In an industry where women represent just 21.6% of artists, 12.6% of songwriters, and 2.6% of producers (according to USC’s Annenberg Inclusion Initiative funded by Spotify in 2020), confronting the stark inequalities that exist for women in music is daunting. But for artists Ajeet, Sukhmani, and Aisling Urwin, the task was one taken with heart and ferocity. Together, they created a “unicorn” in the music industry – a completely all-women production team.
In an interview with Rolling Stone, researcher and Annenberg Initiative founder Stacy Smith noted, “It is International Women’s Day everywhere, except for women in music, where women’s voices remain muted.” But in quarantine in the early days of the pandemic, folk singer Ajeet unearthed the beginnings of “Ash + Bone,” and shared it with friends Sukhmani, a tabla prodigy and celebrated percussionist, and Aisling Urwin, a talented harper and songwriter. They built a team of women in every role and crafted a mesmerizing track that roots itself in dreamy percussion and harpistry and haunting vocals that inspire feelings of healing and freedom, and most of all, raw empowerment. The song shimmers as the three remind us to “stay wild” and embrace femininity that is unbridled, unapologetic, and alive.
“Ash + Bone” is a must-listen, and I had the chance to speak with the ladies themselves on the creation of the song, their collaboration, and their unique perspectives as women navigating the music industry. Ajeet, Sukhmani, and Aisling Urwin are here to make change in a male-dominated industry, and the statement that “Ash + Bone” makes is a magical step in that direction.
KEKE MAGAZINE: First and foremost, where did “Ash + Bone” stem from, in its earliest form?
AJEET: I was in a moment of immense change in my own life, and had just moved into a new studio space. I was swimming in feelings of loss, and also of possibility. To me it is a song about the complexity of change, and how new life opens to us out of the most unexpected times. It is primarily about friendship, and how much that kind of love can hold and support us as we change and grow. One line that stands out to me is the line, “run to the edge, she said to me, I ran to you, you ran to me.” I wrote that line about one of my best friends who always pushes me to move towards freedom, towards what I know deep down is right. She pushes and challenges me, and I get to do the same for her. I’m so grateful that I got to record and arrange this song with two of my closest friends in the world, both women who inspire me deeply. Their friendship gives me [the] courage to take risks that lead me closer to myself, and I hope to be the same for them.
KM: How did the three of you come together to produce this collaboration?
A: Early on in the pandemic I had been isolating for a few weeks after tour [ended] and was keeping myself content by writing songs and digging up older ones I hadn’t done anything with. This song is about friendship, so it felt like the perfect way to stay connected to my friends who were far away at the time. I recorded a simple version of it with guitar and vocals on my iPhone and sent it to my friends Sukhmani and Aisling to add drums and harp. We thought we’d make it to keep our own spirits up and share it on socials to give others a little moment of fun and connection. It was beyond easy – the song came together in a couple of days and felt like it just wanted to bring some lightness to that heavy time.
KM: Was there a moment you can pinpoint when you realized the scope of gender inequality in the music industry? Or in the world in general? How do you find the two intertwine?
A: About 7 years ago I was in the studio with my third producer. I was 23, and he was just starting to show me a few production tips and letting me hit record as he added overdubs to our early mixes of my next project. As I sat in his seat, completely inspired by what I was learning, I wondered why I had never thought to explore these skills before. I searched my memory and realized I had never seen a female music producer. The thought to become one had never crossed my mind as I subconsciously didn’t realize it was an option.
Since that moment I’ve learned an immense amount from my mentors and teachers. They have all been male, so far, but they have embraced my intense love of this craft and helped me make music the way I hear it in my mind. Things are already changing, and I know a lot of incredible female producers and engineers. I just hope I can watch it change in a more full and impactful way in my lifetime, and maybe even be part of that turn.
SUKHMANI: Without really understanding what gender inequality was, I think I experienced it from a very young age. I grew up learning the tabla which is an incredibly male-dominated instrument. In our classes, probably less than 5% of the students were women. Not only that but at times when I would go perform at festivals or at spiritual gatherings with groups of women musicians, it was generally assumed that we would be needing the assistance of a resident tabla player/percussionist. As it registered with organizers that I would be the one playing, there was always a bit of an air of shock or disbelief. I think it’s improved over time as more women are playing tabla now than ever, but there’s still a LONG way to go to achieve true equality.
AISLING URWIN: To me, it seems the music industry mirrors our society in general when it comes to gender inequality. I’ve spoken to so many women over the years who feel they have to work extra hard just to be taken seriously doing the same job as a man. This inequality is obvious amongst performing musicians and is even more intense when it comes to those who work in mixing and mastering as it’s such a male-dominated area.
KM: Could you tell us about the creation of the track? What was the process like, and in what order did things come together?
A: It was SO FUN. The best thing about making music with your best friends is that it doesn’t feel at all like work. Sukhmani and I were in my studio in New Hampshire together and laid down the guitar, percussion, and our own vocals. Then we sent it to Aisling in Ireland where her partner, and my frequent co-producer, Sean O’Sullivan, recorded her harp and vocals. We’ve all had to get used to remote recording in these times, but it’s starting to feel more and more natural. We all get to record from our homes and also feel connected with each other even when we can’t be together for long stretches of time.
KM: How did you decide what kind of elements to use in the song instrumentally and sonically?
A: This song came out of a time of isolation and the desire to be close. To me, it always wanted to feel as if we could be sitting in a room together having a jam with [our] friends just for fun. It was the energy we missed, and that we craved, as musicians in isolation from one another. So we stayed close to that energy. We added a few extra layers of bass and percussion to bring out the lightness and vibrant fun of the song but stayed close to that intimate feeling of music between friends first and foremost.
S: It happened naturally! We actually made a very raw quarantine video of this song before we even thought of recording it in the studio. It was a way for us to play and connect with each other without actually being together – something SO many of us were wanting during that time. Ajeet played guitar, sang the main melody, and sent me the video. I then sang a harmony and played calabash, and then the two combined videos were sent to Aisling who recorded a third harmony and harp. The video was loved by lots of people and so we wanted to keep the studio version of the song as close to the original as possible! It just happened that it was a beautiful and unique combination of sounds without really intending it to be!
AU: When Ajeet was writing the lyrics, she had some kind of three-part harmony in mind for the song so that aspect was really an anchor for us. Our three voices weave throughout the piece and are at the core. It was clear from early on that this piece was going to need a strong rhythmic element so Sukhmani was the woman for the job there. As the song began to take shape, the colors it was conjuring up for me inspired me to use the harp in a very flowing and percussive way, definitely with the kora in mind, stylistically.
KM: What would you say each of your superpowers are, musically? What piece of magic did each person bring to the song?
A: Aisling and Sukhmani are otherworldly players. Their musicality and the level of skill they have is beyond anyone I know really. But their unique and deep love of songwriting takes that skill to another level. They have such vision as artists, and that makes their skill mean so much more. As you can tell, I’m their biggest fan! They also both come from traditional musical backgrounds; Aisling from the Irish world as an Irish harper, and Sukhmani as a classically trained tabla player. They have both learned a musical tradition inside and out to the highest level, but now they’ve stepped out to make something all their own with the support of that deep foundation. It’s incredibly unique.
S: Ajeet is one of those magical people who is incredible at everything! The way she crafts a melody is genius, and she hears the way a final piece is going to turn out before it happens – she has TRUE artistic vision! Aisling has supernatural vocals – like goosebump level vocals! Her harpistry is divine, her harmonies are always ridiculously interesting and emotive, and her sense of timing and rhythm is also astonishing. I’m not sure about my own superpower other than I just try to make everything that little bit more fun!
AU: Ajeet has great vision in her writing. She was the one who conjured up this song, playing it to us with just vocals and nylon string guitar. To then witness the transformation of the song in its infant form to the fully produced track is really a magical thing. Ajeet is so gifted when it comes to music production, creatively adding textures and finding a home for every sound.
Sukhmani is so creative when it comes to her rhythmic approach and style. Listening to her play is a glimpse into how her wonderful mind works. The beats she plays are so complex but, at the same time, are accessible to all listeners and are guaranteed to get even statues moving.
I like to play.
KM: Because songs are so individually interpreted, how does this song feel to each of you, if you could describe “Ash + Bone” from your own perspective in a few words?
S: To me, the song is grounded yet hypnotic, gentle but powerful. It’s evocative of the many different facets that make up our whole selves, and it invites us to meet ourselves and each other in radical, compassionate freedom.
AU: This song has a definite feel of wildness to me. It makes me picture a rushing river and the wind through the trees. There is great movement in the song, a wonderful forward momentum. To actually perform it with Ajeet and Sukhmani is a joy. Singing in three-part harmony is a totally joyous and addictive act.
KM: This song feels so much like it came straight from the earth, and it’s so soulful. Where do you draw that energy from? Are there certain places you go for inspiration and soul-searching when creating?
A: We are all nature lovers, and get outside as much as we can to reset, so it makes sense to me that feeling would come through. We also love instruments and sounds that are very organic. The drum played in the song is a gourd from Africa called a calabash, and of course, the harp is an incredible acoustic instrument. I think the earthiness of the instruments and our love of folk definitely weave to create that feeling.
S: I love this reflection of the song! It also reminds me of why I love the types of hand drums I’ve talked about so far. Playing drums that are crafted from elements of the earth is an incredibly organic and energizing experience. We built the rhythm of this song from one of the most organic percussion instruments there is – the calabash is simply a hollowed, dried-out gourd. I definitely go to my drums when I need inspiration and the calabash in particular is a great reminder of how something powerful and beautiful can be created from something so simple. The act of playing itself can be incredibly clarifying.
AU: For me, inspiration comes from time alone, time in nature, conversations, people-watching, dreams, folklore, experiencing art, and quiet everyday moments.
KM: How would you define ‘inner wildness’?
A: We all come to moments in life where we choose between what makes sense and what feels right. It’s awesome when those line up, but sometimes we have to free ourselves to follow our gut, our hearts, whatever you want to call it. For me the inner wildness this song references is about freeing yourself from an idea of how we should live, and instead of supporting each other to do what makes us feel free, at peace, and alive.
S: I think our inner wildness is the place that is true, most authentic, fearless, and unconditioned.
AU: Inner wildness is listening to that part of you that doesn’t want to be tied down by the mundane and superficial. The part that is always moving towards what your heart craves. Not being afraid to dance when your foot starts tapping… and jumping into the sea, even if you haven’t brought a swimsuit. It is reminding yourself of the significance of each day we are so lucky to have on this earth. Moving towards joy and the things that really matter to us.
KM: Who are some women in the music industry who are doing the work and breaking boundaries that you admire?
A: We adore Piper Payne, our mastering engineer, who is an incredible engineer, educator, and artist. Also very inspired by Emily Lazar, a trailblazing mastering engineer, Susan Rogers, producer and engineer working brilliantly in this industry for decades with artists like Prince and Queen (and now in my graduate program at Berklee), and Sylvia Massy, an absolutely magical creative mind in music production who is always expanding what we imagine possible. Just to name a few!
S: Being a woman in the industry is already difficult, but being a black or brown woman, or a trans woman adds a whole other world of challenges. It’s been so inspiring for me to see the rise of South Asian women creatives this past couple of years in artists like Joy Crookes and Priya Ragu. It was so rare when I was growing up to see South Asian faces in the music industry, so seeing these women breaking boundaries has been so influential.
AU: I really admire The Staves, Laura Marling, and Lianne La Havas for being artists that stand so firmly as who they are. They are such powerfully innovative and creative artists and really a beacon of inspiration for young women.
KM: If you could give one piece of advice to young women in the music industry, or young women in general, who are navigating womanhood and dismantling the patriarchy, what would it be?
A: Be excellent. Follow what you love, what you feel passionate and excited about, and get into it. Don’t be too bothered by the voices that want to keep you down, and if they do get to you, let it be a source of inspiration to do your work with even more passion. There’s so much room in this industry, and in our world, for new perspectives. You don’t have to be, look, or do things like anyone else. Originality and freshness is actually more valuable than doing it someone else’s way. Allow yourself space to be original and always stay close to your deepest reasons for doing it. Hopefully because you love it!
S: I just had some advice from a friend to not be afraid to speak boldly and honestly. Just because it’s not well received by some, it doesn’t mean it won’t be received well by others. It’s easy to lose momentum when you’re trying to be a part of change and you hit setback after setback. But your voice and your opinion matters, so try not to be afraid to share it!
AU: Don’t doubt your truth. Move towards what lights you up. Remember you are just as worthy as everyone around you.
KM: Lastly, could you tell us about a time when you felt the most ‘free, alive, and powerful’?
A: Playing live for an audience that is truly “with you” is one of the most exciting and freeing things I’ve experienced. I’ve felt it all over the world, but especially in my concerts in Amsterdam where the community has really embraced me and my music. Somehow it always feels magical to play there.
S: I tend to get quite fearful and anxious about so many things, and I’ve found that fear has ruled so many of my decisions in the past. It takes a long time to move through fear. I worked a day job for almost a decade, thinking it wasn’t realistic to pursue music full time, and also put off making my own music out of fear of failure or just not being good enough. Personally, I think when you feel afraid of something but find the courage to do it anyway, you feel free, alive, and powerful!
AU: Today, singing in the kitchen.
To follow Ajeet, Sukhmani, and Aisling Urwin, or read more:
https://spiritvoyage.com/fyc/ash-bone-ajeet-sukhmani-aisling-urwin
