Podcast Summary: The Interview – Sheku Kanneh-Mason: "Obsession is a Driver"

Host: John Wilson (BBC World Service)
Guest: Sheku Kanneh-Mason
Release Date: September 9, 2025
Duration: ~24 minutes

Episode Overview

This intimate episode features British cellist Sheku Kanneh-Mason, best known for his performance at the wedding of Prince Harry and Meghan Markle. John Wilson and Sheku discuss music’s deep roots in his family, the powerful influence of his Antiguan heritage, his rise to global fame, the challenge and necessity of music education, and his outspoken criticism of “Rule Britannia” at the Proms. Sheku sheds light on his artistic obsessions, the personal and political importance of music, and the ongoing responsibility he feels as a role model for change in the musical world.

Key Discussion Points & Insights

1. Family Legacy and Musical Upbringing

• Influence of Grandfather and Antiguan Heritage

  • Sheku recalls his paternal grandfather Arnold Mason’s love of classical music, despite the family’s Caribbean roots.
    • “There was always such, like a constant and genuine love of music that he had. And that enthusiasm I found to be very inspiring as a child.” (03:31)
  • His grandfather’s fascination with European music was considered unusual among his peers in Antigua, where soca and calypso prevail.
    • Arnold played violin in his youth and championed works like Rachmaninoff’s and Dvořák's cello concerto.

• Playing Chamber Music With Siblings

  • Growing up, Sheku and his six siblings constantly played, listened to, and dissected music as a family.
    • “I think there is a wealth of common knowledge understanding. It’s really nice and often very easy…” (05:58)

2. Early Spark: The Cello's Appeal

• Finds His Instrument

  • Sheku gravitated towards the cello, drawn by both sound and physical presence:
    • “I have a memory of...drawing the bow across the string and feeling the instrument really close to me physically and enjoying that sensation.” (06:21)

• Cello Personality

  • The cello’s grounding, sonorous tone resonated more with him than violin or piano.
    • “You sit down and you kind of... it kind of comes from... the floor or beneath, often musically, rather than singing from on top, which I found less natural for me.” (07:45)

3. Inspiration and Obsession

• Role Models

  • He names Jacqueline du Pré and Mstislav Rostropovich as monumental influences, describing du Pré’s playing as:
    • “This commitment to every note and this utter kind of conviction with which she plays...” (08:26)
  • Regarding Rostropovich, Sheku praises the expression and emotional breadth of his playing.

• Shostakovich: Artistic Obsession

  • Sheku describes his love for Shostakovich’s First Cello Concerto as transformative:
    • “It was a piece I was obsessed with, and I think that obsession is the great driver for being able to overcome the sort of technical challenges that are in the piece.” (09:47)
  • He acknowledges how the music’s angst spoke to his inner world, especially as a teen.

4. Artistic Depth, Political History, and Responsibility

• Understanding Context
  • Sheku insists knowledge of musical and political history is crucial to performance:
    • “You do have to be very aware... because this is what is in the music... an understanding of resistance and often of desperation, of fear, is important in order to get to the core of what this music is saying.” (11:40)
  • He cites the emotional toll of immersing himself in Shostakovich’s work, likening it to “a dark and terrifying place.” (11:40)

5. "Rule Britannia," Identity, and Backlash

• Critique and Consequence
  • Sheku is candid about why “Rule Britannia” is painful:
    • “As British people, and I feel British and my family do, with not so distant ancestors who were enslaved, singing a song that has lyrics that says that, yeah, Britons never, never will be slaves... It's really difficult to hear and uncomfortable.” (16:04)
  • He addresses the vitriolic backlash his comments received:
    • “It wasn't a huge shock... I also didn't expect something, I don't know, honest and genuine... to be responded to with such anger and aggression. And that's very telling in itself.” (14:31)
  • Many fellow musicians privately offered support, even if public discourse was hostile.

6. The 2018 Royal Wedding and Aftermath

• The Big Stage

  • The Royal Wedding transformed Sheku into a household name:
    • “To be recognized outside of the circles of people...in classical music was a new thing.” (17:33)
  • Remaining a student kept him grounded amid sudden fame.

• Managing Fame

  • “That sense of development and getting closer to the music... gives me that sense of purpose and something to really focus on and be obsessed with. I find that really helpful.” (18:32)

7. Music Education Advocacy

• Firsthand Importance

  • Sheku and his siblings benefited from dedicated music programs at state schools and attended Junior Royal Academy of Music on weekends.
    • “Music was such a big part of the school community... there was such a feeling of togetherness and celebrating the excellence...” (22:00)
  • He passionately warns against disinvestment:
    • “The underestimation and underinvestment in our children and young people would be one of the greatest shames and losses.” (02:47, 22:37)

• Daily Discipline and Joy

  • “I do have to play every day and practice every day, but also I really want to.” (23:03)
  • He describes music as an intrinsic passion, not solely a professional obligation.

Notable Quotes & Memorable Moments

• On Family Influence:

  • “He [grandfather] was just, yeah, really drawn to this world of music that they didn't know or take to. But he was just... really drawn.” (04:05)

• On Jacqueline du Pré:

  • “She was the role model. I was in awe of her playing...” (08:26)

• On Shostakovich and Obsession:

  • “It was a piece I was obsessed with, and I think that obsession is the great driver…” (09:47)

• On Political Dimensions of Performance:

  • “It's often a very dark and uncomfortable place to spend a lot of time... it has, like, a genuine effect, of course, and should on the performer and on the audience.” (11:40)

• On "Rule Britannia":

  • “That's really difficult to hear and uncomfortable... knowing where we have come from and also feeling British and then also feeling excluded and sort of excluded in that moment is a shame.” (16:04)

• On Music Education:

  • “The long-term goals of dedication and focus that come from learning an instrument are incredible.” (22:37)

Timestamps for Important Segments

• Family and Grandfather’s Influence – 03:20–05:52
• First Encounter With the Cello – 06:21–07:45
• Role of Obsession (Shostakovich Concerto) – 09:43–10:38
• Discussing Political Context of Music – 11:19–12:27
• Rule Britannia Controversy – 14:08–17:15
• Impact of the Royal Wedding & Sudden Fame – 17:15–18:55
• Music Education and Early Schooling – 19:32–22:37
• Practicing and Love of Music – 22:49–23:41

Closing Thoughts

Sheku Kanneh-Mason’s story reveals a profound connection between family, heritage, and artistic identity, intertwined with a sense of social responsibility and advocacy. His thoughtful approach to both music and political questions makes him an inspiring voice for the next generation—as much a passionate educator and role model as a world-class cellist.