How to get into: Self Esteem

Empowering, ‘Moody’, and multi-faceted are some of the many words used to describe the limitless talent of triple-threat Rebecca Lucy Taylor, also known as Self Esteem.

Like with discovering any ‘new’ artist, it can be particularly daunting when their discography is extensive. This exercise can be even more daunting for new listeners of Self Esteem, given the vast array of experimental and carefully conducted tracks that permeate her discography. But whether you are a fan of powerful production, thought-provoking lyrics, or experimental-pop feminist anthems, Self Esteem has something for everyone.

Compliments Please, Self Esteem’s debut album, utilises a concoction of broad and distorted instrumentation to magnify the power of Taylor’s vocals

Prior to establishing a musical presence as Self Esteem, Taylor made half of the folk duo, Slow Club, who released five albums before their dissolution in 2017. Alongside a rebrand to ‘Self Esteem’, Taylor underwent a sonic shift, entering alternative pop with her 2017 debut single, ‘Your Wife’. This debut track established Self Esteem as an artist-to-watchm given its punchy rhythm and ability to highlight Taylor’s euphonic vocals. Since then, Self Esteem has released two albums Compliments Please (2019) and Prioritise Pleasure (2021), composed the soundtrack to the 2022 West End production of Suzie Miller’s play, Prima Facie, the one-woman show starring Jodie Comer, and starred as the lead role of Sally Bowles in the West End production of Cabaret in late 2023 to 2024.

Compliments Please, Self Esteem’s debut album, utilises a concoction of broad and distorted instrumentation to magnify the power of Taylor’s vocals. ‘The Best’, ‘In Time’, and ‘Girl Crush’ most notably follow this characteristic, with their funky but potent drum beat successfully accompanying the layered blur of Taylor and her backing vocalist’s vocal talent. These stand-out tracks from Compliments Please contribute to important ideals of what makes a successful Self Esteem track – a track with a bold message, rich vocals, and perfectly conducted production.

A prominent inclusion in Self Esteem’s discography is her vulnerable, relatable, and attentively articulated lyrics. Self Esteem’s lyricism explores themes of sex and relationships, misogyny, mental health, female empowerment, and feminism. These themes are compellingly depicted through a vocal delivery which appears self-critical but still applicable to any listener. Her second album, Prioritise Pleasure, is incredibly successful in doing so: it is a skill that Self Esteem has nurtured throughout her career thus far. For instance, ‘I Do This All The Time’ tones down her usual production style, creating a deeply conversational and spoken-word element to the track. ‘I Do This All The Time’ signifies the complicated nature of being human but remains hopeful to “hold on […] for as long as you think you can”. In the music video for the track, Taylor is seen embracing a version of ‘herself’. A version who loves, overthinks, observes external pressures, and perseveres through their struggles. This version of Taylor is pertinent throughout Prioritise Pleasure and is exhibited in the album’s title track, as well as ‘Still Reigning’.

Self Esteem’s lyricism is incredibly noteworthy when discussing her artistry

Self Esteem’s lyricism is incredibly noteworthy when discussing her artistry: arguably, she is one of the greatest lyricists of our generation. She often manipulates the lyrical tone of her tracks to be both light-hearted and colloquial, whilst conveying a deeper, more serious message. ‘Moody’ commences with the lyric, “sexting you at the mental health talk seems counterproductive / drinking as bottle instead of a glass is me, I’m a classic”, in doing so, Taylor reclaims the term ‘moody’ in a modern culture, which promotes contradictory self-help customs and parasocial relationships.

Taylor’s ability to be ‘real’ amplifies her big sister appeal, which many young women can relate to and adore. The track ‘I’m Fine’ highlights the unfortunate reality that many women encounter surrounding objectification. ‘I’m Fine’ is profound in its approach, utilising a conversation between women who feel they have to appear “deranged” to remain safe around men, alongside lyrics which express the feelings of women when they experience objectification or sexual harassment. The track provides significant social commentary, one that is even more relevant after the murder of Sarah Everard in March 2021. It urges women to be resilient and to not let such experiences define them or their sexuality, but it also urges men to ‘check’ themselves and their behaviour around women. ‘I’m Fine’ notifies listeners of the topic of consent, with the lyrics, “I can change my mind, I tried to be kind / that doesn’t mean you get to twist your idea of / truth and history, question my complicity / yeah, you scare me does that make you feel manly?” Self Esteem’s role in activism saw a reprised version of the track ‘1 in 3 (I’m Fine)’ conclude Prima Facie. The track displays a heartfelt and uplifting message, urging listeners to be proactive in raising awareness of the importance of consent.

The multitude of Self Esteem’s artistry shines through during her involvement as an instrumentalist and producer

An artist’s talent can often be proved through their ability to create a unique and unexpected interpretation of a classic song. This can certainly be said during Self Esteem’s edgy rendition of Jimmy Cliff’s ‘You Can Get It If You Really Want’. Self Esteem transforms this reggae anthem into a rock-infused cover to accompany the BBC Series This Town. The cover sees Self Esteem experiment with new genres, and with a highly anticipated third album on the way, this can leave listeners hopeful to hear more experimentation in the future.

The multitude of Self Esteem’s artistry shines through during her involvement as an instrumentalist and producer. Prima Facie’s ‘The Winner’ and ‘The Process’ are so powerfully executed that listeners encounter a balancing act between fully absorbing Self Esteem’s mastery of production or being fully captivated by Jodie Comer’s performance. Additionally, ‘How Can I Help You’ exhibits Self Esteem’s enthralling ability as a drummer, whilst she provides insight into the reality of being a woman in the industry.

This same energy is pertinent throughout Self Esteem’s live performances. After witnessing a performance at a small venue back in 2021, Taylor is captivating onstage, always having the crowd under her command – this is heightened by the talent of her backing performers who accompany Taylor with vocals, dance routines, and instrumentation. Taylor and her ensemble remain in sync throughout each performance, their energy is high and there is always a sense of fraternity which spreads beyond Self Esteem and her team towards the crowd. Each performance brings its own form of camp, often aided through Taylor’s choice of attire (she performed her 2022 Glastonbury set in a corset and cape inspired by her home-town’s famous shopping centre, Meadowhall in Sheffield). This allows attendees to freely enjoy Taylor’s music, whether they join in on the choreography or shout about the people that have wronged them, Self Esteem’s care for providing a safe space to listeners is both iconic and highly commendable.

Self Esteem’s extraordinary talent as a singer-songwriter, instrumentalist, and performer make her an essential artist to know and love

Excitingly, Self Esteem’s latest release ‘Big Man’, released in June 2024, which features Moonchild Sanelly, sees the pair take on a traditionally masculine role to redefine womanhood and femininity. The video depicts both Taylor and Sanelly wearing oversized suits whilst participating in traditionally feminine roles: cooking, vacuuming, and washing-up, alongside roles that often stereotypically sexualise women, for instance, washing cars. This satirical approach explores the potential intersections of masculinity and femininity, highlighting the necessity for them to not contradict one another. In doing so, the pair promote a version of masculinity which uplifts women, their talents, and successes – this is of course indicated by the repetition of “she’s a boss bitch, I’m a big boy” within the track’s bridge.

It’s tracks like these which exemplify Self Esteem’s pearls of wisdom to listeners and her ability to smash the patriarchy with one feminist anthem at a time. Self Esteem’s extraordinary talent as a singer-songwriter, instrumentalist, and performer make her an essential artist to know and love. Bring on her third album.