English version:

​

Jade Like The Stone.

Bard. Bloodline. Conduit.

Jade Like The Stone is a contemporary bard — a singer, storyteller, and myth-maker whose work draws from Brythonic tradition, reshaped through the raw edges of the present.

 

Raised in the South Wales Valleys and steeped in the textures of grief, folk memory, and natural power, Jade’s work is part myth, part invocation. Her sound carries the pulse of spectral trip-hop, devotional soul, and bardic poetry — at once ancient and defiant, spiritual and grounded, visceral and precise. She writes for the liminal listener: those who’ve mourned, those who’ve transformed, those who know the world is more alive than we’ve been taught to believe.

​

​Although Jade is a first-language English speaker, her choice not to write or perform in Welsh is a deliberate and philosophical act. Raised in South Wales and shaped by the traditions of Welsh-language eisteddfods, she carries both the pride and the pressure of that legacy. Yet as a non–Welsh-speaking Welsh artist — particularly one with a Southern dialect — she often found herself outside the dominant cultural narratives. Her work now honours a deeper inheritance: one that includes those whose ties to the Welsh language were fractured by history, class, and colonial imposition. It is a bardic reclamation that centres pre-Roman, Brythonic roots — matrilineal, spiritually sophisticated, and artistically ungovernable.

​

At the heart of her current body of work lies The Sorrowful King — a myth she authored as both ancestral lore and personal blueprint. It tells of a cursed king whose wagered child, Tanwyn, dies and returns through love’s design to gift the world the divine breath of Awen. That child becomes Osian: a symbolic figure of sensitivity and power, whose story unfolds through Jade’s ritualistic live set. This tale — of bloodlines, Otherworlds, and the weight of memory — forms the spine of her upcoming show at Folklore Rooms, Brighton, where original songs, storytelling, and bardic invocation merge in three ceremonial acts.

​

Jade’s voice is unmistakable — elemental, intimate, and layered in emotional truth. Her sonic world echoes her influences: the edge and tension of Mezzanine-era Massive Attack, the grief-scorched purity of Laura Marling, the bardic ferocity of early Radiohead and the ancient-future pulse of Chelsea Wolfe’s acoustic work. And yet, it is distinctly her own: female, Welsh, mythically charged, and artistically unyielding.

​

Before assuming the mantle of Jade Like The Stone, she spent over a decade as a professional vocalist, performer, and educator — honing craft, mastering form, and ultimately shedding the masks demanded by industry decorum. What emerges now is unmasked. Uncompromised. A woman singing from the edge of the island, the edge of the wound, the edge of the story.

This is not a debut — it’s an arrival.

 

Cymraeg – Gwenhwyseg / Deheuol Culled Print

 

Jade Like The Stone
Bardd. Gwifrau gwaed. Lwyfan.

Jade Like The Stone yw bardd gyfoes — cantores, chwedlwraig, a chreawdwraig mythau sy’n tynnu ar draddodiad Brythonaidd, wedi’i ail-lunio drwy ymylon crai’r presennol.

​

Magwyd hi yng Ngerddi’r De, ynghanol y dyffrynnoedd, lle mae hiraeth, traddodiad, a grym natur yn cyfrannu i’w hawen. Mae gwaith Jade yn rhan o chwedl, rhan o alwad; mae’r sain wedyn yn dwyn curiad trip‑hop ysbrydol, enaid devow‑shôn, ac emyn barddol — hyn ngwan, hyn gwrthsefyll, ysbrydol a greiddiol, dwfn a manwl. Ysgrifenna iddi’r gwrandäwr hanlinol: y rhai sydd wedi codi o dristwch, y rhai sydd wedi trawsnewid, y rhai sy’n gwybod bod y byd yn fwy bywiog nag y’i dysgon ni fod.

​

Er mai Saesneg yw iaith gyntaf Jade, mae ei phenderfyniad i beidio ysgrifennu nac perfformio yn Gymraeg yn ddewis bwriadol a philosoffaidd. Fe’i magwyd yn ne Cymru ac fe’i lluniwyd gan draddodiadau’r eisteddfodau Cymraeg — gan gario’r balchder a’r pwysau’n gyfartal. Ond fel artist Gymreig nad yw’n siarad Cymraeg yn rhugl — ac yn enwedig fel un â thafodiaith ddeheuol — roedd hi’n aml yn teimlo’n allan o’r naratifau diwylliannol oedd yn teyrnasu. Heddiw, mae ei gwaith yn anrhydeddu etifeddiaeth ddyfnach: un sy’n cynnwys y rhai hynny y torwyd eu cwlwm â’r Gymraeg gan hanes, dosbarth, ac ormes drefedigaethol. Dyma adferiad barddol sy’n canolbwyntio ar wreiddiau Brythonig cyn-Rufeinig — lle roedd y llinach yn fenywaidd, ysbrydol, a diildio’n gelfyddydol.

​

Yn nghalon ei gwaith presennol mae Y Brenin Trist, chwedl a luniwyd ganddi hi ei hun fel traddodiad eto’n graffeg bersonol. Mae’n adrodd hanes brenin wedi ei fylchu, a gollodd ei fab, a thrwy gariad cafodd ei adgofain â nerth Awen. Daw’r baban hwnnw’n Osian: llun symbolaidd o sensitifrwydd a phŵer, ac mae ei hanes yn datblygu drwy berfformiad defodol Jade. Mae’r stori hon — o linynnau gwaed, byd y tu hwnt, a’r pwysau cof — yn ffurfio esgyrn ei sioe ddyfodol yn Folklore Rooms, Brighton; uned o ganeuon gwreiddiol, straeon, ac alwad farddol mewn tair act mawr.

​

Mae lleisiau Jade yn amhosib ei gamgymryd — yn elfennol, personol, ac wedi’u haenu ag gwirionedd emosiynol. Mae ei byd sain yn adleisio ei dylanwadau: tensiwn Massive Attack Mezzanine, purdeb Lucy Laura Marling, ffyrn barddol Radiohead cynnar, a rhythm hynafol‑dyfodol Chelsea Wolfe. Ond mae’n hollol Jade ei hun: benyw, Gymraes, llawn mythos, a heb orfodaeth artistig.

Cyn ishraddio llyfr bardd, bu’n fardd, addysgwraig llais, ac yn treiddio golau mewn cerddoriaeth jazz ac arbrofol dros ddegawd. Dyna’r craffrwydd, a dyma hon — heb orchuddion, heb wrthod, menyw sy’n canu — o ymyl y drych, ymyl y bra, ymyl y stori.

Nid dyma ei debut — ond ei chyrchfan wirioneddol.