Cat's Mother of the Month - Natalie Wade

Here at CM HQ we really value levelling the playing field for women from low income and black and ethnic minority backgrounds. This is something that we action 365 days a year and we wouldn’t have it any other way.

So, to commemorate Black History Month this year we chose our co-founder @forteforty as our #catsmotherofthemonth - it felt only right to shine a light on her achievements as a mixed race woman from a working class background, but also to let you in on the impact that she really has on the lives of those around her who have faced obstacles in their career because of their identity or background.

OK - we might be a little bit biased, but in our eyes Nats is the biggest source of inspiration, boss woman and all-round great motivator and leader. In this interview you’ll get to know about the unique background that influenced her first steps in the music industry, what she actually gets up to from day to day, what she consider her career-defining moment to be and more.

What inspired your first steps in the music industry and how did you break in?

My mum was only 17 when she had me, she used to save up for weeks for an Earth Wind and Fire LP or Motown LP "musical music”, all the instruments, you know. My Dad fancied himself a bit of a Lovers Rock singer at Sound Systems (you will have to look that up). You see, you couldn't hear much black music on the radio, so it was 'hard to find' pirate stations or expensive US imports. All this made music very precious to me, valuable, like a luxury. Now who doesn't want to be around that?

My first steps in involved consistent unpaid work experience in the week and working in clothes shop on weekends to pay for my travel to the unpaid work experience.... It was 100% worth it, by the way.

What does an average working week look like for you wearing many different hats?

A lot of messy hair! No seriously, I have that anyway... My week starts on Sunday. I make lists, prepare for my meetings, provide weekly tasks to staff and Young Shoots. This way I can see the shape of my week and sleep easy. Otherwise I am a tooth-grinding, anxious insomnia tinged wreck.

On Monday I start with talking to the young Shoots I work with, hearing what they got up to on the weekend, having a laugh, feeling out if there are any underlying issues that might affect their productiveness that week. It’s good to remind yourself why you actually get up to go to work in the morning and often I find that reason in one of these funny conversations. I meet with staff, answer upward of 157 emails a day, prep young Shoots for interviews, take meetings with Music Execs from places like 4th Floor or Paradigm, trying to implement high-quality diversity schemes into their departments, I negotiate with trainers, guest speakers, venues, tech companies to get in-kind and discounted services for our young people, I speak to 4/5 emerging artists/managers a week to support their applications for funding, or organise free studio services with partners Pirate Studios, then I try to carve out some time for Cats Mother planning with Niki, whether a Board meeting or an event we are planning… I'm really looking forward to out 2022 programme.

My evenings are usually spent tying up loose ends, completing proposal drafts (I make typos when I get tired, so never final versions!). Now I have Emma our Operations Director who will look over these the next day and tell me if the ideas are any good. It is good to have a second opinion to balance you or just tell you when an idea is actually pants. Or I'll be attending gigs or events that our clients, young Shoots or business partners are associated with. Sometimes I go to the odd college parents evening or end of term performance, if it's clear no one will be able turn out for our young person.

I work one day on the weekend (which ever day I am not hungover usually), here I put my Release Radar (Spotify playlist) on and straight-up bid write. Often 8,000 words a day. You can do that without distractions. It's hard graft, but it pays off, we raised over £500K for artists and organisations in just over a year.

I suppose it would have been really cool of me to say something like "I clock off at 5pm to mediate after starting my day at 6am with a green juice & yoga whilst focusing on my mental health." But this is 100% not what I do, I am not going to try to be fashionable. I don't like mornings/exercise/healthy food and I'm often mildly hungover in the week, which I cure with a full fat coke and a quarter pounder with extra cheese (after skipping breakfast) but that doesn't stop me being motivated, feeling incredibly lucky to get to do what I do or being decent to people. (It does not help with my cellulite, however.)

Have you faced any major obstacles in your career because of your identity? If so how have you overcome them?

Growing up on a working class estate in Bow to being part of a middle class aspirational family in the suburbs gave me the most unique perspective. I am grateful for that gift. I understand the barriers that face poorer people, I also understand the impact that expectation, aspiration and education can have on transforming young peoples lives and improving things for their family for generations.

Being mixed-race is a weird one. I understood my light-skinned privilege from a very young age and have committed my entire career to using it and whatever I tools I have to countering the negative effects privilege has on people that have less.

Personally, it often feels as though you aren't quite black enough or white enough to "fit" anywhere. My identity has made me very insecure at times, I've developed a humour and demeanour that puts people at ease to counter this. It is exhausting, but I realise it is a tool I developed to "fit in", not to seem a threat and to develop trust from others, when often I have felt viewed with curiosity, fetishism or suspicion.

Where do you draw your creative inspiration from?

Always the young Shoots. I worry about having ANY ideas when I leave! Just hearing their conversations, listening to what they are consuming and also going out, seeing what other artforms are doing and trying to apply some of it to what we develop and deliver.

Can you think of something that someone has told or that you’ve learnt that has stuck with you across your whole career?

“Sh*t happens, it's how you deal with it that counts.” Maggie Crowe, BPI. (I use that weekly)

Tell us about some of your proudest/career defining moments?

I have won stuff in the past, but I think the Artists and Managers "Unsung Hero Award" was the career defining one. I was totally unaware I'd won when they made the announcement on stage and dropped my sticky toffee pudding right down my dress. I took to the lectern looking a right state and went straight into a very candid, honest and unprepared speech, the young Shoots were working at the event and all came out to wave at me, so I was talking right to them around the room and it made me very emotional. It had such an effect we placed 7 young people and raised over £20K. From that point on, everyone knew who we were and what we did. I just wish I knew what I had said!

What kind of legacy do you want to leave behind in the music industry?

My aim is to have the young Shoots/Cats Mother beneficiaries in decision-making positions so that we can do away with those really long, awkward diversity and inclusion meetings! With them making the hires and leading, I know they will make the all the right decisions on teams naturally. They know first hand the value of the mix!

A word of advice from you to any young woman passionate about building an organisation from scratch?

Make sure you have a plan and you are willing to go the extra mile. Don't be a ditherer. Meet people, follow up with them, be nice. But mostly, go for it. Don't be a shoulda/woulda/coulda.... I have always regretted the things I didn't do, not the things I did.