Tizane is a native of South-East London, where the smoke wafts down to the borders of Kent. Filled with aspiring middle-class commuters with no real access to commuter infrastructure, it’s a cut off enclave of the M25 carpark. Nobody really gives a damn about Dartford – not even the London Underground tube network can be arsed to swing round!
That said, when the area does give of its loins, it is generally not unnoticed – step forward David Bowie, Siouxsie Sioux, Kate Bush and the Rolling Stones! Tizane has been breathing in the same inert suburban gasses that simply kill your schemes of fill your dreams and like Mick, keef and the gang she opted for the latter.
The young musician was cursed with chronic anxiety issues which all but destroyed her school years, though as Karma may provide, when one is too terrified to leave the house, one must focus one’s energies elsewhere. And so it was that at the tender age of fourteen she battened down the hatches, picked up a wounded guitar and started to compose those wonderfully fragile songs of love and loss.
Even the untrendy environs of Dartford provided more exciting ways of burning up one’s teens, but Tizane, scared of the night, was on a mission to make music. In those years she became a prolific writer of twisted, surreal ballads, all recorded to varying levels of quality and completion.
By 2019 she was venturing out from the ‘fortress of solitude’ and gingerly bashing out her dystopian ditties to the unsuspecting foot tappers of open mic nights around the West Kent / London borders. Sometimes on guitar, sometimes on keyboard, she would showcase her catalogue of ill-begotten gems – ‘Stay here’, ‘Floating’, ‘Oblivion’. At one such atmospheric occasion Tizane was approached by London based independent, Burning Girl Records, who in turn set about assisting her along the creative path.
Tizane now has an impressive following across all digital music and media platforms and one sultry, brooding debut collection in the shape of double album, ‘Cherry’ to keep them sweet.
‘Cherry’, released in the height of the COVID-19 pandemic, suffered with low retail coverage but enjoyed enormous critical acclaim.
In the words of BBC’s Leo Ulph, we are seeing the rise of what will inevitably be one of Britain’s biggest ever superstars.