She is sitting on a light-coloured sofa in front of a floor-to-ceiling wall of immaculately lined-up books. When she appears on screen there is no “onion”, no entourage, no shock absorber. I am waiting to interview Keys via Zoom on the day she launches a special edition of Songs in A Minor, to celebrate the 20th anniversary of the groundbreaking award-winning debut album that started it all. A formidable, multi-layer of managers, confidants, coaches, assistants, a personal film crew and various people with ambiguous job functions formed around Keys, like a “shock absorber”. An article written in the Guardian by a journalist who was on the promotional junket described the machinery of her management system at the time, as functioning “like an onion”. I n 2016, when Alicia Keys released her sixth studio album, Here, she celebrated the launch with a gig in New York’s Times Square.
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