There are two things for me that link it all: one is obviously the voice.
When you hear a song you’re connecting with the voice straight away, especially with someone like Miranda whose voice is so distinctive. [Two is] the production style and the way that things are recorded. A lot of people put out EPs that are collections of singles. They might have been recorded over a two-year process, they’ll have different musicians, they might even have different producers. Whereas [the table] was all recorded together to be a project and to fit together. So I think that is one of the obvious things that links it and gives it that cohesion.
There’s not a lot of co-writing on there, so whether it’s intentional or not – because there’s a lot of things that people have talked about in the songs that were not intentional at all – I’ve written them. Telling the same story but in a different way each time. That common thread is inherently you and who you are. It’s in the songs whether you deliberately show it or not. It’s so interesting and it’s so scary because you never really know how much of yourself you’re putting out there or how much of you is in a song until other people are telling you what they heard.
It’s just fascinating to me: what other people see in something you’ve written. That’s been my favourite thing about the process so far. Hearing what other people hear in it, and being so interested in it and learning things about this thing that I’ve made. You feel like you know it inside out, this is your baby, you’ve worked on nothing else for a year and you know everything. Then, you hear other people say ‘I heard this in every song’. And that word never crossed my mind. It’s incredible.
What’s been the best thing someone else has told you about this record?
I was talking to Maxim [from Mindful Melody Magazine] and he said “this is such a self-love album. There’s so much of that and so much self-assurance in this record.” That never crossed my mind. But as soon as he said it, now that’s all I see.
That was very intentional in ‘Late To The Table’. But it was almost accidental that there’s very strong themes of that in ‘Husbands Or Kids’ and ‘Match Made In Hell’. I never consciously made that a ‘theme’. It’s just inherently there. I’m so in awe of how the subconscious mind works, it’s so clever!
What has been the best thing you’ve learned about yourself through the process?
I’m so much more capable than I ever gave myself credit for, or let myself appreciate. It sounds really arrogant but I had to learn so many new skills that years ago, I would’ve said ‘no, I can’t do that. I need to get someone to do this for me.’ But because I had the time this year I thought ‘maybe I can do that for myself, maybe I can learn that. Maybe I am capable of that.’ And throughout this whole process I just realised that actually, you have to try these things. You have to at least try.
Obviously, it’s going to be a long journey, but being able to get to a place where you can say “oh, I’m actually good at that” and being able to tell yourself you did well. We’re all [expected to say] ‘oh, I did this little thing…’ and be demure and gracious. I feel sometimes we go so far and we can’t give ourselves a pat on the back for something we’ve proud of and we worked hard for. Yet, I think everyone who does that is the first to congratulate a friend or a family member or a colleague if they do something amazing. I surprised myself with [my] capabilities.
It takes time, I think. It’s one of those things you don’t learn overnight, it’s a gradual thing. I can get comfortable with saying “I’ve done well at this” or “I need to work harder at this” and “I need to learn more about this.” It just creeps up on you. It’s been fun.
I think it fits the record well.
It’s like a ‘life imitates art imitates life’ kind of scenario.
It’s cyclical – it’s a bold, confident and self-assured record and it’s taught you that actually, you are fully capable.
There’s a lot of people that write super defiant or independent-sounding songs, but you talk to them and they can’t do anything for themselves. I find it really weird! I can understand why people find it full of self-confidence or independence because I have done so much and learned to do so much on my own. It’s not pretending to be something that it’s not anymore, whereas with some things on ‘Pilot’ or other things I’ve done, [I’ve said] “what do I think I need to be?” or “what do I think I should write about?” or “what do I think people want me to be?” All of that went out of the window for this. I was even more honest.
The Emma Moore singing these songs is definitely more confident than me off-stage, it’s just heightened. Some things, like ‘Match Made In Hell’, they are the first things that would come to my mind in a situation but they’re probably not the first things I would say. I would probably shy away from [it] so I guess there’s a little bit of that in this record too. I would – or have usually – been very quiet in situations.
Whereas I think one of the things I’ve got a bit better at – or maybe worse, depending on who you ask! – is just saying things like that in the moment, and saying things that are hard to say. So I don’t think I’m all the way there yet in my personal journey, as far as the songs go, but I’m definitely getting there. I’m definitely getting to be as bold as the ‘Match Made In Hell’ girl or the ‘Blinded’ girl.
Is the next record gonna be in-your-face brazen?
I’ve no idea! I honestly don’t. I haven’t really stopped thinking about this record in all honesty, and [haven’t] given an awful lot of thought as to what comes next. A lot of these songs were written pre-lockdown. There are only two that were written in COVID-era. So I want to go out and have a little more ‘life’ while I’m writing.
But there is a bonus track on the limited edition CD, that I wrote when the record was almost finished. And I really, really like it. It’s a very vulnerable and frank conversation with yourself. So I’m hoping that may be a starting point for the next project!