Surrounded by the vibrant energy of a Hackney bar, just a stone’s throw away from her upcoming gig at Earth, London, where a massive line of fans was queuing outside to see her, harpist Brandee Younger and I sat down for a chat about her journey with the harp, a surprisingly unconventional choice for any young musician today, to discuss how she has carved out a unique niche with an instrument that often feels distant from modern music trends.
Brandee reminisced about her early experiences with the harp, recalling how she was introduced to the instrument: “there was a woman at my dad’s job who played harp as a hobby,” she said. Brandee, at that age, played the flute, so her parents arranged for her to meet with the harpist to work on duets together. That decision ultimately led her to pursue music more seriously, particularly on the harp. When the possibility of a scholarship was mentioned, it sealed the deal. “That’s all parents really want to hear,” she jokes, underlining the heavy burden of education costs.
As a young child, she played many instruments, including the trombone, and she desperately wanted to be in a marching band—a much-revered institution in America. “I was serious. The marching band was my dream. In historically black colleges, marching band is a big deal, so that was my aspiration. My heart was set on it. However, my parents questioned me, saying, ‘What are you going to do, get a bachelor’s in marching band?’ They quickly shut down that ambition, but you know what? I’m not mad. If I had pursued a trombone major or something similar, I’m not sure where I’d be today. No shade to trombone players out there—there are some great ones—but I’m happy with the harp.”
Even though Brandee didn’t end up in a marching band, her music did become part of Beyoncé’s “Homecoming” documentary. “Oh,” she replied, “I didn’t think about it that way. Thank you! That’s so funny in a different way!”
When Brandee first encountered Alice Coltrane’s music, it was a revelation. The blend of genres and the involvement of a Black woman musician was not just refreshing; it became the catalyst for Brandee’s passion. “Seeing her play and realising she looked like me was a pivotal moment,” she explained. “It felt like the music was inviting me in, telling me I could be part of this world too.”
This representation is crucial, especially within genres like jazz and contemporary music, where visibility for Black harpists has historically been limited. “In my experiences, I was often the only Black person in the room while engaging in harp activities. That isolation made me yearn for connection,” she said. “I wanted to bring that awareness to the next generation—to show them they don’t need to fit a certain mould to play the harp or engage with these genres.”
Brandee was the first Black female solo artist ever to be nominated for a Grammy in the Best Instrumental Composition category for her tune “Beautiful is Black” from her 2021 album “Somewhere Different”. Her latest album, “Brand New Life”, pays homage to Dorothy Ashby, a key figure in Jazz Harp. Ashby’s groundbreaking 1968 album “Afro-Harping” set the stage for the harp’s influential presence in post-bop jazz.
Brandee weaves the Ashby influences throughout the album while carving out her distinct style. One of the standout tracks is ‘Dust’, which originally appeared on Ashby’s “Rubáiyát” album. How did the collaboration between her and one of my all-time favourite musicians, the bassist and producer Meshell Ndegeocello, on that track come about? “I wanted any guest artists on the album to have a special connection with Dorothy Ashby. A few years ago, Meshell reached out to me on Instagram to express her love for Dorothy Ashby. When we were recording ‘Dust,’ I initially planned to record it without vocals, but then I thought, ‘No, we need vocals on this.’ I decided to take a chance and reached out to Meshell, who said ‘Yes’! I was thrilled! The timing was perfect because she had just finished the “Omnichord Real Book”, and I had played her song ‘Virgo’ on it. It all came together wonderfully.” Brandee continued wryly, “I don’t always shoot my shot…! As we both erupted into laughter, she continued. “I feel really, really lucky that she did that.”
As a composer, Brandee is inspired by her predecessors and what is in the zeitgeist. For instance, In 2023, when she and her band performed on the much revered NPR Tiny Desk, they played the stunning two-movement composition “Unrest I and II”, currently only available digitally. It features an intricate interplay between Brandee and the band, particularly with bassist Rashaan Carter. “It’s not just about the music; it’s about the relationships we build as a family,” she noted. The chemistry among the musicians is palpable, resulting in live performances that resonate deeply with audiences.
The second movement, “Unrest II”, is particularly significant. She composed it during a time of social upheaval, drawing inspiration from the Black Lives Matter protests happening right outside her window in New York. “Music helps us express our thoughts and feelings,” she shared. “I wanted the piece to reflect all that was happening in the world around me, but also the intimacy we have as a band.”
The harp is such an unwieldy instrument it must present unique challenges, so how does Brandee tour it? “We have to source instruments locally, similar to how a piano player would, but it’s not easy,” she explains. Building personal relationships within the music community becomes essential, mainly because harp shops are often scarce. For example, she recalled a recent experience in Portugal where she had to play a local harpist’s personal instrument, a testament to the camaraderie among musicians. Preparing for a performance with a harp requires adaptability. “I rely on each sound check,” she explains.
Brandee will return as a resident Artistic Director at the SFJazz Center in March to work with the New Century Chamber Orchestra. The SFJazz Center was where she initially unveiled the music of “Brand New Life”, and she goes back there to introduce completely new music again. “This will be the first time anyone will hear it,” Brandee reveals, the excitement palpable in her voice.
Brandee’s new album will feature Alice Coltrane’s original harp, which has been newly restored. I gasped and asked what it felt like to play it. “It’s life goals. I actually recorded the new album on the harp. So that’s exciting. We’ve been doing a bunch of concerts promoting the ‘Year of Alice’ at the John and Alice Coltrane Home, where I’m on the board. What does it feel like? Well, I’ve got the “A Monastic Trio” record on my wall at home, and I got Alice’s harp right next to it. So sometimes, I lie on the couch, and I just stare at it.“
Earlier in our conversation, we had joked about whether she had a favourite amongst her many harps. She quickly pointed out, ‘No, they are all my children” Well, surely Alice Coltrane’s harp must be a designated favourite? Looking slightly caught out, she responded laughingly, “Well, that one is special. It’s in a category. It’s in a special category over there.” The yet untitled new album is “baking in the oven” and will hopefully be out in spring 2025. What about future collaborations; who would she want to work with next? “I’ve always dug Marsha Ambrosius. She’s a genius,” Brandee says with admiration. The prospect of collaborating with different artists she respects clearly demonstrates her commitment to pushing creative boundaries while honouring the brilliance of those around her.
As Brandee left to play her final concert of the tour, I asked if she was planning to celebrate after the concert. “ No, we have such an early pickup tomorrow, but I want some Jamaican food,” she said laughingly, saying goodbye as she casually wandered off to the gig.
Jumoké Fashola is a journalist, broadcaster, and vocalist who currently presents a range of Arts and culture programmes on BBC Radio 3, BBC Radio 4, and BBC London.
Header image: Brandee Younger performing live at EartH Hackney, London. Photo: Wim Knuts.