Kate Nash (DOB July 6th 1987) has taken the country by storm with her infectious pop songs and carefree attitude.
Starting off by playing the piano at school she was writing songs at the tender age of 13. Also an aspiring actress she acted in and wrote plays whilst growing up. Rejected by the Bristol Old Vic Theatre School, she was undeterred and continued down the creative route with her song writing.
As fate had it Kate Nash famously fell down a flight of stairs, breaking her foot. Consoled by her parents they bought her a present of an electric guitar. With the gift and free time she had recuperating, Kate used the time to write some new songs and work on old ones.
Although she had been writing and recording for years previously the extra time she had at home, bore a selection of new songs as well as giving her time to finish off and rework some of her earlier offerings.
Stardom didn't come knocking straight away and armed with her songs Kate booked herself a gig at a local bar in Harrow called Trinity to showcase her songs.
As is the way of modern musicians Kate Nash played a few gigs locally and then started uploading her music onto Myspace for a wider audience to listen to. In the process she also found herself a manager and producer to help her along the way.
Before long a debut single, Caroline's a victim/Birds, was on the cards and the 1000 limited edition 7" vinyl sold out. Released through the well established Moshi Moshi record label another 1000 were pressed but they also sold out in short order.
The hype machine understandably started to build for Kate Nash and to coincide with the single release in February 2007 a video was made, both song and video received airplay on MTV2 and on national radio.
Not too long after the single release and its meagre climb to 153 in the UK single charts, in April 2007 Kate Nash signed to Fiction Records, who are part of the major record label Polydor.
Kate Nash then went on to release her next single 'Foundations' and this was soon to be the turning point and key to her mainstream acceptance.
Peaking at number 2 in the UK single charts she missed the top spot by just 16 copies which was taken by Timbaland's 'The way I are'.
After a whirlwind few months of endless exposure, airplay and broadcasting of 'Foundations' video, her debut album 'Made of bricks' was released in August 2007, reaching number 1 on the UK album charts in its first week.
Kate's subsequent heavy summer festival schedule, including Glastonbury and Leeds, helped boost her profile and although later singles haven't done as well on the charts, her debut album 'Made of bricks' keeps resurfacing in the UK album chart.
Fast forward to early 2008 and the awards piled up with Kate Nash winning a BRIT award for Best Female artist, an NME award for Best Solo Artist and a Q award for Breakthrough act.
Now with another busy summer of festivals and gigs, including opening the pyramid stage at Glastonbury, Kate Nash is set for more exposure and more fans.
With new songs and an album on the cards, Kate Nash, at only 20, is one of the countries shining stars on the Pop scene.
While women in the audience may find resonance in the comical prickliness, this film remains more of a stage play than an actual movie. Indeed, playwright Hirons has adapted the script from her play When Women Wee, but it's such a broad farce that we never quite believe any of it on-screen. Although two of the actresses nicely underplay their characters for the cameras.
The story takes place almost entirely in the ladies' room at a British nightclub, where the disorganised Sam (Smith) is having a night out with her friends: shameless maneater Chanel (Winstone), trashy Saskia (Hoare) and the too-nice Paige (Steele). Then Sam runs into the posh Michelle (Nash) and her gorgeous French friend Jess (Chaplin), and decides to ditch her pals. But the club isn't big enough to avoid them for long, and things get increasingly messy for everyone as the night progresses. Meanwhile, the restroom attendant (Fiori) just laughs at their melodrama.
With Sam at the centre, every other woman is essentially a stereotype carefully written to convey some aspect of femininity. By contrast, the men are barely defined at all, so only two register, both of them unusually nice: Sam's ex (Warren) and a guy (Balfour) she chats to in the smoking area. But in this large ensemble, only Sheridan and Winstone manage to give their characters three dimensions, mainly because they create properly cinematic performances that rely on understated details rather than histrionics.
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