For a sensitive spirit such as my own, I often find it increasingly overwhelming how many mediums we have for experiencing music in our modern climate. Perhaps the integration with social media and the culture of immortalizing our most intimate moments through the internet has changed the nuance through which we appreciate music. I feel a gnawing difference when I listen to my father's Jazz variations in his car versus the digital music I am overstimulated with, which, though often infectious when it needs to be, feels hollow and forgettable at the end of its short, algorithm-driven lifespan.
I experienced indescribable excitement when I came across the cross-generational, vintage, analog instrumentalist, and purist penmanship encompassed in the rich catalog of multifaceted singer and songwriter Madison Leigh—a scholar of the prestigious musical hub of Liverpool, England, United Kingdom. For the era-transcending Madison, music doesn't dwell in the realm of pure performance alone—it's therapy, diary, and revolution rolled into one. It's evident in how she channels the haunting aesthetics of filmmaker David Lynch's "Twin Peaks," which inspired the concept of her "Red Room" series, coupled with influences as diverse as The Velvet Underground's Lou Reed, Amy Winehouse, Duffy, Teddy Pendergrass, Silk Sonic and Motown legends The Temptations to create intricate and boundless bodies of work.
Since graduating from BIMM Manchester in 2017, Leigh has honed her music meticulously, blending soulful tones of the past with atmospheric storytelling through poetic prose and profound lyricism. Her debut EP, Red Room - Part One, released in April 2023, explores a distinctive sound that set the stage for her to build an expansive, cinematic discography that flaunts a broad spectrum of world-building and classical craftsmanship. Madison has earned herself deserved recognition, including being named a finalist in the prestigious Bang & Olufsen 'Back To Black' competition, judged by acclaimed director Sam Taylor-Johnson.
Described by Shell Zenner of Amazing Radio UK as having one of the richest voices they have heard in a long time, the second installment of the “Red Room” series draws from the raw emotional confessionalism of the 70s and David Lynch's surrealist noir with a dash of Motown's golden-age grandeur, crafting a soundscape that feels both timeless and urgently modern. "Red Room - Part Two," led by songs "I Didn't Know," "Don't Let Me Down," and "Only One," offer a smokey Velvet Underground feel reimagined for our age of toxic relationships and digital deceit.
Watch “I Didn't Know (Live) here:
Following the success of "Red Room - Part One," this second installment deepens Leigh's artistic vision, embracing the full spectrum of feminine complexity—sensual, strong, emotive, and unapologetic. She achieves this by unraveling the dense layers of the feminine experience punctuated by desire, betrayal, and resilience, all in service to a bigger picture—a reclamation of self achieved through a masterful narrative, which transforms personal experiences into universal truths. "Red Room - Part Two" embodies the enduring power of human vulnerability and packages itself as a gauntlet that reminds us what soul music was always meant to be: a mirror held up to the messiest parts of ourselves, reflecting them back as something beautiful.
While there is nothing immediately wrong with making music for the 'gram and Tik-Tok, Leigh channels a spirit that pre-dates technological advancement and exhales and breathes of fresh soul that feels vital to the 2020s, music that compels you to ground yourself in the moment and feel it all, the memories, the sadness, the anger, the hurt and the joy that filters the modern and perhaps historical experience of love in a satisfactory manner devoid of social media captions. Leigh pushes the needle beyond museum-piece recreations of the past, instead on songs like "I Didn't Know" she grabs the DNA of the golden age of music and splices it with contemporary psychological insight, delivering a thoroughly modern meditations on the woes of modern relationships such as gaslighting and emotional manipulation.
In this installment of Colorbloc's "On The Spot" interview series, I got to pick her brain about bringing the conceptual body of work to life, what it would be like if "Red Room Part Two" were a film, how she oscillates between nostalgic reverence and contemporary critique and more. This conversation and Leigh's music make the case for the continued relevance of the soul as a vehicle for genuine human expression and simultaneously make the case for the genre's future. It is critical to honor history to redefine the essence of all that is contemporary and authentic in an increasingly artificial age.
Your music seems to oscillate between nostalgic reverence and contemporary critique. What tensions do you deliberately cultivate in this musical space?
"I've always felt a deep connection to 50s and 60s music; I often feel like my soul was born in the wrong decade. The vintage sound really resonates with me, and I find myself drawing on that influence as I write. While my songs often explore themes like heartbreak and betrayal—issues many women face today. I don't consciously focus on blending past eras with modern-day issues. For me, it's more about creating music that feels authentic and true to my own experiences. If others connect with it, that's just a bonus. The tension, I think, comes from my natural gravitation toward older sounds, but the stories and themes I explore are rooted in the present."
Your influences span Duffy, Amy Winehouse, and Lana Del Rey - artists who've radically reinterpreted feminine musical narratives. What archetype are you constructing?
"My music is really about independence and feminism; while I write about painful experiences, the core of my message is about empowerment. And helping others who are going through similar situations and reminding them not to settle for someone who's broken their heart. I've heard my aesthetic described as provocative and sexy, but for me, it's just about self-expression. I love being a woman and embrace femininity in all its complexity—sensual, strong, emotional, and unapologetic. The archetype I'm constructing is one of a woman who's not afraid to feel deeply but also knows her worth and won't settle for less than she deserves."
Liverpool has a rich musical legacy. How do you both honor and challenge the city's artistic expectations?
"Liverpool has a pool of amazing talent, and it's inspiring to see artists carving out their own paths. Personally, I don't focus too much on what others are doing. I prefer to keep my attention on my artistic direction and stay true to my vision. As a solo female soul artist, I do feel that there isn't much of a scene here for me, so it often feels like I have to work ten times harder. However, I'm confident in my vision and believe in it 100%. My goal is to stay consistent, keep honing my craft, and build my audience step by step."
David Lynch's aesthetic seems central to your work. Beyond visual inspiration, how does his non-linear storytelling approach inform your musical narratives? Here's a possible response based on your thoughts:
"Storytelling is at the heart of my music, and David Lynch has been a major inspiration, both visually and sonically. His surreal, atmospheric style influences the mood I create in my songs. For my first two singles, 'Last Resort' and 'The Damage Is Done,' from 'Red Room - Part One,' I was greatly inspired by 'Twin Peaks.' I imagined those tracks fitting into the eerie, mysterious vibe of the show. My song 'Don't Let Me Down' draws from the storytelling in Lynch's films, specifically the audition scene in 'Mulholland Drive.' His dreamlike approach to storytelling has definitely shaped how I construct and express my musical narratives."
Stream “Don't Let Me Down” here:
Soul music historically emerged from profound social and emotional landscapes. How do you reimagine soul's transformative potential in 2024?
"Soul music is a timeless genre, and I believe it still holds incredible power and relevance today. I feel that music today often lacks the raw passion and emotional depth that soul music embodies. My music taps into themes that resonate with many women. Experiences like being cheated on, lied to, dumped, manipulated, and heartbroken. Soul music has always had a way of conveying those emotions in such a beautiful and melancholic way. I aim to reimagine that transformative potential in 2024 by giving voice to those timeless experiences while making them feel fresh and personal for today's listeners."
"I Didn't Know" explores betrayal within an intimate relationship. How do you negotiate the boundary between personal trauma and artistic expression?
"Writing music is my form of therapy and acts as a personal diary. I find it liberating to express my trauma through music, and performing it allows me to release those emotions in a way that feels empowering. I try not to be closed off, as my approach is to write from a place of honesty and vulnerability. I believe that being raw and genuine in my work is important because it allows my audience to connect with the emotions behind the music. I want people to feel that they aren't alone in their experiences, and being open with my feelings helps create that bond."
“Don’t Let Me Down” and “Only One” airs out some of your frustrations from a past relationship and the deathly blow of Karma. How did the songwriting process for these two songs help you with your healing journey?
"I find writing music to be a therapeutic and healing experience. When I write, it's my way of expressing what I'm feeling in the moment, and there's something liberating about channeling those emotions into a song. For both 'Don't Let Me Down' and 'Only One,' writing helped me work through the pain of that past relationship. It gave me a space to process those emotions, especially around the idea of Karma and the consequences of our actions. Music has become a tool for personal healing and helped me move forward."
Stream “Only One” here:
"Intimacy" and "Good Times" address non-reciprocation, uncertainty, and reminiscence. Could you share some of the motions that shaped the narrative depth of those songs?
"So "Intimacy" was inspired by an ex-situationship where the emotional connection between us was clear even though we were never in a relationship. The song reflects deep-rooted feelings from that time, particularly the sense of being used. He would go days without reaching out, and then, out of nowhere, he'd show up, leaving me feeling undervalued. It was a cycle of emotional push and pull, and that tension really shaped the narrative of the song. As for 'Good Times,' it comes from a past relationship where I stayed much longer than I should have. I was in a situation where I felt unwanted, but I stayed for years. Though the relationship had its share of bad times, the fun moments and memories I clung to kept me there longer than was healthy for me."
If your EP "Red Room" were a film, what would its narrative arc reveal about your understanding of human complexity?
"If 'Red Room' were a film, its narrative arc would explore the emotional highs and lows of navigating love, heartbreak, and personal growth. The EP would follow a journey of vulnerability, where the protagonist (me) confronts emotions like betrayal, self-doubt, and longing. But it would also reveal moments of empowerment and clarity as the character learns to reclaim her worth and let go of past attachments. The narrative would reflect my understanding of human complexity in how we are shaped by both our highs and lows. It would show that the journey through heartache isn't linear, and there are moments of nostalgia and pain but also moments of strength and liberation. 'Red Room' is about embracing the full spectrum of emotions and understanding that both the dark and light sides of life are integral to who we are as people."
How do you view the relationship between visual aesthetics, musical composition, and emotional storytelling?
"For me, 'visual aesthetics,' 'musical composition,' and 'emotional storytelling' are deeply intertwined. Each element complements and enhances the others to create a more immersive experience for the audience. The 'visuals,' whether it's the imagery in my music videos or the overall aesthetic of the project, help set the emotional tone and bring the story to life in a way that words and music alone can't. The music adds another layer of depth to the emotional storytelling, turning raw feelings into something that resonates on multiple levels.
My goal is to build an aesthetic that becomes a brand my audience can identify with and reference. I want them to feel a sense of connection to the world I create, both sonically and visually. Throughout my work, I’ve kept personal experiences at the forefront, blending them with red as a current theme and embracing the soul genre.
The visuals bring the emotions to life, the music amplifies those feelings, and the lyrics tie everything together. It's about creating an experience where the audience can not only hear the story but also feel it visually and sonically and recognize it as a part of the brand I'm building."
Thank you for joining us for this interview. Before you go, please share some of your plans with us? What's on your vision board for 2025 and beyond?
"My 2025 plans are to record and release more new music, play festivals and gigs in different cities, and continue to build a large audience. My long-term plans are to eventually become a full-time singer-songwriter and tour the world to sold-out crowds."
Watch “Madison Leigh - Live at Liverpool Arts Bar” here:
Stream “Red Room Part Two” here:
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