IDER on Songwriting, Resilience, and Late To The World
Known for their contemplative lyrics, melodic vocals, and genre-bending sound, British indie-pop duo IDER first gained attention with their debut single “Sorry” in 2016. Their 2019 debut album, Emotional Education, put Megan Markwick and Lily Somerville even further on the map, leading to a much-lauded collaboration with H&M and an in-demand European tour.
With their latest album, Late To The World, the duo digs even deeper into self-discovery, feelings of female disempowerment, and the patriarchy – decidedly more mature – and with a lot more to say.
KP: Even though you hail from the UK, your recent single, “Know How It Hurts,” reflected on the abortion bans that recently swept over the United States. I think this speaks so wholeheartedly to the empathy that women have for each other all across the globe – we will not be free until all of us are free.
As an American – but more so, a native New Yorker – it’s a special kind of pain to see an administration that the vast majority of us don’t believe in stripping the rights of the people who need them the most.
But the track also speaks to patriarchal ideologies in general and the way that you felt marginalized as young girls in a boys’ and mens’ world.
Are there any early experiences in particular where you dealt with such inequalities?
IDER: Firstly, thank you for your thoughts on this – it means a lot to hear. Yeah, for sure! I remember being about 7 years old and being told by some kids in the playground that I couldn't play football because I was a girl – this is literally where the opening line comes from. It was one of the first times that I was aware of my gender and felt held back because of it.
KP: I had the same experience with basketball! I remember being able to beat boys older than me one-on-one on the street, but I was never allowed to play with them an hour later in a gym. It made no sense to me.
How do you deal with misogyny now as adults, particularly within the music industry? What are ways in which you think we can all fight the systems that oppress us?
IDER: It's important to speak up, use your voice when you can, and in ways that you feel comfortable doing so, which we try to do. And also by surrounding ourselves with like-minded, positive people who support one another – that helps a lot.
KP: I personally don’t think that women will ever regain any of the rights that we need by begging and asking nicely, but instead through fury and rage. You have said that your newest album, Late to the World, has a feeling of “power” and stands as a “call to arms.” How do you try to stay centered and productive in such challenging times?
IDER: Absolutely agree with you on that. Anger is very important. We stay productive by doing what we do best – by talking about these challenges and writing songs about them.
KP: Lily, you’ve said that, “The song is the most important person in the room… observing and reflecting emotions.” What is IDER’s songwriting process like? How do you access your own vulnerabilities?
IDER: It differs for every song – sometimes we start something together, and other times we'll start songs or ideas separately and bring them to one another. I'd say it's pretty unconscious the way that we access our vulnerabilities... writing songs is our way of processing things, so it feels necessary. Talking with each other about what we're going through definitely plays a big part, too.
“I think it’s about accepting yourself rather than accepting rejection. ”
KP: “Attachment Theory” explores various unhealthy love types, many of which I’m sure all of us have either personally embodied or survived over time. What are some ways in which you’ve become healthier in love?
IDER: Probably just through life experiences and growth!
KP: You created a zine for the release of Late To The World, and as an ex-print publisher (where I got my start!), tactile media is very close to my heart. What was the experience of building a physical paper archive to the album like?
IDER: I would say that it was quite a cathartic experience – going through notebooks where the songs started and seeing them typed up in their finished form. There was something quite satisfying about putting it all together, almost like introducing the beginning of the journey to the end of the journey, completing the loop.
KP: Is it a tradition that may continue for future releases?
IDER: Yes, maybe it's a new ritual!
KP: What has been the best advice that you’ve been offered as performers?
IDER: We weren't directly offered this advice, but something that has stayed is to treat every performance like you're the greatest rock star in the world, and also like you suck. Holding these contradictions is important since it will be the reason that you get out there and do it, but it also keeps you hungry and wanting to get better.
KP: You’ve spoken about the ups and downs of making music – the joy of writing and performing live does not come without its share of “knockbacks.” How have you stayed so passionate and committed in the face of adversity? How did you learn to accept rejection?
IDER: By trying to put the noise to one side and get back to the heart of what we do – singing together and making sense of life through lyrics. And, of course, the connection with our fans and the messages that we receive from them.
I think rejection finds you on good days and bad days – sometimes you're more resilient, sometimes it knocks you back. We are lucky to be doing this together and to be able to look after each other in the trickier moments. Really, I think it's about accepting yourself rather than accepting rejection.
KP: If you could both tell yourselves something at the beginning of your career – something you know now that you wish you knew then – what would it be?
IDER: That every artist’s and band's journey is different, despite it seeming that there is one road to success. There is no set template, and there is no right or wrong.
KP: What do you feel makes a provocative woman?
IDER: A woman who isn't afraid to own and show all of her many sides.
