Before moving to London for a spell at 19, Gray had dropped out of high school (an “authority issue,” she says) to take night classes “with a bunch of ex-convicts, because I wasn’t thriving in a public setting.” Around the same time, after years performing in church bands, her musical life took an unexpected detour. Her bass-guitar cover of Michael Jackson’s “Ease on Down the Road” went viral in gospel circles on Instagram, prompting national gospel and jazz tour offers based on her videos alone. The shine soon wore off. In hindsight, working for other artists felt too much like school. “I don’t get told what to do,” she says, tearing a piece of focaccia. “When someone tells me what to wear, how to have my hair—eughk. I’m just like, Dude. No.”
After winding down her creative-director gigs in her mid-twenties, Gray went into freefall. Making 19 Masters in London, she says, “I was homeless for the whole year, couch hopping. I was literally having a miscarriage. It was fucked.” The sense of crisis extended to her friendship group. “There were a lot of deaths around me, people murdered or overdoses, people stealing from me. I was searching for something to fill the space.”
What she found was the city—fitness regimes, fake friends, status anxieties, and pole-dancing lessons, broken up by impromptu flights to Tokyo. “I go into manic states when I’m traveling, up and down, up and down, so much bullshit, insanity, drama.” Her instinct was to retreat. Instead she decided, “I’m gonna live a year of this.”
From now on she would be up late in the club and up early at pole, “half naked on social media, to see what it was like in that world.” In her heart, as she remembers it now, she felt no desire to impress an external audience. But she felt a desire to feel that desire—to understand the peculiar craving for validation that she had studied in so many others. She sought out strangers’ approval, tried it on for size. She considered, as an anthropological concern, just being a little sexy. She decided, she says finally, “to be a basic bitch.”
It almost stuck. “I was like, I’m gonna be around basic bitches, be a basic bitch, be online, be influenced as much as possible,” she recalls. Qwerty harnesses the buzz of that lifestyle with a scale that borders the operatic: yearning soul melodies interrupted by anxious ad libs, voice-note recordings, and phone-notification pings, with devious melodic rivulets to link the bustling movements. She laid down much of the source material during a fortnight at Real World, Peter Gabriel’s lakeside studio in England’s West Country, when her Dirty Hit labelmates the 1975 took a break from their recording sessions. A tracklist had been penciled, but she wound up eviscerating a collection of more conventional R&B songs—now set to comprise her next record—to make a sort of pre-emptive remix album.
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