Ebony Bones is a star. It’s as simple as that, or it can be more complex if you’d prefer. If you want to look closer, you’ll see that this south Londoner is very much a artist of our times; a self-taught bedroom musician who was among the first to share her songs over the internet, and who’s polymorphous sound reflects the pick n’ mix approach to genres the kids growing up in iTunes World have.
But really, whether you label her as the New DIY Superstar, a Kate Bush for the iPod Generation, or simply the Next Big Thing, it all amounts to the same thing: she’s a ruddy star.
Always has been in fact. Mark Rylance, artistic director of the Shakespeare Globe Theatre knew it when he spotted the then Ebony Thomas just after she’d left primary
school and gave her a part in MacBeth. And the producers of TV drama Family Affairs knew it when they cast her as glamorous young Yasmin. Ebony’s problem at this stage, was that though she knew she wanted to perform, acting just wasn’t right for her.
“I was always getting into trouble on it, annoying the producers and almost getting sacked,” she recalls, “I was only 15 when I started, and I couldn’t do what I was told, which isn’t good for an actor. I’d customize all the costumes, amend all the scripts, annoy the other actors. I think that was due to realising I wanted to be an artist in my own right. I ended up bringing in a laptop to my dressing room, and made tunes on a crap version of Pro Tools.”
Ebony Bones, then is an artist of the moment, and for the future. A vibrant, wild and very human riposte to every bland, over-marketed, plastic pop princess on the planet.
Or as Ebony puts it: “I am Cleopatra reincarnated, in search of KFC.”