Name: FKA Twigs ANNOYED By Terrible Questions
Uploaded: 2026-02-06T14:00:04.000Z
Description: Watch the stand-up comedy video 'FKA Twigs ANNOYED By Terrible Questions' from TAFS Clips on Comedy Buff. Published 2026-02-06. Transcript available.

Watch the stand-up comedy video 'FKA Twigs ANNOYED By Terrible Questions' from TAFS Clips on Comedy Buff. Published 2026-02-06. 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 that
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.
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.
You just, 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 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
practicing 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 that 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 don't you create a distinction between your own life and between
your career.
Right.
And 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 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 your fans and
and do this like cutesy boo boo like effortless thing that I'm just not 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 10 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 to say of this is what success looks like because it's
Spotify listeners or awards or likes on Instagram.
You know or likes on Tik Tok to be able to quantify the success of an artist by
these things to me is 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 pops pop in America.
I don't know if you've heard but 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 guys look at his phone and he feels
like there's some 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 feel 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 mean I love communicating with my fans and I love the back and forth of my
fans.
I hate them.
My fans.
I mean whatever.
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.
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 want to but if I did something just 10% in that song I want to 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 like more money or like something if you
if you like were like you know am I?
It's not about money it's about a career of longevity.
Like it's not it's not like you could make millions of pounds one year and then
no one will speak about you the next year.
Like for me I just I'm really looking forward to getting old for me like 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 though.
They're lovely.
Well Martha Graham.
22?
Has passed on.
I'm sorry.
But um.
No.
I'm a bad.
I'm a terrible.
I'm just 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 um.
And then that has spelt out the words from many people that have gone through a
breakup.
Yeah.
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 You Sexual Alive.
It encouraged me to make Afterglow.
Yeah.
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 You Sexual Alive 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 like deconstruct everything that I'd learnt.
To reconstruct the beats.
Play more instruments.
Use my voice in a different way.
Subvert the clarity of You Sexual Alive 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 then 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.
I know.
Of what you have to do.
Change.
So for example.
This era.
Videoed podcasts.
Really important.
This era.
Doing Tik Toks with other.
Influences.
Really important.
When I first started.
It's terrible for the world.
When I first started.
You would do like a fader interview.
And a pitchfork interview on a phoner.
You'd go to.
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.
And.
There's no music press.
Kind of anymore.
Is that what you're saying?
There is.
But I think.
No one reads.
This is messy.
The thing that's kind of bigger.
Is.
Is displaying.
Is like being likable.
And being relatable.
And for me.
That's equally as.
Important.
As the music.
And honestly.
We love you.
That's so sweet.
Thank you.
Thank you.
Thank you.
Thank you.