Used to drink tea, now I drink champagne
Church. Someone’s haven. Someone’s alter. Someone’s party. For Push Push, it could be all of the detailed. Church could be the body she lives in, or the voice she is trying to find. For a religion only exists from mankind and faith, a silence for surviving. Demi-gods make their way online all day. Their existence is amassed by their influencer identity. Our modern version of churches are social media. We worship what we see, we adorn ourselves with someone else’s perspective and compare ourselves regularly because we don’t ft into the building of their mood or mind. Always consuming the notion of the uppercase world of demand, neglect, transition and bordering self-adoration, Nicci Saint Bruce reintroduces herself in the world again. We’ve watched her on the finite fly of soloism, giving us a variety of characters as she makes her way through her twenties, letting us peer into her world as a striptease performer, a once-upon collective, an individual and what could be deemed as artist in her own right.
In her new track ‘Church’, there’s a confidence blooming that allows us to enter her dimensions a little, however, I am not sure of her variety yet. With lyrics outlining her experience of life: “I’m surviving well/ hell I’m thriving / I’ve made 25, I’ve kept myself alive/ danced for my money with men who had wives,” nobody gives us more insight into her dwellings than she can. A catchy chorus embedded in the rap sequence, the track formulates a sound we know her for – confident, evolving and exposed, even more so possibly from her recent global tours. The pace and tempo is fuelled by a grimey and dance-like rhythm that resonates with a contemporary sound our generation is growing towards. As each track is recorded and released, I am waiting and seeing little increments of her persona, but is this her authentic self? Guess, we watch, observe and consume as it goes on.