Beth Gibbons releases her debut solo album Lives Outgrown on Friday the 17th of May 2024. Featuring 10 beautiful new tracks recorded over a period of 10 years, the album was produced by James Ford (Arctic Monkeys, Depeche Mode, The Last Dinner Party) & Beth Gibbons with additional production by Lee Harris (Talk Talk).
Lives Outgrown is, by some measure, Beth's most personal work to date, the result of a period of sustained reflection and change — "lots of goodbyes," in Beth's words. Farewells to family, to friends, even to her former self. These are songs from the mid-course of life, when looking ahead no longer yields what it used to, and looking back has a sudden, sharper focus.
"I realised what life was like with no hope," says Beth. "And that was a sadness I'd never felt. Before, I had the ability to change my future, but when you're up against your body, you can't make it do something it doesn't want to do."
Songs also touch on motherhood, anxiety and the menopause (which Beth describes variously as "a massive audit" and "a massive comedown" which "cuts you at the knees") as well as, inevitably, mortality.
"People started dying," says Beth. "When you're young, you never know the endings, you don't know how it's going to pan out. You think: we're going to get beyond this. It's going to get better. Some endings are hard to digest."
But emerging from this decade of change and realignment has left Beth with what feels like a renewed purpose. "Now I've come out of the other end, I just think, you've got to be brave," she says.
The video for first single "Floating On A Moment" was directed by acclaimed multi-media artist and director Tony Oursler (the man responsible for David Bowie's "Where Are We Now?" video).
"When I first heard "Floating On A Moment" it literally transported me from place to place, filling me with kaleidoscopic emotions and visions. If possible, I wanted to capture that psychic liquid in this video. Beth's work is so powerful it can lead us through life's forests and fires, revealing glimpses of possible futures. With a voice and music like that I knew we had to make images which are open, somehow speculative. " – Tony Oursler
