Get To Know... Get To Know… Imogen and the Knife
Captivating songwriting courtesy of the nation’s North East.
Hello and welcome back to DIY’s introducing feature, Get To Know… which aims to get you a little bit closer to the buzziest acts that have been catching our eye as of late, and working out what makes them tick.
Hailing from Newcastle (and now based in South East London), Imogen and the Knife has quickly established a name for herself as an artist who, although still relatively new to the game, possesses poise, range, and a striking sense of self. From the brooding ‘Mother Of God’ to the delicate ‘Paris Night’, her work is at turns commanding and at others tender, the common thread being her personal, powerful experiences of love. To mark the recent release of her debut EP, ‘Some Kind of Love’, we caught up with Imogen to learn more about her upbringing, advocacy, and inspirations.
1. What’s the first song/album you bought with your own money, and why?
I bought Britney’s ‘Oops, I Did It Again’ from a local bring-and-buy sale aged seven, definitely because of the album cover. My mate chose ‘The Ketchup Song’ by Las Ketchup, and I remember thinking I’d definitely won. Obviously it wasn’t my own money - maybe my Dad’s 50p - but I listened to that album and poured over the CD insert for months. I grew up on Bowie, The Beatles, Joni, Carole King, Nick Drake, Kate Bush etc., but Britney and ’00s pop doesn’t fairly get its flowers from me. Loving Britney Spears was probably the first moment I knew I was at least enamored with pop music; I’ve got a lot to thank her for.
2. Though you’re now based in London, you’re Newcastle born and raised. Growing up there, what did you think of the music scene? Were there a good supply of venues/opportunities for emerging artists?
It’s hard to know if I’d be making music if it weren’t for the encouragement of the Newcastle music scene growing up. I’m always leaving my heart in The Ouseburn and up the coast. There was a lot of drive, pride and collaboration, as well as just plenty of very good artists about. It was also quite easy for small acts to get on huge bills - to go from playing a bar to opening for someone at The Glasshouse the next day, which is nuts.
The encouragement and belief in local talent was always there and opportunities have fully blossomed over the last few years thanks to organisations and groups like Generator, We Make Culture, Shy Bairns Collective, and new incredible venues popping up in Newcastle and around the coast. Above everything, Geordies are loyal. The desire to support is really strong, and it’s still one of the main things that drives me forward.
3. Can you tell us a bit more about your use of ‘the knife’ as an artistic motif? Depending on context, it can either hold violent connotations or be used as a powerful tool. And in terms of your project name, it’s framed almost as an extension of yourself…?
A lot of my drive to create stems from my experience of being born and living with hip dysplasia and chronic pain. I’ve had multiple surgeries and recoveries so ultimately it was a bit of a personal act of defiance, reclaiming and reframing ‘the knife’ into my name. It’s a symbol of self-preservation, protection, strength and rage, but also of directness, honesty and love, which I hope will always permeate through the work. Cutting through the noise to get to clarity.
I also like to see it as the vessel for the music, an extension of and more than just me - the knife is my band, my collaborators, my songs, the words, the piano. Then, like fate, when I was settling on the name I came across a beautiful, ancient painting of the character Imogen from Shakespeare’s ‘Cymbeline’, and she was carrying a knife. The whole thing then felt bigger than me, like Imogen and the Knife has actually existed for centuries.
“It was a bit of a personal act of defiance, reclaiming and reframing ‘the knife’ into my name. It’s a symbol of self-preservation, protection, strength and rage, but also of directness, honesty and love.”
4. You’ve spoken about how you’re a keen proponent of fair treatment of emerging artists, particularly those with disabilities. Was there a particular catalyst for your advocacy? What can music fans and industry insiders do to help make music a better environment in this respect?
From a young age I’ve been in circles of artists who are facing the industry and music landscape together. So I’ve been constantly aware of barriers that emerging artists face - from financial, to access to industry power dynamics and abusive behaviour, to mental health. I joined The Ivors Academy board a few years back and helped found their Early Careers Council so that these concerns had an efficient forum and through-line to trade organisations and charities that aid actual change within the industry and on a governmental level.
In terms of accessibility for musicians living with disabilities, fans and industry insiders should get to know brilliant companies like Attitude is Everything, who set out strong frameworks for venues, promoters, employers and fans to ensure disabled people are valued, protected and included as music makers and lovers. Basically, community drives music, so just stay connected and curious, with an open heart and willingness to make music the best and most inclusive environment it can be.
5. You’ve described the songs on your just-dropped debut EP as being “all unified by their exploration of love in some way or another”. What has the process of creating it taught you about love (either romantic or otherwise)?
For me, it’s the root of everything.
6. ‘Some Kind Of Love’ is at times jagged and brooding, à la Nadine Shah or PJ Harvey, and at others much softer. Are there any particular artists you draw inspiration from, or who would be your bucket-list collaborator(s)?
Well you’ve named two. And Lana. And Perfume Genius. And St Vincent. And Moses Sumney. And Rufus Wainwright. And Prince, Bowie, and Scott Walker, if you could make that work. Ta!
7. Finally, DIY are coming round for dinner - what are you making?
You’re coming on a Monday night and we’re getting half price pizza from Palazzo Crystal Palace (trust, you’ll wanna try the ‘Aubergine’ with scotch bonnet honey), and we are probably re-watching Severance to refresh before series two. Fancy it?
‘Some Kind of Love’ is out now via Vertex Music Ltd.
Records, etc at
Featuring Yard Act, Death Cab For Cutie, Graham Coxon, Maisie Peters and more.