FEATURE:
Spotlight: Revisited
Lola Kirke
_________
BEFORE getting to her music…
IN THIS PHOTO: Domino, Lola and Jemima Kirke/PHOTO CREDIT: Jason Bell
it is worth pointing out that the amazing Lola Kirke released Wild West Village: Not a Memoir (Unless I Win an Oscar, Die Tragically, or Score a Country #1) at the end of last month. The acclaimed musician and actor has been discussing her book. I am going to start with an extract from a recent piece she published for Vogue. I am spotlighting Kirke again because she has achieved a fair bit since I last featured her. I am a big fan of her music so wanted to circle back around:
“For most of my life, whenever I heard a woman claim to be “best friends” with her sisters, I’d smile sadly at her, then change the subject. Obviously this meant she’d been home schooled or locked in a basement for much of her childhood. Obviously, I was desperately jealous. I wanted to be closer with my two sisters and spent years trying to mold myself into the kind of girl I imagined they’d want to be near. I embraced their hobbies (lying to our mother and ballet). I pledged allegiance to their favorite bands (Elvis and Jeff Buckley). I regurgitated their ideas (tan lines were awful and I was annoying). But at 17, after getting caught up in a fist fight between them (one came home with the other’s ex-boyfriend’s name tattooed on her bicep), I gave up. What I never could have foreseen was that the unity I yearned for would come readily years later, when I stopped trying to recreate their experiences and started to write honestly about my own.
Between Jemima and Domino, who are five and eight years my senior respectively, and my mother (mystically nine years my junior, celebrating her twenty-fifth birthday annually), it is safe to say I was raised by the ultimate “cool girls.” Not cool as in chill (they are not). But cool as in beautiful, rebellious, and, when they need to be, icy. Constantly smoking and consummately glamorous, the women in my family were more Ab Fab’s Patsy and Edina than June Cleaver. I couldn’t wait to grow up and be exactly like them. Incidentally, my friends couldn’t either. My sisters’ hand-me-downs were highly coveted by us all. Vivienne Westwood pirate boots. Betsey Johnson hot pants. Shredded vintage T-shirts, complete with holes exactly where your nipples were. Once the goods made their way to me, I’d be drunk with a power I rarely felt otherwise. Endowed with the keys to my sisters’ kingdom, it was no longer just them but also I who could transform a young girl in a racer back Speedo into a harlot in threadbare Eres. But while on the surface I yearned to be like my sisters, deep down, all I wanted was to feel loved by them. In my family, however, between the affairs and addictions, love was often lost. Not gone—just misplaced. We all tore the house apart looking for it.
As I got older, I was able to find a lot of that love through writing what would become my first book, a memoir-in-essays largely about growing up in the fun and dysfunction of our squint-and-it-looks-like-you’re-in-an-expensive-French-brothel West Village brownstone. On the page, I could make sense of the chaos and characters that had so mystified me in life. With the freedom to express myself came the freedom to forgive others and even see my part in things. Perhaps I hadn’t felt my sisters’ affection for me because I hadn’t really let them know me. I seethed with unspoken resentments well into adulthood. (Why had I spent so many of my spring breaks at their rehabs?! How come they still didn’t remember any of my friends’ names?) I was a grown woman replete with the same sense of ineffectiveness I’d felt as a little girl. But was it them relegating me to the old role in the family system? Or had I just been reluctant to grow out of it?
After sharing the manuscript of my finished book with my family last summer, I was filled with a sense of dread. No matter that I’d attached a very intentionally worded email I’d crafted with my therapist, a sage man somewhere in Oregon I’ve never actually met in person but who I understand has a predilection for sweater vests. I knew that my writing could be hurtful to them, even if it had been healing for me. For so long, I’d believed my value was contingent upon my seemingly unique ability to steer our family’s ship towards safe harbor. I was the voice of reason in screaming matches. The champion of the underdog in any fight. Perfect when they were imperfect, or so I thought. Now I was the one rocking the boat.
When my parents first read my book, my worries were affirmed. I would have never done that. What about the good times?! They wrote. You weren’t 11 pounds when you were born! The way I saw my feelings clashed with the way they saw the facts. I yearned to talk to the only other people who knew my parents the way I did—my sisters—though I feared they’d feel similarly. I braced myself as I dialed Jemima.
“It’s your perspective, Lola,” she said emphatically after I explained my situation. “You don’t have to change it just so it matches someone else’s. You’re an author. Not a stenographer”.
I am going to move on in a minute. First, another interesting interview that caught my eye is from People. It is a really interesting interview that I would urge people to check out in full. For the purpose of concision (which might be ironic given the word-count for this feature!), I have chosen a short section for highlighting:
“How did your want or need to fit in with American culture help you connect with country music?
Well, I don't think there's anything more American than country music. It's maybe a little on the nose, but one of the things I don't necessarily name in the book is that I think country also is synonymous with freedom, whether it's the capital “F” freedom, that “freedom isn't free” idea or this idea of like "I'm going out into the country, into the wild and the Wild West.” There's a part of me that has craved freedom, whether it's freedom from my own ego or freedom from the intense freedom that I think the privilege I grew up in smothers you in, almost. So beyond just the America that country sings about, it’s the freedom within the idea of America that I was really drawn to, if that makes sense.
Why was it important for you to conclude the book with your Grand Ole Opry performance?
I couldn't believe, in a way, that performance and experience coincided with when I was writing the end of my book. The ending for the book actually was the chapter before. [Originally], it was like, I live in Nashville now [and] I realize it's okay to like be me. And then I had my Grand Ole Opry debut, and I felt like I'd been run over by a truck. But after, my whole family descended upon Nashville and then left. And through writing this book, I really learned how much writing helps me not only understand the world around me, but myself, and how healing writing could be. So I was like, “What do I do with this experience?” And I wrote about it. This incredible circumstance [at the Opry] really got to articulate so much about what my life has become and where my life has been. That just felt like a really better ending.
What was your experience like working with Greta Gerwig on Mistress America?
Oh, it was fantastic. Greta is incredible, and it doesn't surprise me at all that she absolutely has become one of the most sought-after and powerful directors. I certainly have continued to use some of her mannerisms. I mean, she's just such an inspiration. And now that I'm 34, I can't believe that she was 29 when she wrote that. I'm like, “Oh, f—, she was so driven and so talented even then.”
Have you discussed working together again?
We were supposed to do an ill-fated production of The Three Sisters in 2020 that then got postponed for like two years, and that ultimately [was] canceled. So, not since then. But I would love to”.
PHOTO CREDIT: Ohad Cab
I might circle back to the book to close things out. Her latest single, Raised by Wolves, is one of Lola Kirke’s best. Here are some further details: “Raised By Wolves’ is the first song I wrote with Daniel Tashian,” Kirke explains. “I’m a huge fan, so I was extremely nervous for our session and weirdly decided to break the ice by forcing him to let me read the first chapter of my then unfinished book, in which I say ‘I was raised by wolves in the wilderness, but the wolves in question repurposed vintage nightgowns as dinner dresses and the wilderness consisted of various brownstones scattered below 14th street.’ Fortunately, he found this inspiring, not self-indulgent, and we wrote the song”. I am not sure whether Country music is genuinely in fashion or whether it is a reaction to Beyoncé and the success of her 2024 album, COWBOY CARTER. I maintain it is a genre that people should listen to and give time to. However, for artists like Lola Kirke who are not new to Country and have been part of the scene for a long time, how easy is it to ‘convert’ people?! I want to take us back to last year and Kirke’s interview with Building Our Own Nashville. Lola Kirke discussed the Country 2 Country (C2C) Festival, her Country E.P., Country Curious, and more:
“Actress and singer/songwriter Lola Kirke made her Country 2 Country (C2C) Festival this year (2024) and made such an impact on the country music fans that she will undoubtedly return to the C2C Stages in the not too distant future! But fans of the genre and of Kirke won’t actually have to wait long for her return to the UK as she is back in August for a headline tour including an appearance at The Long Road Festival.
Kirke has been making country music for a fair few years now! More recently however, Lola Kirke released her EP titled Country Curious which features First Aid Kit, Roseanne Cash and is produced by Elle King! A wonderful combination of traditional and modern country, the EP is smart, witty and highly relatable!
We caught up with Lola just after her set on the Wayside Stage. Her set was met with great reception and she showcased a few new songs which made for great conversation. Lola Kirke was great company and I thoroughly enjoyed talking with her. If it hadn’t been for my having another interview straight after, I could have honestly chatted for hours! A very laid back and cool country woman, Kirke speaks with such ease and passion about the country music genre and we are so excited to follow her journey from here on!
How are you? How has your C2C Experience been so far?
It’s been good. I was born in England, my family is from England so I have had this incredible time seeing family and friends and places that I grew up in! Then randomly getting to come to the O2 Arena and play on small festivals stages. It’s been a real lovely trip and the weather’s been amazing!
Is it London that your family are from?
Yes!
Oh that makes it easy then!
Yeah it’s great, it’s been a homecoming and I think part of it is getting to play country music in London, it’s a lovely marriage of things I love and music has brought me back to England than anything has in my adult life.
I just saw your set on The Wayside Stage which was incredible! I have written down a new song that you performed and all I have is mum, Madonna, Malboro’s….
Yeah, ‘Malboro Lights and Madonna’. I just wrote that song with Natalie (Hemby) and Jason Nix. I had run into her at the Brandi Carlisle ‘Girls Just Wanna’ weekend in Cancún. For whatever reason, I told her this story of when I was a little girl about 5 years old and how Madonna had been at the same restaurant as us in Miami on a family vacation. My mum was like “go up to her and get her autograph” and I was like “what would she sign? We don’t have anything?” My mum said “oh take this” and gave me her empty Malboro pack and I went over to Madonna like a five year old girl and asked her to sign it for me and she did. I told that story to Natalie Hemby and we were writing together a couple of weeks ago and we were just about to get into it and she said “wait, remind me of that story, it was so funny”. Then I re-told her the story and she said “Malboro Lights and Madonna, that’s a great title”. When I think of my mum, I think of Malboro Lights and Madonna and yeah, we wrote that song. I love how songs fall out of anything if you’re looking at them the right way.”
I don’t think that there’s a better premise for a country song than that!
Thank you so much I really appreciate that!
It’s very Natalie Hemby too
It is, it is so her! I love Natalie!
I love that line in the song about your mum. “always on a diet as she thought she was fat” that’s a line so many women are going to relate to!
We had a bunch of other lines in there too and then I was like “well this is the truest one, that’s not weird right?” And Natalie was like “that’s every mother in the world”. It makes me sad, my mum is so beautiful and I think watching beautiful people think they are not beautiful is just the world we live in. It’s the fuel for every industry and age of capitalism that we live in, and what I love so much about writing, whether it’s songs or other forms of writing that I do, is the ability to bring light and humour to these things that are the subtle underbelly of everything that we do and make them relatable. I do know that’s everyone and that is something that country music has always done for me. I think that my kind of mission within country music is ( I’m not from places that a lot of people from country music are from, I am from New York City and I was born in London, ) to expand on that accessibility of another corner using the country form which is so fun and that was visible playing new songs for people today and by the end they are singing along because there is rhythm to the music that makes it able for people to enter into much easier. I just want to expand on what you can write a country music song about!
Another song that caught my attention during your set which is also not released is Tennessee Sober…
Yeah! Tennessee Sober I made up haha, it’s the opposite of California Sober. California Sober is a term for like “I don’t drink but I smoke weed”. Willie Nelson and Billy Strings just did a song called California Sober so you can refer to that one for the reference but Tennessee Sober was my play on that because I’m drunk all the time haha. I only drink, I drink all day long haha!
Really?
No haha I’m joking!
Haha good – I see that Pistol Annies are an influence of yours and I can hear that in your music, what is it about them that draws you in? Have you worked with any of them?
I have actually written with Ashley (Monroe) and Angaleena (Pressley) I love them so much! That has been one of my favourite things about Nashville, getting to write with my songwriting heroes and singing heroes. Their voices are voices of angels I just adore them. What I love about them is their ability to be tough and funny and heartbreaking. That’s to me what I love so much about country music, about women in country. You don’t see it all the time but for those that are drawn to do that in the genre, they really can. It’s really cool. I love Miranda Lambert for that reason, she is just who she is.
Tell us about ‘Country Curious’ because that is such a great EP!
So Country Curious, I have always been drawn to country music, it has always been an inspiration for my music and slowly over time it’s just got more and more country. I made a duets record back on 2019 (Loka Kirke and Friends and Foes and Friends Again) and that was more classic country influenced and then my record Lady For Sale that came out on Third Man Records on Jack White’s label was much more 80’s country with a lot of Judd references, a lot of synth, pedal steels stuff, it was really fun but it was pretty niche. I started challenging myself after that to write music that was much more in my mind what I was hearing on country radio. I live in Nashville now and listen to a lot of country radio because why not? I wrote all these songs that I wanted to be like bro-country for women. That felt really exciting to me. You just reflected that there was that line in Malboro Lights and Madonna that speaks to you. I wanted to expand on what we can talk about in a country song and I wanted to talk about women taking back their house (song My House) and hiring strippers and going on adventures. Elle King (produced Country Curious) felt like a really great and perfect partner on that, I have always loved how she has blended a rootsier, influenced with a more contemporary sensibility, we had a lot of fun!”.
Even if Lola Kirke moving into Country territory for Country Curious was a surprise to some, it is actually authentic. This is an artist not new to the genre. Even if previous work is more Pop-based, she is someone not jumping on a bandwagon or experimenting. This is music pure to her. I can see her recoding more Country music for years more. I want to move to an interview from GRAMMY, who featured Lola Kirke last year. Chatting about her stunning E.P., it made me think this is an artist the whole world should know:
“On its four songs, Kirke goes from gushing over a southern accent ("He Says Y'all") to saying adios to those not worth her time ("All My Exes Live in L.A." and "My House"). It's been a calculated adventure for Kirke, who's slowly expanded on her country sound with each passing record, moving from the glimmering 70's and 80's influenced Heart Head West and Lady For Sale to the empowered contemporary stylings that dominate Country Curious.
The title of her EP also stems from a childhood infiltrated with country music that she credits to her father, who played in classic rock bands and introduced her to artists like Gram Parsons, Emmylou Harris, Tammy Wynette, Johnny Cash, and Patsy Cline. Despite her long fascination with the genre — and even fronting an all-female country band in college — Kirke acknowledges that, from the outside looking in, she doesn't look the part of a cowgirl.
"As a girl from New York City who was half Jewish and half English, it wasn't exactly up there," she jokes about the possibility of a career in country music. "For whatever reason I delusionally believed I could be an actress and that would be easier, and it worked for a while. One thing I've always loved about music is that I don't need a green light from people like I do as an actress, I can always raise hell and sing a song."
Calling from her Nashville home between rehearsals for a new acting role, Kirke spoke candidly about her path to country music, imposter syndrome and how acting and making music compare.
Country music is often tied to a place, but it can also come from the heart — something people often neglect when debating authenticity in the genre. Is that idea what you're hitting back on at the beginning of "He Says Y'all" when you sing "I've got my Wrangler's starched and I'm pearl snap pretty, which is kind of strange 'cause I'm from New York City?"
I definitely want to empower more people to listen to country music. But these days it doesn't seem like I have to because it's becoming increasingly ubiquitous, which I love since it's my favorite kind of music.
The most authentic thing we can do in this world is love something with every ounce of our being. That's what should be the price of entry, because in the end that's all that really matters. If you love something then you're going to do right by it — and I love country music, so I hope to do right by it.
What are some differences and similarities of how you approach acting and musical pursuits?
Well, for acting I would never take a shot of tequila before I did a scene, but maybe I should because it could be very fun! [Laughs.]
I'm able to do that more when I'm performing due to the social element of it, which is really exciting. I do try to bring my whole self to whatever it is I'm doing, whether I'm on a stage singing or I'm in front of a camera acting. That being said, the Lola Kirke that I am when I'm playing music is not the Lola Kirke that I necessarily am at home.
For one, I look like s— when I'm at home, but on stage I really love wearing fun costumes. On that note, with acting, I was starting to get a lot of feedback about the way I looked that wasn't positive and made me sad, hearing I was too fat for roles. I didn't want to be part of an industry that did that. I'm not naive to the idea that music can be kinder to female artists, but so far I haven't felt that same pressure in my music to look a certain way because I have a lot of control in how I look when I'm doing it.
There was always this confusion with me as an actress where I felt like a really glamorous person even though I was constantly playing an assistant. You can be a glamorous assistant for sure, but there was a leading lady role I wanted to step into that I just wasn't being cast as. I feel like with the role I've created for myself with my music that I've been able to embody that.
In some of your songwriting and in past interviews you've alluded to your battle with imposter syndrome, especially in terms of your music and moving to Nashville. What's motivated you to be so open about those struggles?
It's really important to try new things in life and to test your own limits of what you believe is possible. If you get into the habit of doing that a lot, you'll often find yourself feeling like an imposter because you're constantly learning and growing. There's a healthiness and bravery in allowing yourself to feel like that.
However, that feeling of not deserving anything I have is something I've also dealt with a lot. It can seem self-centered at times, but it's made me realize that life doesn't have to be as hard as I make it. You don't have to be scared all the time that everyone's gonna come down on you for doing something wrong.
Overcoming my imposter syndrome has been a lot of looking at my own judgmental nature because I have a lot of negative self-talk that I'm working on. While it's nice when somebody else validates you, that ultimately has to be an inside job.
Is that what you're singing about in "My House," not only getting toxic people out of your life but your own toxic thoughts and insecurities as well?
I think all of my romantic or heartbreak songs have a double meaning. On "All My Exes Live In LA," while it is a true story, it's also about leaving behind the proverbial abusive ex-boyfriend of Hollywood and being like, "I don't want this anymore. I'm gonna go find my own place in this world and maybe I'll come back, but if I do it'll be more whole and not defined by you."
Sometimes it's easier to write about these bigger ideas through the foil of a man or love because somehow it sounds less cheesy — even though we break up with a lot of things in this life, not just romantic partners. I hope listeners find double meaning in all of my songs about breaking up with a man, or being empowered by a relationship, to be a different thing because we have relationships with a lot more things than just lovers.
Regarding "Exes in LA," I love the inclusion of First Aid Kit on the song. They're not a band that I necessarily think of when country music comes to mind, but I love them jumping on these and feel like they really nailed the vibe. How'd the opportunity to collaborate with them come about?
It all came from a mediocre 6.4 review that Pitchfork gave my last record, Lady For Sale. Overall it wasn't a bad review aside from mentioning it was egregious that someone from New York City like me was making country music. That became the thesis of a TikTok I posted that the First Aid Kit gals commented on jumping to my defense, saying they loved my music and would be interested in hearing what Pitchfork had to say about them making country music from Sweden.
After that we became close friends online and I got to go on tour with them throughout the UK, which was so special. A real friendship blossomed from that, so when I was dreaming up collaborations for [Country Curious] they were at the top of my list with Rosanne Cash.
I imagine that your collaboration with Rosanne, "Karma," was a pretty serendipitous and full-circle experience, since she's one of your biggest country influences?
Many years ago during a moment of heartbreak, I was consulting a psychic — as one does — and she told me that I really needed to listen to the song "Seven Year Ache" because it'll be a huge window into my future. The song doesn't have the most optimistic perspective so I thought that was weird.
Then when I was sitting down with [Lady For Sale producer Austin Jenkins] he mentioned it'd be really fun to make a record like Seven Year Ache and it brought me back to that moment. We ended up making this record that was very inspired by Rosanne's.
Eventually, I got back on the phone with the psychic again, where she re-emphasized the importance of working with Rosanne Cash. I remember thanking her but inside thinking she was crazy — until a couple years later and I was lying in bed one night after a pretty rough day professionally, and refreshed my email one last time to see if any opportunities trickled through. Lo and behold, a message popped up from Rosanne Cash.
She said she'd been trying to reach me for a while to see if I'd like to do this workshop project in New York with her for a theater piece. It was such an honor and such a beautiful experience as an actress and musician to get to work with her in both capacities. When it came to this dream EP I reached out fully expecting a no in response, but to my surprise she said yes.
I love "Karma," particularly for its double-edged sword dynamic that has you referring to karma as your friend one moment and declaring you don't mess with her because she can be a b— moments later.
That's a song I wrote for a dear friend of mine. I originally thought of it as more of a quippy Pistol Annies upbeat number, but when my co-writer Jason Nix sent me a tape of him playing it in this really sad way that I thought was brilliant, so we did that with it instead.
You talked earlier about being steeped in old country influences growing up and on past recordings. I feel like "Karma" very much sees you with one foot planted in the nostalgia of '70s and '80s country and the other in its contemporary, pop-tinged present.
A lot of that also came from Elle King's influence as producer of Country Curious. She has much more of a rootsy sensibility that I was really happy she brought because it was able to ground this more contemporary sound in a lot of the classic country influences that I really love”.
I am going to end with a feature from Cultured. Apologies is tonally scattershot and random! I wanted to talk about Lola Kirke as an artist. However, with a book out, I cannot avoid that. It is important. Another side to her that needs to be explored. For Cultured, they write how for “Boots on the Ground,” Emmeline Clein takes readers to a Perverted Book Club and catches up with one of its more surprising guests”:
“Speaking of beauty, you write a lot about the allures and dangers of defining oneself via physical appearance––about beauty as currency with an ever-fluctuating exchange rate, or perhaps even a currency revealed to be counterfeit when you try to spend it, and as one earned through pain and excruciating labor. What does beauty mean to you today?
What beauty means in my life is constantly evolving. Mostly, I would say that it's internal. Beauty in my life today means looking like the main character in a neo-noir '90s film. They're wearing librarian glasses and tweed jackets with shoulder pads, and they're still somehow the sexiest women in the entire world. I think that something the '80s and '90s really promoted about beauty was beyond the all-encompassing thinness that still defines a lot of beauty standards. Instead, it was like, no, it's the woman's intelligence that is really the sexy thing about her. But I think true beauty is love, caring for yourself in a deep way. And wisdom. We've always privileged youth, and I don't think that that's particularly interesting. I'm more interested in being a woman than I am a girl.
I love that, especially with all the cultural emphasis on girl-ifying everything. Let’s have "woman dinner" for once. This book is also obviously pretty rife with tea in a fabulous way, and I was curious whether you were worried about the reactions of the people you wrote about? Are you of the school of letting people in the book read drafts or are you engaging in ask-forgiveness-later culture?
I definitely let people read drafts. For the most part, my rule was, I'm only going to talk about something that happened to another person if they've talked about it themselves, publicly. But I was absolutely terrified. I think I really terrified my family too. I talk about that a little bit at the beginning of the book, but I don't think it was the news that everyone wanted, particularly my parents, when I was like, "Hey, I got a book deal…" They were like, "Um, is it fiction?" My friends would be like, "Well, why didn't you turn it into a novel?"
As we’ve seen with a lot of autofiction, it would probably have been pretty legible.
Yeah, exactly. Welcome to the "Jirke family." Also, you have a lot more freedom when you're writing fiction. I think in a way people might be a little bit more protected, at least with me as the writer, with it being non-fiction.
I was really interested in the way you write about the country music genre as one that rigidly adheres to rules, and compared it to Manhattan’s grid. Your book felt so much like a story of unlearning rules and roles that constrained you, so I’m curious to hear your thoughts on both the comforts and dangers of genre––in music and in books.
I appreciate that reading. I think it comes back to the corny acting truism: you can live more truthfully through the mask. Oftentimes, limitations can give us a lot of freedom. So, I appreciate all the limitations. Something else about growing up with privilege, as I talk about in the book, privilege is a form of freedom. But it's a very privileged thing to do away with your freedom. Genre, whether it's noir or country, actually offers a lot of freedom within limits.
You live in Nashville now, but so much of the book and your life takes place in New York? Are you planning to be in Nashville forever?
I will always go back to New York, and I love New York, but I have really enjoyed not living there. Growing up the way that I did, there is the kind of storied closed-mindedness of people who believe they're very open-minded, i.e. bougie New Yorkers who think the world is as big as New York, LA, and London, and wherever else there are flagship stores of luxury brands. Growing up thinking I was going to be an actress, I never believed that I could live outside of those places. But I always did have great reverence for the South, whether it was because I loved country music or because I loved barbecue.
Okay, last question, which I’ll bring back to sex, since I did get to hear you read erotica recently. I thought your description of your own sexual stance as “largely unskilled but enthusiastic” at a certain point in your life to be iconic and relatable. I was curious if you could talk about your experience writing about sexuality, which can be so fraught for so many women, and which you handled with so much grace and wit.
I typically do feel like sex is just moving around a bunch. That is the best way I could describe it. Despite growing up in a highly sexualized home––not that we were sexualized early, but because we were made into beautiful girls and we modeled our mom's clothing, and there was a lot of emphasis on beauty––there was never a discussion of sex. No one ever was like, "Here's what you do. Here's how you don't get pregnant." I'm always so impressed when I read writer friends of mine write about sex in such a sexy way. Like, oh my God, you know what you're doing?”.
With Wild West Village: Not a Memoir (Unless I Win an Oscar, Die Tragically, or Score a Country #1) and a new single out into the world, this is a perfect time to discover and bond with Lola Kirke! I have been following her music for a few years now. Perhaps better known in the U.S. than here in the U.K., I do hope that she comes and plays here soon. She does have a very brief stop-off here on 12th March at Next Door Records Two in Stoke Newington. Either side of that she has dates in the U.S. and plays a string of North American shows through to late-June. If you have not discovered this phenomenal musician, actor and writer, then make sure you acquaint yourself with her. Born in the U.K. and based in the U.S., this is a very special talent that now…
BELONGS to the world.
____________
Follow Lola Kirke
