This is the Pitchfork Review. I'm Jeremy Larson, the reviews director, and today we are talking about Jesse Ware and her new album, That Feels Good. She is what's known as a 2020s triple threat. She's a singer, author, and podcaster. She's a balladeer. She's disco queen. She hosts a

celebrity podcast with her mother called Table Manners. She's put out a cookbook. She has a children's

clothing line. She's a mother of three, and she just put out one of the best disco revival albums

of the last few years. And joining me to talk about it all is Pitchfork contributing

writer and disco queen herself, Julianne Escobito Shepard. Julianne, how you feeling today? I'm feeling

great. I appreciate the Disco Queen moniker. Thank you. You're welcome. I'd say your reputation

perceives yourself, so. I've been known to frequent the club.

Yeah, I know. You and Pugia are the, are like the club queens, and I'm just sort of the couch potato.

But I'm glad you hear because we're going to talk about an album that is meant for the club,

or at least meant for a club from a certain era. So yeah, but, you know, Jessie Ware, she's been around probably since like the early 2010s.

I want to ask you, like, where were you when you first heard Jesse Ware, when you first

sort of heard her name come on to the scene?

Because she was really sort of involved in club music at the time, but a totally different

kind of music.

Yeah.

So the first time I ever heard of Jesse Ware was her very first vocal, like, released single.

She was on a track called Nervous with Subtract.

Yeah.

And that was kind of like the height of like the UK bass scene kind of coming up.

What was remarkable about that is that she was kind of one of the first, if not the first diva vocalists

That came into that scene and really rejuvenated it and kind of

Connected it with earlier dance musics.

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