FEATURE:
Modern Heroines
from Summer Walker, Over It, was one of my favourites of that year. She has just put out the remarkable follow-up, Still Over It. The artist, born in Atlanta, Georgia, is someone who I feel is going to be a hugely influential artist in the future. With two incredible albums under her belt, she is already establishing herself as one of the most incredible and promising artists. I am going to end with a couple of positive reviews for Still Over It. It is one of the most remarkable albums you will hear this year! Whilst there are some interviews bits to promote Still Over It, the majority of interviews with Summer Walker are from 2019. It is well worth exploring them. The first one is from THE FACE. They spoke to the then-twenty-three-year-old, who was (debatably) the biggest artist on the planet:
“It’s unsurprising that people ask her for selfies. 23-year-old Walker’s debut album Over It, released this October, is the biggest R&B debut of the last 10 years. It charted straight into the UK top 10 at No.7 and No.2 in the US, and the remix of her song Girls Need Love featuring Drake has racked up over 90 million streams on Spotify. We meet on the afternoon before her show at east London venue The Troxy (3,100 capacity) – which was added to the tour schedule after tickets for her other two gigs in the city quickly sold out.
It hasn’t all been welcomed. For Walker, it feels like a teeth-clenching grind that she calls “kinda irritating”. Today, it’s only discussing the “fruity candy” scent of cleaning product Fabuloso that initially excites her, after I mention her Insta stories that show Walker fastidiously cleaning the nooks and crannies of her tour bus. Before our interview, there are a few murmurs of her reluctance to do interviews from other journalists that have spoken to her but its not 100% clear just how much. Now, as you’re reading this, it’s common knowledge that Walker has spoken of her crippling social anxiety and the fact that she’s no fan of interviews. She’s only doing a handful on this promo run, and to get through this one, she’s holding Rose quartz (“for love”), tourmaline (“for protection”) and amethyst (“for calming”) crystals in her hand as we speak.
An Instagram post on the 3rd November perhaps sums up Walker’s current disposition best: “Fuck the interviews, photo shoots, videos, & really the shows too.” This week she took to Instagram to inform her fans that she appreciates those who purchase meet and greets, but that she’s an empath and “that transference of energy from that many people each day would literally KILL me”. She has also cancelled 20 dates of her tour, citing anxiety issues and the need to look after her health.
Walker grew up in Atlanta, but it’s Las Vegas, the place she now calls home, that she feels homesick for. It makes sense really – finding solace in sprawling desert that from the outside, seems like a glamorous, bustling strip. She’s quick to debunk that: “It’s actually not that populated – it’s like 600,000 people. If you go on the strip its dense but there’s loads of other places to go where there’s no traffic. Whereas Atlanta, NY, California [are] really crowded. People think Vegas is really busy but it’s not. I love it. My ma says it looks like a ghost town.” The more you get to know Walker, the more you realise that finding a home in a ghost town might just be a perfect fit.
As a teen, she recalls attending a predominantly white school at which she was a self-confessed introvert. “I didn’t really talk to people like that,” she mumbles from under her hood. “People thought I was weird. They called me weird all the time.” She found herself by going home and playing guitar, listening to Musiq Soulchild and classical, courtesy of her piano teacher, and went on to study audio engineering at college. She started uploading music to her YouTube in secret – “none of my classmates knew I even did music,” she smiles. I ask how she overcame her anxiety of showing people her videos online and she responds, matter of factly: “It’s online so it doesn’t bother me. There isn’t any people in my face. Even now, you just turn off your notifications, block who you want to block.”
Her other interests include reading books on “geometry, dimensions, science, meditation” and diving head first into a number of conspiracy theories, including Planet X and CERN. (“They’re like, opening portals and shit. But don’t you think it’s so annoying because like, humans are always trying to recreate something that they have no business recreating and it’s like, ‘you’re going to fuck something up?’”) But she’s most fascinated by the Moors (black Muslim inhabitants of the Maghreb, who some believe bought white Europeans out of the dark ages thanks to their enlightened knowledge of history, mathematics, astronomy and art). The fact that the black history and mythology of the Moors captures her imagination so much, is an insight to the kind of quiet power of black excellence that Walker respects. “I like their independence,” she says with a shrug.
I ask Walker whether she might be underestimating the impact she’s had on certain fans’ lives and she exhales into her ATL drawl. “Yeah, but people have the attention span of like, kids. They get all hyped up and then the next minute they on to the next thing. Somebody else will come out and do their thing.” The honesty, and awareness of the cycle is heartening and depressing, and it’s hard not to admire anyone able to centre their needs over the expectations of an industry that’s got a history of punishing artists that tell it to go fuck itself.
It also flags up questions of entitlement of what fans expect from artists. Not all artists have to be relatable and available, and it’s telling that Walker saying no is so newsworthy in a social media climate in which anyone with profile is less and less permitted to be invisible.
“I spent most of my time on instagram and on TikTok,” Walker tells me. “There’s this one lady … I can’t remember who, did this video on being an introvert and hows it’s ok. And how like, a lot of extroverts have a lot of narcissistic traits, like you don’t have to be loud. They make you feel like if you’re not loud there’s something wrong with you or something.”
When asked a question about politics her decision to dismiss it is refreshing. “I don’t stand for shit,” she shrugs. In the saccharine celebrity world of watery wokeness we live in, it’s good to hear someone say it how it is. Walker is not a slick, articulate speaker, nor a cutesy affected “I’m a weirdo!” fabrication. She just is. And while others might read it as precocious when she shrugs that she just does live shows to make money (“I’m just doing this all for money, that’s it”), rather than as a creative or spiritual gift to her fans, you wonder if she really means it. What’s clear is that her talent is undeniable.
It’s hard not to marvel at a young artist turning the standard media industy complex run of events haywire – announcing the end before its really even begun (her tour is titled: The First and Last Tour), refusing press, answering questions with shrugs, and then later doing a show with so much charisma and seemingly effortless talent that you can’t help but feel drawn to her”.
What strikes me hardest about Summer Walker is a lack of ego! She makes the music she wants to and does not have this superstar attitude. She wants to be able to record how she wants - and she is not really interested in being famous. I think there is something quite grounded and relatable around albums like Over It and Still Over It. Yet, there is this astonishing talent that puts her well above the majority of her peers. It is clear that, from a young age, Summer Walker has yearned to tell her story and convey her emotions through music. American Songwriter interviewed Walker back in 2019:
“Atlanta-based artist, Summer Walker, is all about the process of making music. Attention from journalists? Eh, whatever. Accolades and fame? Sure. She’ll take it if she has to, but she doesn’t strive for it. Instead, what Walker wants is the freedom to continue to make more music, to invest in the muse and simply write. Which is why her 2019 LP, Over It, is so aptly titled. Walker, who’s worked many odd jobs to support herself (including stripper, while also teaching herself guitar in off hours), has put in the time and made the sacrifices. Walker has also seen what a life without music at its center may lead to and she wants none of it for herself. Instead, she’ll continue to coyly and expertly write her songs, perform on massive stages (digitally and in-person, when allowed) and grow her passion. We caught up with the creative mind to ask her how she came to love music, how she found her band mates and why she always seems so in-charge.
When did you first find music as a young person?
It has always been in my life. My mom used to play old school music all the time when I was growing up – it was everywhere. That’s when I fell in love with how music made me feel. I connected to it deeply from a very early age. Just hearing music throughout my childhood just spoke to me.
What about it stuck, made you want to invest energy into it?
Soul music really did something for my spirit and made me feel good inside. How could you not be moved? Listening to what great soul singers had to say and how they sang it. To be so in touch with emotion. It gave me something to relate to and helped me express myself. It gave me confidence and understanding that I too could express myself through music and through my writing along with my musicianship.
When would you write and how did that lead to your eventual discovery?
I would write music whenever I was sad. That was my outlet. I wasn’t planning on calling myself an artist. I just felt compelled to write my thoughts down and they became songs. It just happened over time. Writing is my way of capturing my emotion. It’s a safe place for reflection for me and my way of expressing my sadness. I realized, over time, that other people connected with what I was saying. It was a natural progression for me. Every time I would write or perform, becoming a full-time artist became real”.
The way you sing and perform is often low-key. But it’s also in-charge. Is that a dynamic you’re thinking about – or, how do you think about your style, cadence, energy?
I’m pretty much just a chill person so that follows me onto the stage, as well. Not much changes. I stay true to who I am. I always want to express myself by just being myself, I don’t feel the need to be someone I’m not. I feel very fortunate to have a team of people around me who respect that about me. They believe in my ability to create and share my emotions. So, every time I sing or when I’m on stage, it’s about feeling for me. I let the words come out the way they need to be in that moment and make a connection with my soul. So, I’m in-charge because I say what I feel. I put it out there.
You’re a very versatile artist – musically, visually. To what do you attribute that ability to shift or fit multiple places?
Thank you for your kind words! I don’t know. I don’t think I’m that versatile, but now that you say that, I think I just lean into who I am. I am an artist after all. So, it’s: how am I feeling today? Who do I want to be? I’m singing about heartbreak and relationships. I’m just moving through life and receiving the energy as it passes through me. I appreciate the sentiment!
How did you find your band mates and develop the creative bond with them?
I met them over time off of apps. Now, they’re my friends and I love them. I just wanted to make sure they all came from a Baptist Church so we could really capture that soulful sound. Not just anyone can do that. They help make me feel the music on stage. That deep soul where we can communicate without saying a word. It’s a feeling. It’s a deep friendship. You have to have that with your band. A soulful sound.
What was the process of writing and putting together Over It – exorcising relationships, past attentions?
A lot of the songs I already had written from past experiences. I collected those songs over time. The postproduction process involved me trusting [my producer] London to help put it together and do what he felt like would help elevate the sound. Writing, for me, is so personal. It’s who I am. It’s a solitary thing. The music and the words have to move through me. So, Over It is just a culmination of so many past experiences”.
Before coming to reviews for Still Over It, there is a bit of interesting press from Shine My Crown. Not only did Walker talk about her style and how she stands out. She also expressed dissatisfaction at how many of her important and serious songs are overlooked compared to more superficial ones:
“Summer Walker is a hottie with an edge. While she may adorn the curves we see many of today’s celebrities rocking on the Gram — it cannot be denied that Walker’s style is somewhat alternative.
This week, the singer reflected on her style — which she says was more radical back in high school.
She questions why everybody wants to look the same.
“I wish I could find my old pics from high school, I had a shaved head, Mohawk, Afro, every colour wig, blonde Bantu knots, shaved eye brows with 2 stripes of paint under my eyes like I was going to war,” she wrote via her Galactawh-re account.
“I had it all cause I didn’t care to be MYSELF, and I still don’t. Don’t be mad at me cause you to P—-y to step outside of societal norms.”
She continued in the caption of her throwback pic: “Imagine not doing/wearing what you want until you have approval from the rest of your peers…Save your opinions cause I’m a keep being ME regardless despite the insecurities/envy/projection you have towards me,” she adds. “If I was white no one would give af, for some reason black people ain’t allowed to be goth emo or alternative but that’s a different conversation.”
Walker feels the same way about the music industry.
Last year, in an interview with Billboard, Walker expressed her disappointment that her more heartfelt songs didn’t chart as well as her more superficial tracks.
“I do see something that irritates me a little when it comes to radio,” said Walker. “It seems the only songs from me that do super good on the radio are those that are more upbeat. I’ll also hear other songs from us and others that are slower, very heartfelt, and a lot of people will f–k with them. But it seems like [with radio], if you can’t shake your a— to the song, then it won’t do what it should do”.
After releasing the incredible Still Over It earlier in the month, it is understandable that Summer Walker is being talked about as one of the greatest artists on the planet. I can definitely understand that point of view! CLASH provided a really positive review for Walker’s second studio album. This is what they had to say:
“As the twenty-track production begins, it’s clear to the imagination that this is going to be something special. As the romantic R&B vibes kick in, this writer immediately falls in love with ‘No Love’ featuring SZA. The soft, yet addictive vocals on this beautifully put together track allows for both artists to swim in harmony with each other. It’s simply magnificent.
As the personal lyricism kicks in and head starts bobbing away, one thing is apparent throughout the body of work. Whether it be ‘Circus’, ‘No Love’ or ‘Unloyal’, each track is sown with deeply personal aspects of Summer Walker’s life. Discussions of if a man lost interest in her because of her body, mentality or fame are a tug at the heart as the listeners can really feel for the talented artist in the different tracks. Apart from the fame part, many readers and listeners can fully relate to it.
That is what makes this album one of her best yet. The relatability that also throws in fun and home truths. ‘Unloyal’ features Ari Lennox who is more than happy to show what happens if you hurt or disappoint her with lyrics that cut to the core of any hurt and pain.
Tracks such as ‘Closure’ and ‘Broken Promises’ are prime examples of how good Summer Walker is on her own. The silky vocals mixed with clean-cut production is just perfect for any listener who needs to get into their feelings.
As the evening comes to a close for this writer, this album serves up Summer Walker’s best work yet. It’s brutal, yet romantic, it’s fun, yet flirty, it’s everything any listener could be wanting. A rollercoaster of emotions and she’s not even finished yet”.
The last thing that I want to quote is NME’s review. They, like CLASH, had plenty of good things to say from an artist who is on the form of her life:
“The 25-year-old enlists her A-list friends to rally around her on the new record, with Pharrell, SZA and Lil Durk all contributing guest features. Cardi B even kicks things off by narrating the opening track ‘Bitter’ and telling Walker: “Don’t let bitches feel like they have a one-up by destroying your moment.” Ciara, meanwhile, rounds things off by narrating ‘Ciara’s Prayer’.
But the best team-up comes on ‘Unloyal’, a duet with Walker’s best bud and rising R&B soul sister Ari Lennox. Walker takes on an India Arie-esque vibe during this smoky, soulful song, and it’s a true delight. “You think that I need you, boy, you funny / Got my own money,” Walker sings in a high register before Lennox, ever the supportive best friend, bowls in: “I said you can come and pick up your shit / Acting like you paying for shit / In yo bow wow du-rag / Outside with yo doggie bag.” Despite their differing styles, the two singers combine perfectly here.
While Walker understandably vents about her highly public break-up on the record, sonically she goes to places that she’s never explored before. In addition to the aforementioned ‘Unloyal’, ‘Throw It Away’ takes influence from the Timbaland–Missy Elliot dream team on the late Aaliyah’s never-aging 2001 self-titled album. But it’s ‘Insane’ that provides the perfect amount of alt-R&B as siren-like electric guitar notes whirl around, adding a steeliness to Walker’s haunting lyrics (“Now what you in a rush for?/What, you trying to meet your maker, darling?“). Walker increasingly sounds like she’s having fun and finding her confidence in performing. Playing around with her vocal delivery, the smoky, jagged vocals on ‘Insane’ will drive you, well, insane – in a good way.
While ‘Over It’ featured a number of slow, mushy and loved-up songs, Walker’s second record sees her make a conscious effort to not solely depend on the same nostalgic ‘00s R&B vibe that helped her rise to fame. A certain darkness has descended on the once-pink fluffiness that memorably featured on ‘Over It’s album cover, with ‘Still Over It’ instead displaying a whirlwind of emotions. Walker has a song here for every feeling following a crushing break-up, from confusion to anger to outright pettiness – and it’s the kind of unwavering quality that we all love her for.
While this album might not immediately click with those who loved ‘Over It’s R&B pop hits, it’s worth remembering that ‘Still Over It’ is primarily for Summer Walker. In her time of need, she turned to her only safe haven, music, to find the closure she so desired”.
I have no hesitation in saying Summer Walker is going to be an idol and hugely influential artist soon. Her music is so affecting. She has such a beautiful voice… and yet her lyrics can be very striking and hard-hitting. I love what she is doing and will watch her career unfold with keen interest. A sensational talent that will continue to blossom and explore, the music world has a real star…
WITH Summer Walker