms of mainstream reflection. So this is like irony in its most hilarious and ridiculous form, that this is the biggest song of my entire career.”
Read more on Raye:
‘I was right to back myself’: Raye rises to first number one
Raye speaks out after leaving record label
Despite it not necessarily being the plan, she admits topping the charts does feel like vindication.
“[I feel] like anything is possible and I was right to back myself,” she says. “Never give up on your dreams. For someone who [felt] so, like, mediocre and… such a disappointment, actually, for so long, to just receive all the affirmation in the world that I was right to back my music is just…”
She doesn’t need to finish the sentence. “For someone who puts words together for a living, I don’t necessarily really have the best words to describe how crazy this is.”
‘Fear is the driving factor of secrets’
Emboldened, Raye says artists need to speak out more about the inner workings of the industry. And despite moves to improve diversity and equality making headlines in recent years, she says misogyny is still rife.
“We do need to be telling these stories more,” she says. “I think things that happen in the darkness have so much more power than they do when they’re brought out to the light, you know? Fear is the driving factor of secrets, and truths and stories being withheld. But there is still that very sad view that women need to be guided and controlled and taught and given instructions to follow and meet these requirements.”
She sighs. “I don’t know… I think it’s probably the same for all artists but especially for women, especially for everything I’ve witnessed in 10 years in the industry. I think a lot needs to change, but I don’t think anything will truly be equal and fair until we’ve got the same amount of female CEOs as we do male CEOs, we’ve got the same amount of female staff working a video shoot as male staff, the same amount of female A&Rs, and the same amount of, you know, different ethnicities in these same roles.
“Balance overall is so important, and until we have that, there’s always going to be issues and problems when you have men deciding what they think is best for women.”
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‘Seven years old, wide-eyed with a dream’: The album cover for My 21st Century Blues
Raye is looking to the future. She says she has had little communication with her former label bosses since she left, but wants to make it clear it wasn’t all bad. There were “some great people there who really believed in me… but obviously it came down to the big people making big decisions”, she says.
I ask her about the artwork for My 21st Century Blues. It features a little girl, dressed for the workplace but teetering in red stilettos hanging off her heels, standing atop a pile of instruments and recording equipment bearing the names of her songs, grabbing hands reaching out from inside. It feels poignant.
“That’s actually my baby sister on top of that big structure we built,” says Raye. “But that little girl up there is me, you know, seven years old, wide-eyed with a dream, not realising what the next 10 or 15 years of my life would be like.
“All the different life – in the industry and out of the industry – that I’ve had to navigate, process, understand, learn in my transition to being a woman, to being an artist, to being an independent artist. It’s been a real wild journey.”
Raye’s debut album, My 21st Century Blues, is out now
Entertainment
Nestle memo reveals BBC knew about ‘unacceptable’ behaviour from Gregg Wallace on factory show last year
The BBC was alerted to Gregg Wallace’s “unacceptable” behaviour while filming Inside The Factory more than a year and a half ago, Sky News can confirm.
A memo to staff at the Nestle factory in York shows concerns were raised with both the broadcaster and production company Voltage TV after Wallace’s final visit in February 2023.
The memo, which was shared on the company intranet, says the “experience of some of the team taking part in the filming had not been a pleasant one” and had “compromised” Nestle’s values.
An accompanying letter from Nestle’s head of media relations to the factory manager states: “We have written to the production company… and spoken to the BBC to bring our unacceptable experience to their attention in the hope that it is not repeated in other workplaces around the UK.”
While the letter does not name Wallace directly, it is understood to be in reference to him.
Wallace, who is best known for being a MasterChef presenter, is facing allegations of inappropriate behaviour from more than a dozen people across a range of shows over a 17-year period.
His lawyers have said it’s “entirely false that he engages in behaviour of a sexually harassing nature”.
Wallace quit as co-presenter of Inside the Factory in March 2023, saying he intended to focus on other TV commitments, and his young son, who is autistic.
At the time, there were reports the 60-year-old former greengrocer had offended some staff at the York factory with inappropriate comments.
The company’s memo reiterates a “zero-tolerance approach towards any allegation of discrimination, harassment or bullying of any kind in the workplace, whether this be by an employee, contractor, or visitor”.
Wallace presents MasterChef alongside John Torode (left). Pic: Ken McKay/ITV/Shutterstock
It was the programme’s fifth visit to a Nestle site and its third to York, but the memo says “we will not be working with Inside the Factory again in the future” as the show “did not meet our high standards of respect”.
“We will not tolerate any kind of racism, misogyny, homophobia, bullying, exclusion or harassment and we have strict policies in place to deal swiftly and decisively with this kind of behaviour,” the memo adds.
Sky News has contacted representatives for Wallace, and the BBC and Voltage TV for comment.
Earlier on Tuesday, the BBC confirmed it was pulling three repeat episodes of Inside The Factory from the Christmas schedule.
It told Sky News it would not be removing them from iPlayer “at this stage”.
Two celebrity MasterChef Christmas specials have also been removed from the schedule.
Wallace has temporarily stepped down from the cooking show while the complaints are externally reviewed by a law firm.
Groping allegation
More allegations against the presenter surfaced on Tuesday – with two women claiming Wallace had inappropriately touched them.
One told the BBC he “groped” her bottom, while another alleged he laughed after touching her bottom “with his waist and penis” when brushing past her.
A third claimed Wallace’s penis was partially exposed in his dressing room in what she felt was a “power play”.
The Guardian also reported a complaint that he once asked a sign language interpreter to translate “big boobs” and “sexy bum” in front of the audience at the BBC Good Food Show.
Sky News has also asked the BBC and Wallace’s representatives for comment on these claims.
An increasing number of people have accused the presenter of inappropriate sexual comments in recent days, including a former contestant who told Sky News one remark left her crying in the toilets.
Jackie Kearney said she had been “troubled” by Wallace’s “household favourite status” as she felt he was “a bit of a sleaze behind closed doors”.
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‘If it’s just banter then why am I crying in the toilet?’
Another former contestant told Sky News the claims are just the “tip of the iceberg” when it comes to MasterChef.
He claimed to have witnessed a “toxic environment” on set and the problem was “larger” than just the presenter.
On Sunday, Wallace responded with a social media video dismissing his accusers as “middle-class women of a certain age”.
The remark prompted a huge backlash, with even Downing Street commenting.
He apologised in another clip on Monday, saying he “wasn’t in a good head space” when he posted the previous video.
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Wallace sorry for ‘middle-class women’ comments
Read more:
What are the allegations – and what has Wallace said?
‘Middle-aged women’: An epic failure in crisis management
What have the BBC and producers said?
Banijay UK has appointed law firm Lewis Silkin to lead the investigation.
A spokesperson said the company takes complaints “incredibly seriously” but will not comment on individual allegations while the external investigation is ongoing.
“It is important to note that MasterChef welfare processes are regularly adapted and strengthened and there are clear protocols to support both crew and contributors,” the Banijay spokesperson said.
“These include multiple ways of reporting issues, including anonymously.”
In response to reports multiple complaints had been raised with the BBC, a source for the corporation said it would not comment on individuals or any internal HR processes, but that it would be “wrong to report the BBC has done nothing if or when matters have been raised with us – not least because it is already being widely reported there were interventions in both 2017 and 2018 where action was taken”.
Last week, a BBC spokesperson said any issues raised are taken seriously and there are “robust processes in place” to deal with them.
“We are always clear that any behaviour which falls below the standards expected by the BBC will not be tolerated,” they said.
Ghetts, Jorja Smith and Central Cee are among the artists leading the nominations for this year’s MOBO Awards.
They all have three nods, alongside Sampha, Bashy, Cleo Sol and Odeal, while Brit record-breaker Raye is up for two awards and Beyonce, Kendrick Lamar, Nicki Minaj and Tyla are among the stars in the running for best international act.
As previously announced, the 2025 ceremony will take place in Newcastle in February. The MOBOs, which have been running since 1996, celebrate black music and culture, from established names to up-and-coming talent.
Raye (right) on stage with her grandmother at the Brit Awards earlier this year – where she won a record six gongs. Pic: PA
For Bashy, who is also a successful actor – known for his role as Jermaine Newton in Top Boy – the nominations come following his return to music with his first album in 15 years.
The record, Being Poor Is Expensive, looks back at his childhood and has earned him a place in the shortlists for best male act, best hip-hop act, and album of the year.
He has competition from Cleo Sol’s Gold, Ghetts’s On Purpose, With Purpose, Jorja Smith’s Falling Or Flying, Sampha’s Lahai and Skrapz’s Reflection in the album category.
Little Simz was named best hip-hop act at the 2024 ceremony. Pic: Shirlaine Forrest/Getty Images for MOBO
Both Smith and Sol are up for best female, alongside Darkoo, Little Simz, Nia Archives and Raye, while Central Cee, D-Block Europe, Ghetts, Nemzz and Sampha are in the running against Bashy for best male.
Central Cee will be hoping to take the best male gong for the third year in a row – and is also shortlisted for best drill act and song of the year, for Band4Band, featuring Lil Baby.
Other tracks in the running for song of the year are Backbone, by Chase & Status and Stormzy; Favourite Girl, by Darkoo featuring Dess Dior; Kehlani, by Jordan Adetunji; Pink Lemonade, by LeoStayTrill; and Soh-Soh, by Odeal.
Stars including Headie One, Nines, PinkPantheress, Bob Vylan and Shygirl are also in the mix, nominated in genre categories including best hip-hop, best electronic and dance, and best alternative act.
Read more:
Ghetts interview: ‘Peace is not too much to ask for’
Raye on the fight for her debut album: ‘It’s been a wild journey’
Film and TV contributions are also recognised – with Netflix series Supacell garnering nods for Ghetts for his role as Krazy, as well as for Josh Tedeku, who plays Tazer, and Tosin Cole as Michael.
EastEnders also picks up nominations in the same category for Angela Wynter as Yolande Trueman and Diane Parish as Denise Fox, while Jasmine Jobson is shortlisted for her performance in Top Boy.
The MOBO Awards take place at Newcastle’s Utilita Arena on 18 February.
Debbie Nelson, the mother of rapper Eminem, has died at the age of 69.
Her death was confirmed by Eminem’s representative Dennis Dennehy on Tuesday.
The cause of death is yet to be confirmed, although Ms Nelson had battled lung cancer.
Eminem, whose real name is Marshall Mathers III, often highlighted the strained relationship he had with his mother in his music.
In two of his most popular songs, My Name Is and Cleanin’ Out My Closet, he accuses Ms Nelson of drug abuse and neglect.
Eminem mentioned his mother in various songs early in his career. Pic: AP
In the 2002 hit Cleanin’ Out My Closet he says: “Witnessin’ your mama poppin’ prescription pills in the kitchen”. He later claims she was “trying to take what you didn’t help me get”.
Later the same year, a fictionalised version of his mother who is an alcoholic, was played by Kim Basinger in the semi-autobiographical film 8 Mile which the rapper also stars in.
Ms Nelson brought and settled a pair of defamation lawsuits over Eminem’s statements about her in magazines and on radio talk shows.
But in her 2008 book My Son Marshall, My Son Eminem, she attempted to set the record straight.
The book’s blurb claims that she was a “single mother who wanted the world for her son, only to see herself defamed and shut out when he got it”, Sky News’ US partner network NBC said.
She also shared details about the rapper’s early life, writing that Eminem had forgotten the good times they had.
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Over the years, the tensions between the two seemed to simmer, with the rapper apologising to Ms Nelson in his 2013 song Headlights.
“Cause to this day we remain estranged, and I hate it though,” he raps, adding: “Cause you ain’t even get to witness your grandbabies grow. But I’m sorry, momma, for Cleanin’ Out My Closet. At the time I was angry, rightfully? Maybe so. Never meant that far to take it, though.”
Ms Nelson also publicly congratulated her son in 2022 after he was indicted into the Rock and Roll Hall Of Fame, Billboard reported, saying in a video shared at the time: “I love you very much. I knew you’d get there. It’s been a long ride. I’m very, very proud of you.”
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