Interview: Home is where Beabadoobee's heart is.
Home is people, not a place - and if you're beloved musician Beabadoobee, then it's also a 19.5 million strong community of monthly listeners who pledge allegiance to a fast-paced mythology, openly speaking your truth, and two cute cats (Kimchi and Miso; who even boast their own line of sold-out merchandise).
With an £8 lipstick smeared across her face ("Feral Bea is coming," she giggles, while kissing her new Coup De Main cover), a buoyant Beabadoobee improvises in a sing-song voice while contemplating advice to give me: "Change your socks, not yourself!" Today, we're backstage at London night-club PRYZM Kingston. Tonight, Bea will play a sold-out show to celebrate the release of her self-confident third album, 'This Is How Tomorrow Moves' - and as soon as she gets off-stage, receive news of her first UK #1 album. In three days time, Bea will open for Mitski at All Points East festival to an adoring hometown audience who surround me with rapturous outpourings of love that include (but are not limited to) "she’s so cunty with that pink guitar" and "the thing about Beabadoobee is that she has banging songs". And 'This Is How Tomorrow Moves' contains multitudes - from opener 'Take A Bite' reflecting on the ease of self-sabotage, the declaration that I'm "writing 'cuz I'm healing, never writing songs to hurt you" in 'This Is How It Went', and finding inner strength and courage through 'Beaches' ("You can't spell beaches without Bea!").
A house is made with carpentry and masonry; a home is built with love and empathy. So whether she's offering you a bite of a Bea-cuterie plate (strawberries, chocolate, blueberries, grapes), or baring her soul on-stage, or chatting about her folklore online, you'll always find a safe space to share in with Beabadoobee - because at the core of everything, home is where her heart is.
Click here to order our limited-edition CDM x Beabadoobee zines (i.e. mini-magazines featuring photos / Q&A from this cover-story).
COUP DE MAIN: When we spoke for the first time back in 2018--
BEABADOOBEE: <in disbelief> Fuck off!
CDM: I know... you were still in school! Back then, you mentioned that you were scared of losing the innocence of childhood as you grew up. Have you been able to find a way to keep a part of that within yourself still?
BEA: I think that just inevitably happens. I feel like a 15-year-old girl a lot of the time, but then this time round, I understand that everything I went through when I was a teenager / when I was a kid, was necessary for me to grow and to write this current record - because this whole record's about growing up, but I still have that kid in me all the time.
CDM: Now that you're nearing 25, what's something you wish you could have told your younger self?
BEA: To just chill out, change your socks, stop putting too much skincare on your skin, and change your underwear. Just to chill out and that everything is fine. When you're a teenager, everything seems so detrimental to life, like, 'Oh my god, I'm having an argument with my friend, this is the end of the world, I'm going to die now.' And that was my entire life for so many years. I just realised that you wake up the next day and you feel fine.
CDM: You seem way calmer now. Previously, you've had big puppy energy. You're zen now.
BEA: It is what it is. Thanks, Rick! <laughs>
CDM: Thanks, God/Rick!
BEA: Yeah!!
CDM: What have been the most important life lessons you've learnt in your 20s thus far?
BEA: My god, there's been so many! The specific life lessons probably seem quite boring, but just to stay sober on tour, and stay sober on tour. I don't drink, I don't do anything on tour, and I think that's really helped me.
CDM: It's like being an athlete.
BEA: Yeah! Going on tour and being a musician is essentially kind of like an athlete. I've been watching the Olympics every day, and I don't think I can do what the gymnasts do - no way! - but if I want to play an hour-long show, I definitely have to be sensible and remember that when things happen, it's not the end of the world. I think I touched on it in the last question, but a lot of things happened when I was younger that felt like my whole world was tumbling down, but I'm okay now. Nothing's ever that deep.
CDM: Did you find it more difficult being a teenager? Or your 20s?
BEA: Exploring my 20s.
CDM: Because the stakes are higher?
BEA: The stakes are higher! Everyone kind of assumes you're a mature adult and you know what to do, but actually: you think you're a mature adult, but you're still figuring out how to live life and navigate this strange entry to womanhood. It's very difficult.
CDM: It's funny how coming-of-age is so linked to teenagers because I feel like we're always coming-of-age - there's always something new to learn.
BEA: Yeah, there's always something. Even when you're 40, there's gonna be something.
CDM: You're also having to grow up publicly, with your 20s being documented for all to see. What has that experience been like for you?
BEA: It's been intense. I try to keep a lot of things separate from the internet, but then it always comes out in the music and art I make. The music I make is so personal. As much as I try to be sensible on the internet, I can't tell everyone everything about my life - it does end up coming out in my music, but through art, it's interpreted in any way that other person listens to the song. So I guess in some ways, it's less personal, but I think my relationship with the internet has definitely improved since growing up and I don't want to change the way I am. I want to keep talking about my cats. I'm not gonna stop being me. I'm not gonna stop being weird just because it's too personal - like, 'Why is she telling everyone about her cats all the time?'
CDM: Do you feel like there's an 'Internet-Bea'? And a 'Normal-Bea'?
BEA: It's the same. I'm always the same. Someone was talking about this the other day, asking me what is the difference between Beabadoobee and Bea? I was trying to wrap my brain up, like, 'What is the difference?' There's no difference. I am literally the same. I dress the same when I go on-stage and when I go out.
CDM: And we love you for it.
BEA: Awww stop! <fake modesty> I'm keeping it real.
CDM: Before we had even met in-person, I remember having a heart-to-heart with you during the pandemic around when 'Coffee' was blowing up in April 2020 and there was some negativity online from internet trolls questioning your intentions being a girl making music. I recently went back through our old messages and saw we had talked about how you don't owe anyone an explanation and how the internet can be an echo chamber of people projecting their own insecurities. Do you still feel that way?
BEA: Oh yeah, you do not owe anyone an explanation ever! And I think I'm still coming to terms with understanding that that's the case. I always feel like I have to be like, 'Yes, I will make rock music. No, I will make acoustic music.' I always feel like I need a reason to back up everyone's opinions on me. But since making this record and working with Rick [Rubin], it made me realise I make this art because it's for me and because I love it so much, and I should really remember that.
CDM: Even though you're chronically online, how have you been protecting your peace?
BEA: It's funny because when you see me online: that's it! Like, I'm on my story, and then my phone goes straight back into my pocket. If there's something interesting going on, I'll film it and post it on my story, or if it's a picture of my cat, or if I really want to talk about something, like on TikTok last night, I just spoke about cats for 15 minutes. Yeah, I know: insanity; I'm insane, but that's it. And then I go, and I realise my cats are right there - and I've just been talking about my cats, but my cats are right here. Why am I not cuddling them? I think my life has gotten a little bit more interesting and fun, so there's more things to do.
CDM: You were 18 when you wrote 'I Wish I Was Stephen Malkmus' and obviously grew up a big fan of Pavement. It's interesting how so many female musicians - and not just you - look up to male musicians so much. Do you think that admiration stems from wanting the same respect that male musicians automatically receive? Whereas women have to work extra hard to earn respect, especially from men.
BEA: Oh yeah, it's twice the effort for us! And also, I think when I wrote that song, I was just really obsessed with his music and his melody lines, but then if you put it in that sort of light, it's interesting because it is true.
CDM: When artists name their influences and--
BEA: It's always a dude. They're automatically loved or accepted by society way more, whereas people have a presumption of female musicians before they actually get to know a musician. There were a lot of presumptions of me when I came out on the internet and I was a yappy-yapper and swore loads. They were like, 'Oh my god, she's a bitch. She's a bitch!' But I'm not, and I wasn't a bitch. It's just that nobody expected me to have a mouth and a personality. So exactly, it's interesting.
CDM: Are you feeling more confident now about being a woman musician?
BEA: Yeah because there's so many of us, and we're all killing it. Look at every big musician right now, and all the pop musicians right now, and it's been taken over by women. It's sick. I'm really glad to be a part of it.
CDM: If you have a daughter one day, what advice would you give her?
BEA: To be unapologetically yourself and not care what everyone thinks if you fuck up. It is so fine. You'll fuck up so many times. It's okay. Just get through it. Learn from your mistakes. Don't put too much pressure on yourself. I can't wait to be a mom.
CDM: Would you give different advice if you have a son?
BEA: <laughs> Yes! It would not be the same! Damn... I always wanted a daughter first, crap! I think I'll definitely be a little bit stricter. I'd want to raise a good man. Do you know what I mean? It's so easy for society to point the finger at a woman, like, 'This happened to her because she was wearing a short skirt or because she was doing this...' It's never about the man. It's always because of something that she's done. So with that in mind, I just want to make sure that my son never would think to ever... you know...
CDM: 'The Handmaid's Tale' author Margaret Atwood once said: "Men are afraid that women will laugh at them. Women are afraid that men will kill them." So true.
BEA: Damn... that is so true. This is kind of related: I saw a TikTok of someone talking about the power when a woman says "ew". Like, when a dude says something, and the girl is like "eww". That is literally like shoving a knife in their chest. When you say "ew" it's so powerful because their biggest fear is getting embarrassed by a woman. Like, wow: if that's your biggest fear, then good for you.
CDM: Can't relate.
BEA: It's kind of mad.
CDM: Around her 30th birthday, Drew Barrymore said: "It made me want to look at myself and see what behaviour I want to bring into my 30s, and what I want to leave in my 20s…I’m such a people-pleaser and from an unstable background. I translate too many things into guilt. I’m ready to let go of that." I feel like you've kind of done that ahead of time with your new album - with how you're acknowledging your past faults and how you're not completely blameless.
BEA: 100%! It definitely took a long time for me to accept that, and a lot of maturing, and I owe a lot to a boy that I love so much. He's taught me how to love properly, and I owe a lot to him making me realise that I should look inwards and see that maybe I'm the problem sometimes - and that's okay!
CDM: How important is it to take accountability for your own actions?
BEA: I think it's really important because how are you meant to grow and understand yourself more? There's always gonna be fault in everyone. It takes two people to make a toxic relationship, in my opinion, and it's important to understand what your problem was in that situation.
CDM: Hurt people hurt people. Does it feel like that cycle can be broken now?
BEA: Yeah, definitely, with a lot of therapy and making music. Making introspective music, it definitely made me realise that I don't have to tie myself down to the most stereotypical 'because my childhood was like this, I will continue to treat my relationships this way'. That just means you'll end up being stuck in a box and it will make you feel trapped. For ages, I would validate my issues and my actions because of everything that's happened to me when I was a kid. 'Well, I'm a bitch because of this, and I'm allowed to be a bitch.' But you'll be stuck with that mindset for the rest of your life and you'll just live a miserable life. And why would you want that?
CDM: Self-awareness is important.
BEA: Exactly.
CDM: It's difficult, but important. Do you find it easy or hard to forgive people who have wronged you?
BEA: I find it really easy to forgive. With making music and also just writing this album, and understanding the idea that hurt people hurt people, it definitely makes me understand the reasons behind things more. And if I understand my fault in this, then I understand why they do the same, or it hurt like shit, but I can't live my life just hating people.
CDM: It's having empathy for what other people are going through and understanding that sometimes it's not even anything to do with you that has caused them to act a certain way.
BEA: Exactly. I wrote 'The Man Who Left Too Soon' about Jake's dad, but there's also a bit in there where I talk about my dad - I act the way I am because the only person I'm referencing from and learning from is my dad, and he's doing the exact same thing. We're both looking at the same moon and we're both referencing from the same thing. So of course, we're going to make similar mistakes, and it was comforting writing that sort of phrase, where it relates to death and it relates to missing someone, but also relates to who you look up to all the time and why you act the way you act.
CDM: What I'm getting from this conversation is that growing up is... A) No longer victimising yourself? And B) No more self-sabotage?
BEA: Oh yes, I'm trying not to self-sabotage. I'm still figuring it out because with 'Take A Bite', I'm like, 'Yes, I'm a self-saboteur but I need to figure out how to not do that.'
CDM: It's a work-in-progress.
BEA: Exactly.
CDM: A special project for your 30s.
BEA: Exactly!
CDM: Have you sensed any change in perspective with how you view yourself? And how you view other people? And also how other people perceive you?
BEA: Recently, something that I really struggle with is my appearance, but I feel most beautiful when I do the thing that I know I can do, which is to write music and play shows. And when I do that, it's the most beautiful I ever feel and I feel not an ounce of insecurity. It's insane! And I just realised this now, like oh my god, if I just keep on making music, I'll feel great, but I don't want to depend on something. I want to find that within myself and that's why I'm still trying to learn. And I think the same goes with people. I think people are drawn to me more when I do things that I'm inspired by. It's very easy to tell if I'm being forced to do something, or if I'm doing something because it's not really me, or I'm making music that isn't very me. I feel most self-assured when I'm most myself and when I'm talking about cats, and when I'm playing guitar.
CDM: You're moving on from seeking comfort in chaos!
BEA: Yeah, I'm on the way! I'm on the path.
CDM: What does self-care mean to you these days?
BEA: Self-care is taking time for myself and hanging out with my friends and my cats and just turning off - trying not to think about the pressure of this whole music thing and the pressures of life and just living in the moment. And looking to my left, and seeing a cat. Then looking to my right, and it's my other cat. Self-care is just doing that all the time.
CDM: Self-kindness is having cats.
BEA: Exactly.
CDM: Is there a song on this new album that you feel best represents how you're feeling at this point in your life?
BEA: I feel like tonight it's gonna be 'Beaches' because right now I'm the most sure I have ever felt at this stage. It's gonna be sick. I can't wait. It's my favourite one to play, or 'Everything I Want', just because I'm very in love.
CDM: When you're holding a physical version of your new album and looking through the album booklet and it says, "All songs written by Beatrice Laus," how proud do you feel of this thing you created?
BEA: I feel so proud. It makes me really happy because I know that eventually, in the future, I want to write with other people. I'm actually really excited to do that, but I'm just happy that I did this whole record. I wrote it from my own experience. I wrote it in my house. It just makes me feel really, really proud. It makes me really emotional.
CDM: Now that you've got three albums out, what's it like to have this ongoing history of songs you've written to process feelings and better understand yourself, that you can refer back to at any time?
BEA: It's really cathartic. It makes me really happy, but also makes me really terrified that there's so much of my life from 17 to 24 all out there. But it's interesting because it's like looking at chapters of my life, and it definitely makes me appreciate my life now.
CDM: In 'Coming Home', the idea of home is more than just the physical building - it's the home you've built with your partner and your cats. What else does 'home' mean to you?
BEA: Feeling satisfied! Feeling satisfied wherever I am, like if I'm with my friends, or if I'm with my cats and my partner. It's not constantly seeking something to do because I feel restless. I had that when I was in Shangri-La and I wasn't with my cats, I was with my partner every day which was great, but it was weird because at first I was like, 'Oh my god, I'm gonna really struggle with this because I'm away from home, but then I soon came to realise: I don't want to be anywhere else other than this place.'
CDM: What does that physically feel like for you? Is it a warm feeling?
BEA: Yeah, it's like you had a really good bowl of pasta.
CDM: Gnocchi?
BEA: Yeah, gnocchi. It's like your stomach is warm and you're comforted and you're by the fire. It was just so satisfying and felt great.
CDM: The first verse of 'Girl Song' is super important and I almost cried the first time I heard it. You say: "In a way I’m figuring it out at my own pace / Just a girl who overthinks about proportions or her waist / The creases on her face / Day like no other, and just another / Bad day." Did you write that song specifically for yourself? Or to comfort other girls and remind them they are not alone in their feelings? Or both?
BEA: Honestly, both. But when I write music, it's always for myself - I'm writing it because I genuinely had to get it out of my system and I remember having a massive panic attack because I got a really bad spot and I think my period was due.
CDM: It always happens at the same time.
BEA: Yeah, always happens. And why the fuck do I just feel so ugly? So I wrote that song, and then the comfort really came after it was released and getting all the messages. It's so comforting knowing that you feel the same way I do and I feel comforted that you're telling me that you feel less alone because now I feel less alone. So it does go hand-in-hand, but when I first write music, it's because I need to get it out of my system really badly.
CDM: It's like a never-ending hug.
BEA: Literally!
CDM: We've talked previously about how you've really embraced your Asian heritage now, but it's been really difficult for you in the past being so aware of white beauty standards. How are you feeling about all of that now?
BEA: I just want to look as Filipino as possible. Every time I lose my tan, I'm like: 'I need to go back to the Philippines.' I'm definitely embracing it so much more, but maybe so much more that it's tipped over to the other side, where I feel sad that I don't look Filipino enough, which is an interesting way of seeing it. But it's been happening to me, where I'm looking at pictures of myself and I'm asking my boyfriend: 'Do I look Filipino?' It's fucking weird, but I love looking Filipino now.
CDM: Karen O once said in an interview with The New Yorker: "I was so shy, so full of social anxiety. I struggled to, like, be seen. I think a lot of that repression is quite common in Asian culture—it’s this conservative thing where what’s on the outside is more valuable than your feelings." How do you juggle the cultural differences between what is traditionally expected of you versus your actual life experience?
BEA: Wow, I didn't realise she said that. It's comforting that she feels the same way because I definitely had that at the beginning where I didn't know how to balance. I felt like I had to be a certain way, or people had - again - a presumption of me, and not only because I was a woman, but because I was Asian. But I am really grateful to have parents that are so chill, and that pushed me to be myself. My mum's like: "Get another tattoo! You have this really sexy dragon tattoo that no one sees, you need to get your legs out more!" And I'm like, "Okay, slay!" That wasn't so much the case when I was growing up, but since making music, I've been really blessed to be in a place where I'm encouraged to be more myself.
CDM: On top of all that, you're also dealing with the added complication that you're a girl living in a man's world where the male gaze is everywhere.
BEA: Yeah, that really sucks. I mean, I still get it today - I've had to block certain phrases from this particular comment that everyone would say, like, 'Oh, I don't fuck with her music, I only follow her because of her face.' And it really just makes you feel a little bit shit. In another time / in another world, when I was maybe 17, I'd be like, 'Oh my god, so I'm hot!' Like, I would just look at that. But now, what makes me feel hottest and most beautiful - like I said before - is writing music and being onstage and being a musician. I hate comments like that and that's definitely something I still struggle with - to not be taken seriously as a musician because of how people perceive me online because of my looks and my selfies. I can't fucking help taking a selfie. Now, what's so sad is that I overthink every fucking picture I post. Like, a little bit of cleavage or a little bit of thigh, and I'm sat on my sofa to my boyfriend, like, "This is too much, right? This is too much!" He's like: "I've seen you post way more revealing pictures before." I'm like, "Yeah, but I can't do it anymore. I can't post." I'm a 24-year-old FUCKING girl! I could! I should post! Whatever I want to do! It's definitely affected the way I think, but I'm figuring it out in my own pace. In 'Girl Song' terms.
CDM: I hate being told that women can only be one thing. That you can't be cute AND strong. Or sexy AND smart.
BEA: Yeah! You can only be one thing! And what if I want to be cute one day and talk about cats? Then what if I want to rock out and make rock music? That's why my album sounds like it does. That's why, when I make music, it goes from 'Coming Home' to 'California'. It's just different parts of me; I can't help it.
CDM: In 'California' you say, "Got a fragile heart, always thought you knew that," which reminded me of a similar sentiment from Taylor Swift's song, 'Sweet Nothing' - "To you I can't admit, that I'm just too soft for all of it." Do you see your sensitivity as a superpower or a weakness?
BEA: Damn! I used to see it as a weakness, a really big weakness, but now I feel really empowered by my sensitivity and by how in tune I am with my emotions - because that's what I should listen to if I feel physically tired or physically ill. If I'm doing X amount of work, my body doesn't lie to me, so I should trust that and I should stop, and that's how I put a limit. The whole thing about 'California' is that song is me struggling to go on tour, and I realised it's not that I don't want to go on tour, it's just I need to figure out a schedule where I can tour for X amount of weeks, and then that's it: I need to go back home. I realised three weeks was that for me. It took a while, and it took a lot of mental breakdowns and emotional times to understand that. I wish I listened to my body sooner.
CDM: But that's just growing up and living - because no one warns you and no one gives you a manual.
BEA: No, they don't! Yeah, it's crazy, because you look at everyone else and you compare yourself to those musicians: 'Oh my god, they go on tour loads, I should be doing that too, right?'
CDM: You're only human.
CDM: I love the vibe of 'Real Man' and it's so funny when you say: "My simple lover." Such a basic insult, but so scathing.
BEA: [My boyfriend] Jake wrote that line; such a King!
CDM: Go, Jake!
CDM: What do you think is the worst thing an ex could say about you?
BEA: The worst thing that my ex could say? I mean, you could probably go find it on the internet if you want... <laughs> God, it's quite hard. What's so funny is when boys are like: "Oh my God, my ex is crazy." I'm like, 'Okay, try and be more creative.'
CDM: When men say their ex is crazy, I'm always like: 'Hmmm what does that say about you, though?'
BEA: Yeah, exactly!
CDM: I don't believe you...
BEA: No! But yeah, you could probably find it on the internet. <laughs>
CDM: Charli xcx is very relatable on her new album 'Brat' when she's talking about her complicated feelings about other women, and in 'Cruel Affair' you also compare yourself to another woman. Do these feelings also extend to your career? Do you ever feel pressured to compare yourself to other musicians?
BEA: Yeah, sometimes that happens. But not as much, as I try and separate myself from comparing myself to musicians because I'm friends with a lot of musicians, and also we're all in the same boat. I know it happens inevitably, but for me, it mostly happens with hot girls. And why?! I spend so much time comparing myself with girls on the internet. I mean, I used to, now not so much, I don't have time anymore, now--
CDM: You've got cats!
BEA: Exactly, I've got cats, and I've got a mortgage to pay.
CDM: You mention your Dad on three songs on the new album ('Post', 'Tie My Shoes', and 'Man Who Left Too Soon') - how does your dad feel about so many shout-outs?
BEA: Thank God, he didn't... I was scared it was gonna be a difficult conversation, but he didn't say anything. He was like: "Love the album. Rocks! Love it so much." And I'm like, 'Okay King, great!' So he hasn't said anything about it. Maybe he hasn't really listened to the lyrics.
CDM: Maybe you need to give him a lyric booklet.
CDM: In 'Ever Seen' you say: "Don’t want to risk just making all the same mistakes." What are your big relationship red flags - for other people and also ones about yourself?
BEA: I was in a long-term relationship, and I was really young, and I got bored a lot. I think what I realised is that I got bored a lot, so did I even really like the guy? Because now with Jake and the relationship issues we have, it's so different to the relationship issues I had with my ex or with any other man, because I'm finally head over heels with someone. So I feel like I don't really have red flags. I mean, inevitably I have red flags, but I don't really have anything to be worried about in a relationship if I genuinely like someone, but yeah, I would get bored all the time.
CDM: I think a lot of people have the tendency to settle because of their history with another person, but you need to consider the quality of the relationship in the present.
BEA: Oh girl, you took it out of my mouth. Literally, yeah!
CDM: Do you have any green flags?
BEA: I wear my heart on my sleeve. I'm really good at communicating. I'm a Gemini, so if we have a problem, we will sort it out right now - say it to my face, say it to my face[!], literally, that's my whole vibe.
CDM: I love the lyrics, "Writing cause I’m healing, never writing songs to hurt you," in 'This Is How It Went'. When you're writing songs about other people, do you hope they will hear them? Or do you hope that they won't?
BEA: A bit of both? Really, I hope that they hear them and they don't say anything about it on the internet. But it's mostly for myself, if I'm being honest. Inevitably, you always can hurt someone with a song you write, but I think all the songs I've written about people are always bittersweet, even the ones about my dad.
CDM: I heard that Dominic Fike was involved when you were thinking about meeting up with Rick?
BEA: Uh-huh. Legend!
CDM: When are you going to record a Filipino duet with Dom?
BEA: When he goes to the Philippines! Because he hasn't been! He should go!
CDM: You guys should organise a double-headliner Filipino music festival.
BEA: Dude. I mean, if he would be down... Exactly, that would be sick, he's a cool guy.
CDM: You've talked about how some of 'Ripples' from your last album is about how hard it is being on the road surrounded by men. Is that something that's on your mind as you plan the next tour?
BEA: Not so much, because now I have a really badass tour manager.
CDM: I just met her. She's wonderful.
BEA: Carly! She's so awesome.
CDM: When she met us outside the venue to bring us backstage, I was excited to see a woman.
BEA: Yeah, you know, the last one was a man - unfortunately! And what's crazy, is that Carly, despite being one woman with a crew of six men, she is the loudest voice out of all of them. That in itself! She's bossing them around. What a fucking legend. So if she's the loudest voice, then gender doesn't really matter anymore because everyone's following her anyways - and me, so two bosses on the road, girl-bossing.
CDM: How does it feel looking back on 'fairy song' from a 2024 perspective?
BEA: Wow. I should listen to it more. I should listen to it more and I should call my brother more. It has SO much good advice. I have been talking to my brother loads. I should see my family more. It definitely reminds me of everything I should do.
CDM: When you're old - maybe you're 100, lying in bed--
BEA: Oh my god, imagine if I live to 100.
CDM: Well, you never know... so you're looking back on the adventures you had in your youth, what's going to come to mind first?
BEA: Memories with my band on tour because the stories are so mental. We've been through so much together.
CDM: Favourite story that comes to mind?
BEA: Maybe every time we got fucked up in a green room, or we'd trash a green room. We don't do that anymore, but there's so many crazy times. One time we turned everything upside down in a green room. Like, literally, we got a couch and turned it upside down, and got the table turned upside down. So stupid, but just silly shit like that.
CDM: I love that your sober tour life is now a fancy charcuterie plate.
BEA: We're moving up!
This interview has been edited and condensed for clarity.
Photos by: Jules Moskovtchenko
Polaroids by: Coup De Main
Beabadoobee's new album 'This Is How Tomorrow Moves' is out now.
Watch the 'Beaches' music video below...
