But you won’t find her on The Beat Room or cruising through Swinging London in beatniks. You’ll find her in a makeshift box room studio soaking up cinematic soundscapes and the styling of Jean Shrimpton and Twiggy.
Turntable scratching, somber undertones, paid tribute by dulcet, chanteuse vocals and slowed break-beat drums, sit crisp under the old jazz club haze of ’68. Merry Clayton echoes through the juxtaposition of saccharine melodies and electronica bathed in shadows.
A modern day Femme Fatale with the late night smokiness and John Barry film noir of Portishead. Lit cigarettes, mascara soaked tears and feigned sexual gratification sound-tracking an audience of solitary wanderers.
From a bi-racial family with a musical father, Kennedy spent her formative years in Harehills, the underclass of Leeds. Her infancy and adolescence steeped in classic James Bond film and cinematic macabre. Mournfully sculpting her art in an aural gallery of loss, betrayal and mental anguish, she engraves music with memories of parental bereavement and physical abuse, signed with Shara Nelson tonality.
A featured artist on Renoise, tracks in US and French film and support from BBC Radio 1, Trevor Nelson on BBC 1Xtra, BBC 2, Craig Charles and Tom Robinson on BBC 6 Music. Her music is confessional; a bittersweet pill to swallow for those wanderers wanting to feel something and nothing simultaneously.
Singer, producer, sculptress, Kennedy is working on a noir-inflected mini-mixtape and EP, with the first excerpts due later this year.
