Natasha Bedingfield ‘Unwritten’ 20th Anniversary: Exclusive FAULT Magazine Cover Shoot

Celebrate 20 years of Unwritten with Natasha Bedingfield as she reflects on the song’s origin, creative process, and lasting impact.

Creative Director: Miles Holder

Photography: Mark Elzey

Stylist: Mickey Freeman @Represented by The Only Agency 

Makeup: Zac Hart

Hair Stylist: Isaac Davidson using PHYTO

Styling Assistant: Kristopher Fraser

Retoucher: Alex McDonald

Photo Assist: Sarah Hinzman

Video: Shane Augustus

Interview: Miles Holder

Twenty years ago, Natasha Bedingfield released what would become one of the most defining pop anthems of a generation: Unwritten. The track, featured on her debut album of the same name, quickly transcended the charts to become a cultural touchstone, its uplifting message resonating across TV screens, cinema and, more recently, TikTok feeds. Throughout the years, Unwritten has maintained its relevance, celebrated for its timeless call to embrace self-expression and step boldly into the unknown.

With a production story as compelling as its enduring legacy, the song continues to inspire, proving that great pop music has no expiration date. On this milestone anniversary, I sat down with Natasha Bedingfield to reflect on her journey, the enduring magic of Unwritten, and, of course, her FAULTs.

Unwritten turns 20 years old today. Can you share the origin story behind the song?

Natasha Bedingfield: My younger brother was 14, and I was away writing my album. I didn’t have a present for him, so I thought I’d just write him a song. What’s really funny is that every few years, it seems like 14-year-olds keep gravitating towards Unwritten, which I absolutely love. Now, 20 years later, the song has become even more meaningful for me. I’ve sung it so many times and realised that, really, I wrote it for you—it’s like giving your best advice to others, but it turns out to be advice I’ve taken on board as well.

Did it feel like you were writing something that would become so iconic?

Natasha Bedingfield: There was definitely a feeling that it was special. Sometimes in the studio, it felt as if the heavens opened, and we were gifted something extraordinary. I just remember thinking it was such a simple song, vocally—I didn’t over-sing it. I was writing with two others, and we all felt there was nothing more we could add. It was perfect as it was.

Can you tell us about your process of creating a song with limited resources?

Natasha Bedingfield: It’s a great example of using what’s at your disposal. Often, we think, “Oh, if only I had a full orchestra and a big choir, I could create something like an Amy Winehouse record with the best musicians in the world.” But we worked with what we had to hand. We even made our own choir using just our voices. You sort of get ‘demo-itis’—you treat it as a demo, thinking, “One day, we’ll re-record this properly.” But in the end, you can’t change a note. It has its own magic, exactly as it is.

Looking back, do you find that the song has taken on new meaning over the years?

Natasha Bedingfield: Absolutely. Twenty years on, my perspective on it is entirely different. For instance, today during a photoshoot, I feel like I’m really releasing my inhibitions. I didn’t realise how much, especially 20 years ago, record companies could be controlling about how they wanted you to look. My label wanted me to be the “girl next door,” so I’m really enjoying having more creative freedom now. It keeps bringing me back to this idea: it’s all art. Music is art, the body is art, and fashion is art. That’s cool.

How do you release your inhibitions and feel the rain on your skin nowadays?

Natasha Bedingfield: I have to challenge myself. I ask myself, “Am I pushing? Am I stepping into areas that make me uncomfortable? Am I just staying safe? How can I do that more in my life?” I feel lucky to have the opportunity to go on stage and sing for thousands of people. It’s quite scary for many, but for me, it’s a chance to let go. I feel quite possessed on stage; I feel like I go into a different zone.

Do you have any other creative outlets?

Natasha Bedingfield: I also love painting!

Thinking of Unwritten, the single and the whole album—what’s it like nowadays to see so many young people, who obviously weren’t around when the song first released, still relating to its message today?

Natasha Bedingfield: It feels like I’ve gone back in time. It’s as if it has always been the same age, every time. Everyone sings along with so much passion, and I’m just loving it and feeling the joy.

You’ve been in the music industry from such a young age, both writing and performing. Considering the modern music landscape, do you think you would have fared better or worse in today’s climate?

Natasha Bedingfield: It’s hard to know. I just know that I caught a wave, and I realise how hard it is to catch that wave and how lucky I am. I remember being at my first concert ever, and having this moment where I thought, “Wow, this is what I’m meant to be doing.” Then I realised I’d have to make some changes in my life to pursue that.
But I also had the intuition that opportunities are always there; you just have to get yourself ready. If a wave comes, you have to be able to ride it. That’s how I’ve always approached it—just get in position and have my surfboard ready. It feels effortless, but I’ve put in all the prep work, so it’s not as effortless as it looks.

That takes a lot of self-belief. What kept you motivated?

Natasha Bedingfield: As a creative person, you need a strong sense of self-confidence—you have to believe in the worth of what you’re creating, even without approval. For me, that often means keeping things to myself until I’m ready. I don’t seek out a lot of opinions, and that approach has helped me stay grounded during challenging times. I just ask myself, “Do I think this is good?” If the answer is yes, I trust that and keep working. When it’s finally time to share it, I try not to hold on too tightly.

Have you ever reflected on the impact your music has had, from your debut to now, and the way it’s touched people worldwide? Or has it all blurred together without much time to think about it?

Natasha Bedingfield: I feel so grateful, and I love what I do. I remember dreaming big—visualising stadiums and arenas packed with people singing along. It was audacious, really, especially for someone like me. I’m quite shy, and people often describe me as “down-to-earth,” though I’m not entirely sure what that means. What amazes me is how you can be a different kind of person—maybe not the most obvious performer—but once you step on stage, something else takes over.

I actually love being underestimated. It’s been a recurring theme in my life. People write me off, saying, “Oh, she’s just the sister of a great singer”—and my brother is incredible—or they’ll think, “You’re just this,” or “You’re too young,” or “You’re too old.” I welcome it. I think, “Really? Interesting.” I enjoy proving people wrong.

What is your FAULT?

Natasha Bedingfield: I’ve got a lot of FAULTs. One of my biggest FAULTs is that I am a daydreamer, and I used to have to write lines in school saying, “I will not daydream.” It’s just funny to me that now my job requires a lot of daydreaming. Even now, it’s the thing that I get the most complaints about from people who are close to me because they think that I’m ignoring them or that I’m not listening. But I am. Sometimes I’m just selectively listening, lost in my own world.

See more exclusive photographs and images from this shoot in our upcoming print edition FAULT Magazine Issue 31 – AVAILABLE FOR PRE-ORDER TODAY!