Say She She shines on The Jazz Odyssey Thursday night ahead of their Colorado shows

This portion of the interview above has been edited for length and clarity:

Abi Clark: On the line is Say She She: Piya Malik and Sabrina Mileo Cunningham. Nya Gazelle Brown is not on the line with us but thank you both for joining me on The Morning Set and the Jazz Odyssey here on KUVO, I appreciate it! 

Piya Malik: Thank you so much for having us. We're stoked! 

Abi Clark: We're super stoked! And I love your background. It seems like it was very serendipitous how y'all met in New York. all classically trained vocalists, and your sound is really like this kaleidoscope of voices. You trade-off between solo in unison and harmony. I know you all met in New York City, like hearing each other through the walls of your apartment and meeting on a spontaneous rooftop session, making the trio. But your roots, your sound, it really pays homage to the funk and disco of New York City, at least this new album, Cut and Rewind. You call it discodelic soul, and it's really such a beautiful blend of funk, art pop, post-punk, and reaching for like the 60s, 70s, and 80s. I learned that your name is a homage to Nile Rogers. Is that true? 

Piya Malik: Yeah, definitely. I mean, it's something that... for us, it's not just about the music that Nile makes, whether you like Chic or not, you've got to respect the man and what he's done and his craft in terms of being able to be such a good prolific writer and producer and work with people across genre. And, you know, having come from a life full of adversity in lots of ways, you know, it's incredible that he's chosen to just bring joy to the dance floor to people for so many years. And he's just such a respected, respectable human and such a good person. And I think that's what it was about more than anything really was just like, look, this is actually a really good beacon of somebody who's used music to kind of bring joy to people. And however corny that sounds, I think we need more of that. We just need to find ways of making hope possible and despair less convincing as time goes on, especially in these political climates these days. But we're stoked. And yes, it's kind of a bilingual homophone, which is a bit nerdy, but c'est chi-chi in French, it's a homophone. c'est chi-chi it means it's chic. So, there's the chic in there and that's where it's all hidden. 

Abi Clark: Yeah, he's behind so many amazing like moments in the disco world, like Les Freak, Good Times, which inspired Another One Bites the Dust by Queen and Rapture by Blondie. But there are certain elements of that sound that I feel in your music. Like, they really strip down to the basics when it comes to their disco vibe. They also bring their music and image together into like this whole world, and you guys bring an amazing stage presence, dancing together, and great looks on the stage. And there's also that deep hidden meaning in the music because disco, I feel like it got spoiled by the end of it, you know, where it became this trend or whatever, but it really started like on the dance floors in these cities. It was a genre by Black people, by queer people, by women. It meant freedom. It was a sanctuary. And I think it's really poignant that this music is making a comeback in your sound. Like, I feel like there's a lot that we can grab from that in our present day. Do you think disco really has a home here in the modern day, like in a new, like reimagined way? 

Piya Malik: Absolutely. I really appreciate you saying that. And it's so true for us, the kind of disco that really struck a chord and touched our hearts was the stuff that we were listening to in New York City. I know I don't sound like I'm from New York because I was raised in London, but when you've spent over 10 years in New York, then they kind of let you in the club. But from day one, you're enthralled and enraptured. And there's just so much going on in downtown culture where we lived. And we would be going to like the loft parties and the David Mancuso's loft party, but also the offshoots like Joy and places in Bushwick and Brooklyn and in the city. That sort of subculture that existed for so many years is really where it's at, where it's like a free space for people to come and be, and express, and not be having to hide themselves, and be accepted. And we wrote Disco Life as a kind of tribute to that and also to remember and commemorate some of the people that kind of got burned, some of the records that got burned on the baseball field, in Chicago and at Comiskey Park, which was a really terrible story that growing up in England, I didn't know about it at all. And when I went to the girls and talked to Nya and Sabrina about it, they were like, yeah, this was what was happening here. The anti-disco movement, the disco sucks movement that was happening in England was a very different thing and was kind of a reaction, if anything, to more of the American Coca-Colonization or the cookie cutter manufacturing of music. And it was against things that we stand against as well. It was against this kind of commoditization of people's freedom of expression. And it was really, and that was sort of like... catapulted against what I saw as a really cool, like gritty, post-punk, British punk kind of attitude that was like fighting for, you know, the everyman. And in America, it was actually just basically like a race issue and a homophobia issue. And, you know, that's what really sickened me. And just it kind of, I hate to be embarrassing, but it just made me cry. And then we just thought, well, what if we were to actually reclaim that disco experience, that baseball field, and change the language? And there's a moment in the song where we're singing as a tribute to Maria Callas as well, who we think is like one of the most ultimate divas. And we're singing in Italian, basically, viva la ripresa, long live the revival. So the idea is that like, you can, through music, heal yourself and change these stories, but also remember what happened because at the end of the day, if you don't remember, these things can happen again and we should be able to tell the story the way it really was. And it's like, what are you guys railing against? We don't even have the mainstream activity that you're talking about. We've never even had a disco life. So like, what are you guys fighting about? Give us our one little space that we have in the corner. Why do you have to go and burn effigies of us by just burning black music on the baseball field?  Leave us on the disco floor. If you don't want to join us, you don't have to, honey! 

Sabrina Mileo Cunningham: Going back to Nile, I mean, he grew up in New York. And I think, like you said, you can kind of hear that in the music. We're so inspired by a lot of the bands that came out of New York, like, Talking Heads, Blondie. I think there's a little bit of that in the song Cut and Rewind. You can hear ESG. 

Piya Malik: Sonic Youth, everything! 

Sabrina Mileo Cunningham: There's so much that we were inspired by from previous, music coming out of New York, but also just living in New York and being around all these artists. And yeah, it's an amazing place to be. And, you know, I think that's definitely like a through line in the music. You can hear it, like you say. That was intentional, you know. Yeah. So, I'm so happy that you say that. 

Piya Malik: The cross genre thing as well is so like freeing, you know, like why do we all have to be defined by one genre? And that's like how we grew up in a way at school, like, oh, you don't make friends with the goth girls, don't make friends with the heavy metal girls. And if you're an R&B girl, then don't talk... And it's so stupid, you know, like that's not how people listen to music now anyway with the advent of streaming, which is like flipping all over the plays on one playlist and why shouldn't we? There's three of us, we come from very different backgrounds and different places in the world, but at the same time, we have this such cohesion in terms of values and ethics and taste as well. And so like being in New York, which is this melting pot, just felt like the natural home for us when we're witnessing that kind of happening all around us. I mean, the first band I joined was with Sal P from Liquid Liquid, and it was like the collective of all these musicians, it was just insane. And it was an improv post-punk funk band. And you never knew what was going to happen, but you knew whoever was going to show up was going to be good because it's New York, honey! And then I remember like running from that practice to go to Sabrina's show and she was playing in an amazing band with a guy who had like a 16-piece horns and a massive soul band. And she was singing backgrounds at the time, but me and Nya would be in the audience watching her going, “She should be singing lead!” And we'd all be going to each other's shows, completely different genres, sometimes in the same night. And you'd feel so fulfilled and enriched. And I used to say to Sal, wow, there's just so many things going on. And he said, “It's always been like that in New York.” And in the 80s, he played shows with ESG and people would put them on the bill with Grandmaster Flash. And like, you know, like everyone was borrowing from each other and lifting and being inspired. And I just think that is what New York is about. And honestly, it's what the world should be about too. We should all be inspiring each other instead of writing against each other. 

Abi Clark: I feel that energy on Cut and Rewind. I mean, even from the cover, it's like almost like a collage of things. Let's take it back to the writing room. In one space when you were talking about this, you said “the writing room is free.” And there was a sort of like, I'm going to put it all out there, but you say that we're not going to record anything that we can't recreate live. Some of these songs really deal with, like you said, it was “politics dressed up.” It's really processing a lot of the things that are happening in the world that some of us don't even have the words (for). Was it easy to keep that approach instead of like second guessing yourself and being like, no, there's another way we can say it. Did it all just like flow out because it was like the time to really put that stamp on it and put those words behind it? 

Piya Malik: I think it's always like that with us, you know, It's just, we talk for hours before we start. So we write a song a day, but we've been talking for hours. And that's sometimes not even just on the day. it's like something we've been debating in the tour van or talking around the dinner table. And you've got to remember, we're friends first and we've been friends for a long time. So, our music is informed by our friendship. You know, it's undeniable. And our conversations with each other. Of course, like three women who are, you know, in each other's lives in such an intense way. Of course, we have moments where we're like disagreeing about things, but it's a debate and we love it. Like we love to debate with each other, and we always come to these different conclusions and find these ways. And then by the end, like we might agree, we might not agree, but we've come with three different perspectives, and we've somehow managed to meet in the middle. And it feels like that's what we do with our music too. Like we're coming with all these ideas and sometimes someone's like, well, what do you think? And we have a rule never to say, “no, I don't like that,” unless you're suggesting something else. Like, don't try to say no to something unless you have a solution to a replacement. Once we made that rule, that has helped our creativity because it challenges us to think about why we do or don't like something. And if you're reacting to something, sometimes you have a visceral reaction to something and you know you don't like it, but you have to be able to articulate it in a creative space, so you're not shutting other people's creativity down. If that was something that came out of my best friend, then, you know, I  have to be careful about saying no if I don't like it. But what if I come up with something else that the other two best friends are like, “oh, we like that better.” Or “no, you know what, we like the other one.” Okay, so you let it go. And you know, that's the idea that stuck. And it's just this kind of pass the parcel sometimes with us. And it's just so fun. It's you're playing a game and you're fitting it all together. And at the end, you kind of all get to open up the present in a way. So maybe it's not like pass the parcel 

Sabrina Mileo Cunningham: Well, it's like, it's like putting together the puzzle, right? So, everybody contributes a piece and then we figure out how to kind of like craft it together or, you know, piece it together in a way that makes sense and works melodically. And yeah, it actually happens really pretty quickly just because there are so many brains on the one problem, you know? So it's like Piya said it,  if one person’s stuck and the other two have some ideas, it's like there's like this flow. So, it never feels like a chore. It just is always pretty engaging and fun. 

Piya Malik: So what you're saying is, pass the parcel and the prize is a puzzle that's already been done for you? 

Sabrina Mileo Cunningham: Sure! Yeah, exactly. 

Abi Clark: I just love that authenticity and you definitely can feel that in the music. And I was just like, I was shook when I was reading that you didn't really tape anything more than three times. Like there was almost like a visceral just creation of this music. And like you said, maybe it's because you've been talking about it and feeling it and embodying it and where you were able to put those into words. And a lot of the times, you know, the lyrics are really symbolic, but they were fierce and it's an elevated sound. I just, I appreciate it. And I love what you've accomplished with this recording. You guys must be so proud. 

Piya Malik: Thank you so much. You know what? That's in part to do with our players too, like especially our key player. He's amazing, Dan Hastie and all of them are Sergio Rios, Dale Jennings and Sam Halterman. And we just have an incredible crew, but they absolutely believe that, you know, you can overplay something and lose its charm. And I've believed that, you know, for years as well. And so does Sabi and Nya. And I think that when everyone is in agreement about that, it pushes you to get the best. And then you pick the best take. And okay, occasionally sometimes you might put a little overdub over something to mask something if it wasn't totally perfect. But we like the imperfections. That's what the honesty in the music is. I think people miss that when things are overproduced and clean. You know, there's something that's more relatable when you hear the vulnerability in a folk singer's voice with a slight quiver or a record that, you know, the singing sounds a little warped is my polite way of saying out of tune. Those little things can become charming though, can't they? And I just, I mean, those are the things I love about old records. And so why wouldn't we care to also just be ourselves and come show up as we really are for people to hear. And maybe it resonates with them in the same way. 

Abi Clark: How are you feeling about the album coming out? It feels like it's been such a big year for y'all, like creating this record, which is your third record. And it's, it was the longest time in between. And then now you're going on a huge tour that starts in January across in San Francisco, ending in Indianapolis, but stopping here in Denver. You guys must be like super excited to bring this out on the road. Have you heard a lot back about the record? I know it's only been a couple of months so far. 

Sabrina Mileo Cunningham: I mean, it's been fun playing the new songs for sure. We just got off the road last week from a four-week tour in the UK and Europe. So it was fun to kind of like really debut some of these new songs like in front of a live audience and just see, people's reactions and just have fun with the music and coming up with, a whole new set and a new, live experience. So, it's been great!vEerybody's been so supportive and sweet about the music and yeah, we're definitely getting people moving in these venues. So, it's been good so far. But we're definitely super excited for the February tour. We're hitting all the, you know, all of our favorite cities in the states. So yeah, bring it on, baby! 

Piya Malik: So nice as well. Like, obviously, you know, we wouldn't be where we are if it wasn't for radio and we just like just love public radio so much. And to have the support from the DJs has been so cool. And then also from the record shops, because that's really like what we make. We make records to be made, and to be pressed on vinyl. And like there's something about recording on tape and then pressing on wax that I think like just has this double warmth thing that we are so grateful for that it exists. And we were lucky that Rough Trade made us album of the month when our album came out and we had a really fun roller disco party in London. And then we go to Paris, where I lived for five years on and off. And we were playing at Cabaret Sauvage. And I just remember being like a young 20 something, going to these venues and now we're playing at them. And it's just, it's just awesome. It's such a great feeling. And we can't wait to come back to Denver. Actually, we're going to be in two places in Colorado. We're going to be in Boulder, we're playing at the Fox Theatre, which is so cool. I love that place. And in Fort Collins, we're going to be at Washington's. So yeah, that's nice and literally the 9th and the 10th of February. So just before Valentine's Day! 

Abi Clark: It's going to be fabulous! And it's cool that you'll be in a few spots so that, you know, Coloradans all over can enjoy. Cut and Rewind is out everywhere, and we are excited to welcome you back in Denver so soon. Thank you so much for approaching some of these topics, but also you're making it like danceable and feelable throughout the body. I know that part of what you do is you want people to “move your body, expand your mind, and recognize your strength.” And I can see that's really important in the way that you approach your music. I mean, it's got to be really powerful to say what needs to be said, but then put it into a context that people can connect with it and kind of, it's approachable, but it's like, it's so deep at the same time. 

Piya Malik: Thank you so much. It's just so amazing to like, you know, for you to recognize what we're trying to do and that you appreciate the music. Nothing could mean more really to us for people to get it, what we're doing. The music business is a crazy place, but it's all worth it when you get to play live and people come to the show and you feel like you're creating this community that actually, you know, whatever's going on out there in the crazy political climate and space, they can't take it all. You know, we still have this and we still have these spaces, just like disco had their spaces. You know, for us, it's like, even though it's not just disco that we're playing, like it's an amalgamation of all the things that we are and as multifaceted women and want to be and hope to continue to be and like for us to create spaces where people can come and be accepted and not have to hide and, you know, and dance and have fun!