In Session: Jockstrap

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Your live shows are quite dynamic, are they usually quite free-flowing and change up with each show, or are you structured with your live process?

Georgia: We’re quite structured. We do change up the setlist, but we haven’t had too many songs that we can change up a set. For the last couple of tours and shows we’ve done, we’ve had a set vibe that we’re trying to achieve. Sometimes the shows don’t go the way that we want. Sometimes they can be really mad and everyone’s jumping, and others, people listen more and really pay attention.

You’ve also had a bit of a beeline into the fashion world soundtracking Dior and Chanel catwalks, how did that come about?

Taylor: They all came about in different ways. When we were signed to Warp, there was someone there with connections to Chanel, I think. Dior was through this guy called Frank Lebon who’s a music video director that we both like, and that was a really nice connection. I’m not sure about Stella McCarney, though. I think once someone sees you on a fashion thing, it spirals out. It kind of came out of nowhere, really.

Read this next: Listen to Swoose’s nostalgic ‘transcendental’ playlist

Taylor, you’ve produced some really impressive remixes around the Jockstrap project over time – do you enjoy having that creative control electronically?

Taylor: Yeah, I express myself through music, so having outlets to do that are just essential, really. The remixes are a way of doing that, and making music by myself is also a way of doing that. I make remixes in a few hours or a day, and usually only do them if I wanna do them, there’s no one telling me whether I should do one for a specific song or anything. It’s quite important to have an outlet where it’s completely on your own terms – and it’s cathartic too.

Georgia, I know you’re also part of Black Country, New Road – is Jockstrap a nice step away from that side of music that allows you to be creative in a different way?

Georgia: Yeah, definitely, because they’re my lyrics in Jockstrap so it’s a more definite expression of myself. But, equally as expressive as different things. Like my role in Black Country, New Road is focused and allows me to really concentrate on just the one thing and the roles that I have in that band writing and playing. Whereas Jockstrap is far more encompassing, and we have a hand in all of the creative stuff, too, like our music videos.

This mix is pretty wild – I’ve never heard someone mix Bob Dylan into Playboi Carti before! Can you tell us about your Impact mix?

Taylor: This is probably the most fun I’ve had doing a mix! We’re doing quite a few of them recently, and this was my favourite one by far. It was very simply folk song into rap song over and over again. I enjoy listening to that, and I think they both – a lot of the time – have a similar sentiment, but sonically sound quite different. It’s a bit of a battle in my own brain, constantly. So, this is what often goes on in my mind, the sound of that mix, figuring out which path they tread sonically. I just thought it would be funny to do this because I hadn’t really heard it before. It’s quite nice to take a mix in the opposite direction of trying to make it sound as cohesive as possible and just make it really shocking.

Jockstrap’s debut album, ‘I Love You, Jennifer B’, is out now via Rough Trade. Grab a copy here.

Gemma Ross is Mixmag’s Editorial Assistant, follow her on Twitter


Bob Dylan ‘Don’t think twice it’s alright’
Playboi Carti ‘Stop Breathing’
Paul Simon ‘Everything Put Together Falls Apart’
Digdat, Loski ‘No Cap’
Edith Piaf ‘Hymne a L’Amor’
Gucci Mane ‘Father’s Day’
Bill Callahan ‘Pigeons’
Kanye West ‘Off The Grid’
Indigo Girls ‘Power Of Two’
M1llionz ‘Mad About Bars’
Bill Fay ‘In Human Hands’
James Blake ‘Sparing The Horses’
Elliot Smith ‘Everything Means Nothing To Me’
DJ Erik JP ‘Automotive Extradimensional’
Bridget St John ‘A Song As Long As It Wants To Go On’
Lil B ‘I Love You’
Leonard Cohen ‘Avalanche’
El Alfa, Anitta, Busta Rhymes, CJ, El Cherry Scom, Wisin ‘La mama de la mama’ (remix)
Chet Baker ‘The Thrill Is Gone’

Written by: Tim Hopkins

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