In this new Rolling Stone AU/NZ series, we get to know the music tastes of artists through their favourite records. Next up, Naarm/Melbourne-based singer-songwriter Ruby Gill.
If you’ve seen Ruby Gill live or heard her debut album I’m gonna die with this frown on my face, you’ll know that this Joburg-born, Naarm-based artist isn’t afraid to go there.
Her music is as brutally honest as it is beautifully raw, whether she’s unpacking self-acceptance struggles or delivering sharp wit with a hint of darkness.
So, when we asked Gill to run us through her favourite records for this edition of On the Record, we knew we’d be in for some power, passion, and maybe a little cheek.
From the politically charged Armageddon in a Summer Dress by Sunny War to the soul-soothing sounds of Ólafur Arnalds’ re:member, Gill’s picks offer a peek into her sonic world – records that have challenged her, made her think, and hit deep. Unsurprisingly, they all tie into the themes of control, self-discovery, and resilience that fuel her new album, Some Kind of Control.
On her latest release, Gill’s embracing a “cheekier, looser, gayer, and even more raw” phase of her career. She describes it as a “coming-out album of sorts… Not just in terms of being gay, but also in terms of being an imperfect body, a person in a fucked political landscape, a human with human needs and desires – to be held, seen and respected.”
Right now, Gill’s gearing up for her ‘Kissing the People I Want To’ tour, which hits VIC, ACT, and NSW in April and May (find tour dates and grab tickets here).
Check out Gill’s favourite records below, recorded in her Melbourne hometown at Record Paradise on Brunswick’s Sydney Road.
Ruby Gill’s Some Kind of Control is out now.
Joan Armatrading – Show Some Emotion
My aunt introduced me to Joan Armatrading when I was younger and I’ve held this album close always. “Woncha Come on Home” is a genius song, I could listen to it only for a very long time. Her control, quirky wit and strength is immaculate. She’s still releasing music now in her 70s and shredding. I hope she writes forever.
Sunny War – Armageddon in a Summer Dress
Sunny War is a rogue, brilliant, and brave energy in the industry. I love her songs and how visceral they are. They’re political, physical and funny in a harsh, important way. The lyrics to “Walking Contraction” on this record should be put on every building in the world: “It’s simply users and abusers, us and them, peace and war / Ain’t it funny how you don’t see them as people anymore?” or “Doesn’t matter what your silly little signs have to say / Cos the genocide is funded by the taxes that you pay.”
Adrianne Lenker – Bright Future
I get a bit tired of hearing myself telling people how much I admire Adrianne’s writing, and I know everyone else thinks she’s the bees knees too, so I probably don’t have to over explain this one, but this record really held me over the last year. I think she is real, effortless and gritty and I love how much of the world she left in these recordings. They’re unpolished, and you can almost hear the spit and the trip and the tear in between bits. The lyricism is ridiculous too.
Olafur Arnalds – re:member
This instrumental album by the Icelandic composer is my nervous system regulator. I literally access peace while listening to it, and my therapist actually told me I should put it on during other calming activities (eg. long drives, showers, meditations) to supercharge rest while on tour or in a busy period. Olafur has tapped into some oceanic thing, and I will shake his hand very firmly one day to say thank you if I ever get to meet him. Hania Rani’s and Laurie Torres’ records are beautiful companion pieces to this album.
The Indestructible Beat of Soweto (Compilation album)
A whole decade before Apartheid ended in South Africa (my home country), this compilation of folk and shebeen songs mostly from around Joburg were released in 1985. It’s full of incredible songs borne out of struggle and unity, some are funny, some are so full of energy they could burst and some are just about family. There are a whole lot of local styles on the record including maskanda and isicathamiya, which have such powerful sonic and political histories if you read up about them. I really love Mahlathini and the Mahotella Queens, who have quite a few songs on this compilation.
It sounds like home, and was such an iconic time in Mzansi’s music history, where so much was happening locally and underground. If you’ve not encountered South African music this is a really cool place to start, and was one of the first local records to make it global. Before white guys like Paul Simon got in there. It was actually ranked 497 on Rolling Stone‘s 500 Greatest Albums of All Time. That’s you guys.
