Katherine Priddy has long been celebrated for her poetic songwriting, but her latest collaboration takes that connection to a whole new level. Working with Poet Laureate Simon Armitage, Priddy has transformed his words into two stunning winter-themed songs, the latest of which, Daybreaker, was released on January 30. This follows Close Season, which earned widespread acclaim for its haunting depiction of winter as an unfeeling lover. We spoke with Katherine to find out a little bit more.
What inspired the creation of “Daybreaker,” and how does it capture the feeling of transition from winter’s grip to the promise of a new day?
I’ve always found myself leaning towards writing about the seasons – something about the cyclical change in the weather and my surroundings always seems to inspire me to write. I’d been talking to Simon for a while about the possibility of setting some of his words to songs, so I reached out and suggested we did two Winter themed songs, with one being a dark alternative to the usual jangly Christmas songs as we moved into the dark nights, and the other being a hopeful reemergence for the tail-end of the cold days. For Daybreaker, Simon created a set of lyrics that captures that first day of the year, where the sun suddenly has a little bit of warmth and the bulbs have started to pop up, and you realise that Winter isn’t going to last forever. He described it as ‘the first day when sunlight is in the blood’, and I think he captures this beautifully. It’s hopeful and joyful and narrates the move from long, slow days to the promise of all the light that is to come.
Can you walk us through how your collaboration with Simon Armitage came about and what the process of setting his poems to music was like?
Simon and I have crossed paths a couple of times over the years at various festivals and performances, and I knew he liked my work. However, I was listening to Guy Garvey on BBC 6 Music one night and Simon was a guest. He was reading a poem he’d written and said, on air, that he wanted a musician to set it to music, giving both myself and Radiohead as examples of people he’d like to do it. When the Poet Laureate lays down a gauntlet like that you’d be silly not to take it up! So the next day I composed a song around the poem and sent it to him and that’s how we first got talking about the possibility of doing something together with some other specially written poems. It was a really interesting process for me, as the lyrics have always been such an important part of my songwriting process, often coming before the melody. So whilst it was strange handing that part over, I actually really enjoyed the challenge of taking an existing set of lyrics and trying to capture my interpretation of the mood and intention through melody. It was definitely an act of trust on both of our parts, and a really beautiful thing to do with someone else who’s creativity I admire so much.
How has working with someone of Simon Armitage’s stature influenced your creative process and approach to songwriting?
I think it was quite a confidence boost really. I’ve always felt as though my lyricism is my strongest suit, so having to put that to one side and focus entirely on melody was daunting, but I am so proud of how the songs have turned out. It also gave me the space to be more intuitive and have more fun with the melody and arrangement in terms of trying to draw out a mood or a feeling, as I didn’t have the means of doing it myself through the words, so that was a really good creative lesson. It’s definitely made me want to do more collaborative work in the future – I think it’s an incredible way to take yourself out of your comfort zone and give a fresh perspective to your own approaches.
As someone with a strong literary background, how do you integrate poetry and storytelling into your music, especially in tracks like “Daybreaker” and “Close Season”?
I suppose ‘Daybreaker’ and ‘Close Season’ started life as standalone poems before they became songs, (though as Simon pointed out to me, there’s definitely differences for him in terms of how he approaches writing a poem or a set of lyrics), so that integration happened naturally. But when it comes to my own songs and combining it with my own love of poems and books, I actually don’t think it’s necessarily a conscious decision. I think if you read enough and immerse yourself enough in anything, it will naturally start to appear in your own output. If I’m ever feeling like I have writer’s block, I stop trying to write and focus on reading instead. Nine times out of ten it’ll present an interesting image, sentence or idea that ends up taking root in my head and inspiring something of my own further down the line. There’s a few of my songs that have been directly inspired by books or poems I’ve read. They’re an endless source of new perspective.
Beyond “Daybreaker,” can you share any hints or insights about upcoming releases or new projects you’re working on?
I have a live album coming out for Record Store Day on April 12th, which is really exciting. It’s a double LP recorded at a show I did in Union Chapel last May accompanied by two amazing musicians, and it was one of the best nights of my life. I am so glad it’s been immortalised on that release – and there’s a little surprise on the last song too! Other than that, I can’t say anything definite but I have been working on a couple of exciting little projects recently which I’m really hoping will come to fruition before too long. One of the hardest bits about being in this industry is having to sit on secrets when it’s something you want to be shouting about! Generally though I have been focussing a lot on writing recently and getting my head into album making again. It’s a long process, but one I’m really excited to get stuck into.
Your headline tour for February/March 2025 looks exciting—how do you plan to translate the intimate, atmospheric quality of your recordings to the live stage?
I’ll be performing as a duo for these shows – accompanied by my long-time collaborator and musical extraordinaire George Boomsma. He provides some beautiful electric guitar atmospheres and harmonies, which really help lift my acoustic guitar and vocals and bring a lot of warmth and depth into the live sound. As I write all the songs solo on my guitar, I don’t find it too tricky to translate them to these intimate, stripped back performances. It’s actually quite nice to be able to give audiences something that isn’t quite as built up and dramatic as the album, but still captures that sense of intimacy and feeling.
How do you balance staying true to your sound with the desire to experiment and explore new musical directions?
I am a big believer that experimentation is an important part of the process and shouldn’t be discouraged or shied away from. After all, as long as it’s coming out of your head and with your intention then it’ll still be your sound! I think my songs will always have my love for storytelling at the heart of them, and my voice is my voice, so that won’t change, but I’d like to keep expanding my sound and changing the setting. Each release feels like an opportunity to do something new, however subtle, so I’m keen to take that. It’s important to not feel like I’m stagnating, and I want to feel like I’m challenging myself a little each time. Though I’m not ready for my rap-metal album just yet…
Are there any future collaborations or creative partnerships you’re particularly excited about, following the success of your work with Simon Armitage?
Again, there’s a couple of things on the cards but those cards are still firmly tucked up my sleeve for now! Like I said though, the whole project has really made me want to do more collaboration in the future so I hope that’ll be something I can explore. It would be great to do some collaborations that span the genres a bit, or take me right out of my usual sound and comfort zone. I think there’s a lot of potential for magic to happen when you start mixing two worlds, and a lot of common ground to be found too.
Looking ahead, what are your long-term plans as an artist? How do you see your music evolving over the next few years?
I’ve always said that as long as there’s people listening, I’ll keep playing. I feel so, so lucky to be doing something I love so much as my job, and I really hope I can keep the wheels turning and continue to make music. Whilst there’s some obvious goals such as future album releases and tours, I’m also excited for the unexpected opportunities and little surprises that inevitably come along too, as they’re what keep me on my toes and keep the passion alive. I’d like to keep expanding my palate and improving my songwriting and performing too, and perhaps do my first full band tour before too long. I guess the overall plan is to keep growing and keep having fun! Enjoyment and adventure is key.
What do you hope listeners take away from “Daybreaker” and your collaborative project with Simon Armitage?
I hope they’ll enjoy hearing two artists translating and combining each other’s work. There’s a lot of both of us in that single, and I like how his words and my music have become fused but still distinct. I also hope it’ll get people thinking about the changing of the seasons and the joy and hope that brings – the long, hot days, bare feet on warm roads, the swallows returning, the throwing open of curtains again. Winter is so nearly over, and there’s so many good things for us all to look forward to.
Through her collaboration with Simon Armitage, Priddy has crafted two songs that perfectly balance the weight of his evocative poetry with her own rich, melodic instincts. While Close Season personifies winter’s icy grip, Daybreaker is the hopeful thaw, carrying the listener from cold stillness into light and movement. This project further showcases Priddy’s ability to bridge literary and musical worlds, a talent that has already won her critical acclaim and a devoted following. As she embarks on her sold-out UK tour, her ascent continues, proving why she’s one of the most exciting singer-songwriters of her generation.
Catch her on tour now
26.02.25 – Pocklington Arts Centre – SOLD OUT
27.02.25 – Sheffield Greystones – SOLD OUT
28.02.25 – Nottingham Metronome – SOLD OUT
01.03.25 – Stamford Arts Centre
05.03.25 – Pontadawe Arts Centre
06.03.25 – Gloucester Guildhall
07.03.25 – Leicester Y Theatre
08.03.25 – Settle Victoria Hall
10.03.25 – Colchester Arts Centre
12.03.25 – Norwich Arts Centre – SOLD OUT
13.03.25 – Oxford SJE Arts
14.03.25 – Teddington Landmark Arts Centre
15.03.25 – Ashford Revelation
19.03.25 – Leeds City Varieties
20.03.25 – Gateshead The Glasshouse Sage 2
21.03.25 – Glasgow Oran Mor
22.03.25 – Manchester Halle St Peters
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