The Enduring, Incandescent Power of Kate Bush


Margaret Talbot writes in The New Yorker about The Enduring, Incandescent Power of Kate Bush after working her way through the box sets:

I spent most of a week last month in a Kate Bush-induced reverie—or was it a swoon? I know there were tears: you try remaining dry-eyed listening to “This Woman’s Work” on a cold November night after a glass or two of wine; if you do, I don’t want to know you. There may have been some ecstatic dancing that alarmed the dog; there was definitely some animated texting of lyrics to my children, who, at twenty-two and nineteen, are both, bless them, Kate Bush fans. She seemed, in certain ways, so current in her embrace of femininity as power—protean, generative, and emotive—and in the fact that, for all her artiness, she also eagerly grabbed onto the contemporary pop sounds and tools that she liked (drums recorded with the heavy-hitting effect called “gated reverb,” which was favored by Michael Jackson and Phil Collins, for instance). She anticipated a busier and more nonchalant traffic between pop and indie music.

One thought on “The Enduring, Incandescent Power of Kate Bush

  1. kruekutt

    I’m just diving into the new Remastered boxes (which I splurged on with Christmas cash and gift cards). Even on streaming audio, they’re noticeably more vivid than the originals — Never For Ever, The Dreaming, and even The Sensual World really came alive for me. Plus, I’d forgotten how beautiful, powerful and complete The Kick Inside, Hounds of Love and Aerial are — groundbreaking, delightful albums. The Graeme Thomson bio mentioned in the article is quite good too, and I’ve got the lyrics compilation How To Be Invisible on order. Nice that Bush’s unique artistry is still getting the appreciation it deserves.



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