“I felt like the music I was making was cool,” she says of her early output. “I need to continue doing this.” So she did, making a couple EPs from a bedroom studio.īut while she had the method on lock, her indefinable sound took a little longer. “I was like, okay, this is actually my process,” she explains.
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“Wish and work.” Silly though the track may seem to her now, it got the ball rolling, helping her figure out how to translate ideas into action. She spent her first paycheck from a retail job on a £200 home studio setup her next £200 on a music video for the track, hiring a team to shoot it off of Gumtree. Not one to rest on laurels or liberal praise, Bree decided to study music production at college, where she wrote a “stupid song” about an ex. “The story that’s going to become part of this huge story.” “It’s kind of like it’s all been written, this moment and more,” she says. You have to do this.’ And I was like, ok! I will!” Bree talks about it as part of a much bigger picture, one that could well be immortalised in a shiny book one day and read to her grandkids. “She basically said, ‘You actually have no choice. “ Whatever it takes,” she trills across the table, “ I’m going all the way.” Bree was singled out by Michelle, who should consider adding A&R to her lengthy CV. Then Michelle Obama came to school, and Bree sang her the aptly-titled “I’m Going All The Way,” by Minnesotan ensemble Sounds of Blackness. “I think it was called, The Girls, or something.” Bree brushes it off as comically on-the-nose, but it’s quite fitting for her: no bullshit, to the point. “I didn’t really care about anything else.” Like any early MTV-obsessed kid, she formed a girl group, while her mum-“our Tina Knowles”-made them matching snakeskin outfits for the school talent show. If the music room wasn’t open, Bree wasn’t going to school. Backtrack a few years and Bree was a “creative yet troublesome” student growing up in Hackney, one who “definitely wasn’t tuned in to anything that required 100 million brain cells.” Despite excelling at science, she decided it was a bit of a boring career prospect, and immersed herself in music instead. That honour is bestowed to Michelle Obama. It won’t be the last time Bree Runway graces the lips of a great, nor was it the first. “It just feels insane to be seen,” Bree says of it all. Even Missy Elliot-whose early music videos are nodded to in “APESHIT” via a fisheye lense, and whose name Bree cites as a formative inspiration-gave Bree a follow. Doja Cat ordered everyone to “WATCH APESHIT BY NOW”. Kojey Radical announced that “Bree Runway is gonna take over the world”. But this time, views skyrocketed, tweets viralized and co-signs flooded in. “Usually there’s traction, there’s a fan interest, intrigue,” she says. It’s the reception that hit different this time. She doesn’t mean the celebrations, though there was probably a fair bit of that. “It’s been the wildest release week for me,” Bree gushes. But for now, we’re enjoying simpler times, while human interaction still exists and the worst byproduct of her tired voice is that she can’t do her Shakira impression (her astoundingly accurate Lady Gaga one is on Instagram for your listening pleasure). One week later and there’d have been calls from everyone in earshot to plunge ourselves into self-isolation. We’re chatting over apple juice in a low lit hotel bar in her native London, Bree a ball of joy and designer clothes. She’s been yelling and shouting and “ugly crying” after the release of “APESHIT”, her genre-skating track that hurtled onto the Internet via a video featuring flailing limbs and flaming cars. Bree Runway’s voice is laced with gravel.
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