THE ‘ONE TO WATCH’ INTERVIEW
Shapes Like People: ‘I almost decapitated Kylie Minogue with a scissor kick’
When Kat Mann challenged husband Carl to write songs to pitch to Kylie Minogue, neither of them knew it would lead to the formation of Shapes Like People — nor a glistening debut album. David Rea spoke to them to find out more.
6 September, 2025
David Rea: What’s your earliest memory of hearing music?
Carl Mann: Around four or five years old, spreading out my mum's records on the floor. I’d pick what I wanted to play based on the record label. My Mum says I used to spend hours happy as anything listening to music. I’d imagine my mum's records still have toddler chocolate fingerprints all over them! To this day, I still enjoy a good-looking label.
Was there a music fan in your early life who you looked up to and influenced your music taste?
Carl: My babysitter Andy was a bit of a mod. Every time he came round he’d bring a bag of records with him, switch the TV off and put them on. A few years later he made me a few compilation tapes — I still have them actually — they really shaped the music I listen to. And I have my sister to thank for getting me into the Smiths.
Is there a song or album which changed everything for you?
Carl: The Smiths’ Hatful of Hollow. It made me want to pick up a guitar. Rhythmically they just sounded like nothing else. Johnny Marr has been a huge influence and also seems to be a decent human being.
What’s your ‘getting ready to go out on a Saturday night’ song?
Carl: Kat will say I always put something really depressing on! Ride’s ‘Leave Them All Behind’ always lifts me up and gets me ready for anything. In my eyes, it’s still the greatest shoegaze single of all time.
Kat: Whatever he’s put on! Unless it’s something really depressing, in which case, I just say ‘next!’ I think I’m the only person he knows who doesn’t like the Smiths!
What’s the greatest gig you’ve ever seen?
Kat: Michael Jackson in New Zealand in 1996. I lied to my parents and jumped in a car full of boys and drove nine hours north to Auckland to see him. I was in the front row and it was amazing. But then I was photographed by the New Zealand news and ended up on the front page of the paper the following morning. Needless to say, I was in serious shit when I got home!
What’s the most rock ‘n’ roll thing you’ve ever done?
Carl: I almost decapitated Kylie Minogue with a scissor kick in the middle of a song! I spun round to face the crowd and didn't realise she was standing right behind me. She just managed to duck under my guitar neck. She looked at me as if to say, ‘What the fuck are you doing?’ Another time, I was snooping around the studio of Dave Stewart [from the Eurythmics] and accidentally knocked the world’s biggest TV off the wall. I just quietly left the room, shut the door and never mentioned it!
There have been a few famous husband-and-wife double acts over the years. How did you two meet? Did you share a love of music from the beginning?
Carl: You can answer this one!
Kat: The old fashioned way! We met at a pub, had a cheeky snog and then I did a runner and left him hanging; I had to pick my mum up the following morning from Heathrow. He’d moved in within a week, and hilariously my wardrobes were filled with guitars before he even had keys. Has been the bane of my existence ever since. One cupboard for clothes, every other cupboard for music-related hoarding!
I lied to my parents and jumped in a car full of boys and drove nine hours north to Auckland to see Michael Jackson. I was in the front row and it was amazing. But then I was photographed by the New Zealand news and ended up on the front page of the paper the following morning. Needless to say, I was in serious shit when I got home! — Kat Mann
The music videos you've made are great. I particularly love the one for ‘When the Radio Plays’ where you’re dancing and goofing around with your son (I assume that’s your son). The songs you’ve put out so far on streaming services also seem to be quite autobiographical. ‘A New Crown’ appears to be about a recent move to the country. I’m rambling here, but what I'm trying to get across is that in the music and videos you are very much yourselves, entirely unpretentious, which is a huge part of the attraction for me. Is that something you're aware of?
Kat: Yes, that's our nine-year-old son, Jack. We’ve honestly just been trying to make something for people to look at while they're listening, but under huge time constraints. Neither of us particularly like being in front of a camera, but it’s become a bit of a necessary evil in the social media world. We don’t have a budget for visuals, and try not to take ourselves too seriously.
Carl: Jack definitely had fun with it. We all had the giggles clowning around one evening. I think it’s important for people to see behind the voices. Music always needs a human connection.
I understand that previously to this project you had only ever sung in the shower and at karaoke, Kat. What was it like recording a vocal for the first time?
Kat: I’ve never laughed so hard, nor sworn as much in such a short space of time. Utterly terrifying, particularly as I wasn’t sure how harsh a critic Carl was going to be. Singing into a mic with headphones on sounds completely different to singing in the car. You can hear every tiny imperfection, every crackle. It’s all pretty exposing until you find your comfort zone, and definitely takes practice.
Do you have any creative input into the songwriting and production process, Kat?
Kat: Rarely, but on the album’s final track Carl decided to shove a whole mountain of shoegaze guitar in at the very last minute. I did get the final word on ditching that!
What’s it like singing a song written by your husband, Kat, as opposed to one written by somebody else? Do you think there’s any difference?
Kat: Ha, yes! If I don’t like it I can be blunt and say, ‘I’m not singing that or what the fuck is that note?’ Though 99% of the time I love what Carl does.
I have read elsewhere that you tend to start with the music when you write, Carl, and then for the lyrics you mumble words until something sticks. In terms of the music, do you hear melodies in your head at random moments, or do you write with your guitar in hand? What tends to be your creative process?
Carl: Yes, music first; lyrics are the least enjoyable part of the process for me. I do hear melodies at random moments, but sometimes it’s picking up a guitar and ending up in a bit of a meditative state. Things just come out! There are songs I have no recollection of writing. It’s a bit weird!
I have such fond memories of writing with Kylie Minogue, in particular ‘Ocean Blue’. We sat on the grass by the lake at Real World Studios with my dictaphone and guitar, working out the song, then went back inside to record it. Hearing it all come together was amazing. — Carl Mann
You’ve had quite a career in the music business, Carl, including being signed to BMG in the 1990s, being the stand-in guitarist for Sleeper, and working with Kylie Minogue. Which period of your career have you enjoyed most and why?
Carl: They’ve all been huge milestones for different reasons. Being young, signed to a label and touring around the country was a massive high. I grew up in a tiny village so it was certainly full of life lessons and opened my eyes to the big world beyond. You also get perks like getting on guest lists for gigs and parties that you’d never be invited to otherwise. Being a session guitarist gave me that same freedom. I loved playing to big crowds and working with established musicians, and never had to worry about the promotional business that comes with your own music. The 2020s have been the most rewarding in many ways. Four album releases with The Shop Window and Shapes Like People, and they’re all on vinyl which is a dream come true!
Kat: Fingers crossed we sell out of records. I want my cupboards back!
What was it like writing music with Kylie Minogue?
Carl: I have such fond memories of that period, and she launched my love of travel, touring and working with some industry greats. In particular, writing ‘Ocean Blue’ with her is a pretty magical memory. We sat on the grass by the lake at Real World Studios [a state-of-the-art facility in rural England, founded by Peter Gabriel] with my dictaphone and guitar working out the song, then went back inside to record it with Steve Anderson [Kylie Minogue’s producer and artistic director]. Hearing it all come together was amazing.
As for the future, I’ve heard you’d like to do another album. Do you have any more news about that?
Carl: Ah, there are plans for a few! I’m working on something I’m hoping to complete this year and then more Shapes Like People and possibly more The Shop Window. I just need to find some spare hours in the day.
Kat: I also need to find some spare hours. I’m actually really missing the singing. Carl needs to get a move on and finish the current protect so we can get back to Shapes Like People.
Thanks so much for taking the time to do this, Kat and Carl, I really appreciate it. Thanks so much for the amazing music, and all the very best with everything.
Kat: Thank you!
Carl: Thanks Dave, lovely catching up with you!
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