A Decade Of Sound - Sound City 2017

Trump and co, Peaches is happy to offer up her encouraging wisdom:
“I think [art’s] only important if it can make some change – and the
only way that you can ever know that is if you try.”
“Yeah, they still
won’t let me play
that song on TV”
And then there’s Dick In The Air. The lead single from Rub is a
work of lyrical genius, perfectly exposing the relationship and double
standard between female sexuality in music and male sexuality – or
sexual aggression, in the case of 2 Live Crew’s infamous Face Down
Ass Up, whose lyrics Peaches parodies. When I relay this to her, she’s
proud: “I like the wordplay on that song a lot, I was really excited
about it – and it’s always fun when you get to say moose knuckle”.
The humour in it is intentional, too, and a fundamental part of her
inclusive attitude that never comes across as righteous or forced: “I
think that, to be inclusive with your message, it’s always important to
carry some humour so that people don’t feel alienated or afraid. I don’t
want people to have their chins pushed into the back of their neck,
instead of them smiling and their shoulders go[ing] down and they’re
into it.” Naturally, the corporeal response is important to Peaches.
And the corporate one? “Yeah, they still won’t let me play that song
on TV or whatever. It’s literally stupid.” So, Peaches is being censored.
All the more reason why watching her live and hearing her speak is a
privilege.
Politics aside, towards the end of our conversation the Canadaborn
artist lights up in telling a story about Fuck The Pain Away that
sums up the track’s, and her own, universal appeal. A girl is looking at
a venue for her ‘Sweet 16’ and Peaches happens to be playing that
night; she has no idea who Peaches is but when someone mentions
Fuck The Pain Away, the girl is ecstatic. “That song transcends
anything; she doesn’t even know my politics or who I am, or she
doesn’t even like my fearlessness or whatever people say about me,
she just likes that song. I think that’s pretty awesome.”
Yes, her politics are crucial – but let’s celebrate Peaches for her
delicious and infectious electroclash pop, too. With this, I realise that a
good chunk of our conversation has been taken up with those politics
as opposed to her music, and, though the two are inevitably entwined,
I feel a slight pang of guilt. I wonder if she ever tires of talking the ins
and outs of feminism? She assures me that she’s not talking out of
duty. Of course she isn’t: she’s Peaches and she answers to no one.
Words: Bethany Garrett / @_bfgarrett
Photography: John Johnson / johnjohnson-photography.com
facebook.com/officialpeaches
THE BALTIC STAGE | SATURDAY | 21:00
A DECADE OF SOUND 45