Muse(ic) Books 

celebrating female creativity








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"SYMPHONY IN BLUE: Kate Bush and Her Legacy"


Featuring interviews with more than 60 artists from different music genres, different backgrounds and countries. All the interviews were conducted especially for this project and have never been published before anywhere else. These artists include: Heather Nova, Melissa auf der Maur, Terami Hirsch, Charlotte Martin, Polly Scattergood, Shara Worden, Tara Busch, Mary Epworth, Jesca Hoop, Marijne van der Vlugt, Emma Anderson, Priscilla Hernandez, Heather Findlay, Laura J. Martin, Laura Groves, Jo Hamilton, Katharine Blake, Marissa Nadler, Emily Jane White, and many more...




So unique and yet so many different artists have continually been compared to Kate Bush over the years. It’s somewhat of a paradox but her name appears in almost every review concerning a young, slightly quirky female musician. ‘The new Kate Bush’, ‘Kate Bush of the 21st century’, ‘Modern Kate Bush’… Kate Bush has clearly had an enormous impact on contemporary music. All kinds of artists cite her as a source of inspiration: young and old, mainstream and underground, male and female, artists from all the corners of the world and from very different music genres.

In this book you will encounter a variety of artists; the unwilling ‘new Kate Bushes’ and the more willing ones; artists often compared to Kate Bush yet are hardly influenced by her and others who are relatively unfamiliar with her work. You will also find artists who are heavily influenced by Kate but sound nothing like her; and artists who simply like her work or some of its aspects but aren’t necessarily influenced by her.

All my interviewees, regardless of how much they like Kate Bush or how often they listen to her, agree that she’s a truly unique artist. She is a highly individual musician, quite experimental, and constantly searching for new forms of expression; All the ingredients of her work are very interesting to discover and analyse: her expressive voice and experimental vocals, the creative use of background voices, the inspiration behind and subject matter of her lyrics, her economic piano playing, her production and composition skills, her visual universe, her theatrical nature as an artist and at the same time her modesty as a private person.

There is no artist in the music world that you could compare to Kate regarding ALL these elements. Usually, reviewers concentrate on only one or two aspects: her high-pitched voice, her quirkiness; her love for experimentation or her theatricality. Yet if they are only looking at one or two factors are they then justified in calling someone ‘the new Kate Bush’? Do we need these comparisons? Why do we do it at all? And do we need ‘the new Kate Bush’ when we still have ‘the good old one’?

The main purpose of this book is to discuss Kate’s uniqueness and her influence on a new generation of musicians together with some of the freshest and loveliest female artists around and to celebrate female creativity in general.


- Marta Oliehoek-Samitowska



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