Name: FKA Twigs On Her Media Personality
Uploaded: 2026-02-08T14:01:19.000Z
Description: Watch the stand-up comedy video 'FKA Twigs On Her Media Personality' from TAFS Clips on Comedy Buff. Published 2026-02-08. Transcript available.

Watch the stand-up comedy video 'FKA Twigs On Her Media Personality' from TAFS Clips on Comedy Buff. Published 2026-02-08. Transcript available.

Have your guys acted embarrassing ever?
Um...
Have they gotten pissed at other people?
What are they called?
Twiglets.
Twiglets is cute!
Yeah.
I think on the whole, people that listen to my music are quite sensitive and
artistic and creative,
and I would like to think that they are sort of equally invested in their own
creative endeavours
and their own lives, as they are in my music, which hopefully creates some
safety and a healthy relationship.
I think I've definitely experienced, since Eusexua has come out, a different
side of fandom and what that could feel like.
For me, as an artist, it's my job to create something and to create it for
myself and for other people eventually,
but to not really care about what people think.
But now, as an artist, we're just expected to market ourselves so much.
Yeah.
And for me, that's one thing I really struggle with, because the truth is, like,
nobody knows my true personality,
because I feel like my personality is constantly at gunpoint with social media.
That's just not really who I am, and I've never really been able to find a way
of portraying who I am.
Because truly, who I am is not on doing that. Like, truly who I am is just in a
studio practicing something and getting better at something and feeling happy
about that and me monitoring my own incremental advancements in a craft.
And I can't do that if I have to put it on the internet. So all that's left is
for me to try and put my personality on the internet and try and be, like, cutesy
boo-boo and try and be relatable.
And for me personally, I've been on a five-year long journey. I think it was
really, probably, like, after Magdalene, where this word, like, relatable,
started to come up, like, with publicists, you know.
I had this, like, publicist a few years ago. She was great. She was Northern.
And she was like, "Do you know what, Twigs? You're so funny. We just need to
warm you up a little bit. You know, you're so funny.
If people could just see how funny you were." And I was like, "Okay." I was
like, "Yeah, I can be funny." You know, but it's like this thing at, like, gunpoint.
So annoying. And it's just not who I am. And I've seen other people really
overcome it. I've seen other artists, other contemporaries of mine,
who initially found this thing really awkward and spoke about it, and now are
absolutely crushing it, and they've found their niche.
But with me, I just can't seem to find that, because I don't want to put the
things I'm practising at online.
I just don't want to. Like, it's for me, and I want to get better at it in the
quiet, and I want to deliver something when it's a fully rounded thought.
And so to be completely honest with you, like, it's kind of a bit of a
nightmare to be making work that I really care about.
And then there's this whole other side, which is, like, for me, it's like
McDonald's.
And it just destroys all of the mystery. Like, it just takes everything,
everything precious and everything sacred away.
And I look at, like, you know, other artists, and I think, wow, they're so good
at it.
They're so good at making something feel casual, like putting, like, a phone up
and just doing something funny.
And I don't know how many drafts of that are in their folder.
But there's someone looking at that and literally going insane. Do you
understand?
Well, the other side of it.
I want to counter that by saying that I found that very deliberate decision to
be admirable.
Because, A, you create a distinction between your own life and between your
career, right?
And I think that, like, it just seems like you think of your work in a
different way where it's, like, thought out and it requires effort in a way
that it doesn't feel like a lot of artists have to grapple with, right?
No, I think a lot of artists now are, like, making incredible work and really
thinking about it.
I don't want to put myself on a pedestal like that.
The difference is…
I am.
That's very sweet.
But I think that it's the ability to be able to connect with your fans and do
this, like, cutesy-boo-boo, like, effortless thing that I'm just not good at.
Like, I'm the type of person, I just want to disappear.
I just want to put out something and then not think about it and not have to
promote it.
And the thing that I find is, is you can't quantify culture.
You can't quantify the data around culture.
You can't quantify the amount of people that are inspired by your work, who
create work based off your work.
How when you make something, it changes the cultural DNA.
Even if ten people see a piece of work that's incredible, it might change the
cultural DNA of the way that people see, I don't know, queer people, black
people, political ideas, women.
You know, like, you can't put stats behind that.
And so to be able to say, oh, this is what success looks like because it's
Spotify listeners or awards or likes on Instagram, you know, or likes on TikTok.
To be able to quantify the success of an artist by these things, to me, it's
just not, like, it's not valid, to be honest with you.
It's a mature response to a ridiculous thing because if you think about the,
like, I've been told by my people, I'm, listen, I'm also one of the biggest,
whatever, pop, pop guy in America.
I don't know if you've heard of him.
But, like, yeah, like, post pictures of yourself, like, hanging out.
And I'm like, who the fuck wants to see that?
But what you're doing is, you're like, some guy's looking at his phone and he
feels like there's an unhealthy parasocial kind of relationship that he has
with me, who's a complete stranger.
So, like, I did a podcast for a long time and it felt like it was a kind of a
friendship simulator for a lot of people.
And, like, they'll come up to you and they'll make a joke at you and you'll be
like, what the fuck are you talking about?
And they'll walk away and they'll be like, idiot, I'm fucking stupid, I'm
stupid, you know.
But, like, in reality, like, doing this show where I'm, like, talking to
different people and stuff, it does feel like I can more easily create that
distinction where I'm like, this is the work that I'm doing.
And then in my normal life, like, no one respects me, I'm, no, actually, I'm
one of the...
I mean, I love communicating with my fans and I love the back and forth of my
fans.
I hate them.
My fans...
I mean, they, whatever, I mean, like...
The Twiglets and the people that have enjoyed my music through Eusexua have
directly affected, created, and encouraged me to make Afterglow.
Afterglow is 100% a conversation between me and the people that liked Eusexua.
Really?
A hundred percent.
But it was...
What do they say to you?
It's like a feeling.
It's like seeing the way that people move on stage to the songs.
It's about seeing the parts of the songs that they love.
It's about seeing the looks on their faces when I talk about certain things in
my lyrics, and me thinking, that felt good.
Like, I wanna...
But if I did something just 10% in that song, I wanna take the 10% of that song
and blow it up so it's 100% of another song.
Because that's the bit that's connected with people.
Making someone dance must feel incredible.
It's the best feeling in the world, but that's what I'm saying, like, that type
of interaction with my fans and my audience is the best feeling in the world.
The part that I personally struggle with is shoving myself, like Talia, down
people's throats.
Do you think that you would have made more money or something if you were like,
you know...
It's not about money, it's about a career of longevity.
It's not like you could make millions of pounds one year and then no one will
speak about you the next year.
For me, I'm really looking forward to getting old.
For me, people like Martha Graham or Pina Bausch or Laurie Anderson, PJ Harvey,
like people that have been able to...
I wouldn't call them old, they're lovely.
Well, Martha Graham has passed on.
22?
Oh, I'm sorry.
But, um...
No, I'm a bad, I'm a terrible, I'm just an obnoxious, no one likes me, okay.
They do, don't say that by yourself.
Oh, no, it's true.
Words of spouse.
It's true, I mean, I had one guy, Zack the intern, he's not even here right now.
He's just left me alone on this and he's the one person that makes me feel safe.
I always think as an artist, I like to create things that other people might
not have.
The privilege, the time, the ability, the know-how to put into words for
themselves.
So say, for example, something like 'Cellophane'.
I went through something and then I wrote the song 'Cellophane' with a couple
of wonderful collaborators.
And then that has spelt out the words from many people that have gone through a
breakup.
And that's the type of fan interaction that I really love.
And that's the type of fan interaction that spurs me to make another version of
that song
or to explore that feeling further the same way that I was saying when I
performed 'Usexual Alive'.
It encouraged me to make 'Afterglow'.
I was very inspired by the reaction to make 'Afterglow' and I was also very
inspired on 'Afterglow'
to produce so much more myself and play so many more instruments myself.
And because 'Usexual' for me was such a well-rounded piece of work that I was
so proud of that I created.
In 'Afterglow' I wanted to, I don't know, deconstruct everything that I'd
learnt.
Like deconstruct the beats, play more instruments, use my voice in a different
way, subvert the clarity of 'Usexual'
into a hazy, gauzy, muffled, kind of wavy after-party of 'Afterglow'.
But that wouldn't have happened if the fans hadn't have given me permission and
authority also to do.
It was really a collaboration.
You gave them joy, right?
Yeah, and it was a conversation.
And also, I think it sounds like you do know what kind of artist you are.
No, no, I do, but it's the goalposts keep on changing of what you have to do to
be an artist.
You don't have to post your breakfast. Just make tracks, dude.
A hundred percent. My point is, every time you do an album, the goalposts of
what you have to do change.
So, for example, this era, videoed podcasts, really important.
This era, doing TikToks with other influences, really important.
When I first started...
It's terrible for the world.
No, but when I first started, you would do like a Fader interview and a Pitchfork
interview on a Phoner.
When I first started making music, you would go to your record label, you'd sit
there for two days.
You'd do Phoners with Pitchfork, The Guardian, Fader, a couple of others.
And that would kind of be it.
There's no music press, kind of, anymore. Is that what you're saying?
There is, but I think the thing...
No one reads?
The thing that's kind of bigger is displaying, is like being likeable and being
relatable.
And for me, that's equally as important as the music.
And honestly...
But we love you.
That's so sweet.
You're not? No.