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Ani DiFranco

Ani DiFranco

Photo: GMDThree

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Exclusive: Ani DiFranco's Fierce Folk Activism ani-difranco-binary-folk-sing-alongs-activism-gardening

Ani DiFranco On 'Binary,' Folk Sing-Alongs, Activism & Gardening

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The inimitable singer/songwriter, activist and DIY pioneer talks connecting with her audience, cultivating her plants and enacting positive change in the world
Nate Hertweck
GRAMMYs
May 15, 2018 - 1:45 pm

Ani DiFranco has spent nearly 30 years just under the shiny surface of pop music fame, with its pre-requisites of radio hits, a public persona and viral moments. But from her post deep beneath the skyscraper of mainstream, in the boiler room of folk rock, she's churned out 20 albums, remained fiercely independent, become an LGBTQ pioneer, and given a voice — both personal and political — to her droves of devoted fans, showing them how to handle a world out of order, enact a positive change, and be good to themselves and each other in the process. In many ways, DiFranco embodies the timeless power a folksinger can wield with simply her words and chords.

If anyone questioned the power of her perspective or her work, they would have been silenced immediately by the near-deafening screams of appreciation as DiFranco took the stage for a sold-out show at Music Hall of Williamsburg on May 10 in Brooklyn, N.Y., as part of her Rise Up tour. Stepping to the mic, she reveals she'd thought of leaning some "old folk songs" for this tour so that she could lead a massive sing-along, but after hearing the crowd join in some of her early material, she realized she'd already done it. "Yeah, old folk songs, like 1993," she laughs, adding that they would make Pete Seeger proud.

Indeed, the lights above the stage were pulled forward to illuminate the packed house during early-set sing-alongs of, "They're gonna be mad at us," the verse refrain of the sexually unapologetic "Shameless," or "Everyone is a f***ing Napoleon," the scathing punchline chorus of "Napoleon," both songs from DiFranco's 1996 folk-in-your-face masterpiece, Dilate. Together, the hundreds of voices in the room rose to a roar, and meant it.

But this particular type of group singing wasn't always the norm at the folk hero's shows.

"When I was young, everything was pretty different," DiFranco says. "For me, [the audience singing along] was a pretty overwhelming and disruptive feeling, like, 'Oh my god, shut up so I can try to feel the music and follow it and not be overwhelmed by the caterwauling coming at me.' Now, flash forward 20 years, and I'm just like, 'Louder!' I just feel like whatever has changed, myself and my relationships, and my own damn life, I just feel like I embrace it so much more."

Anything but an exercise in nostalgia, the Williamsburg show saw the GRAMMY winner play several songs from her latest album, 2017's Binary. She even closed the night's main set with a moving version of the album's title track, a barrage of rhymes atop a soundbed of instruments bouncing off each other, bookended by a galvanizing mantra.

The resulting effect is an instrumental chaos reflective of the chaotic modern world the lyrics paint. One main difference on Binary is, for the first time in her career, DiFranco enlisted help in mixing the album. And who better to start with than GRAMMY-winning producer/engineer Tchad Blake, who has worked with everyone from Paul McCartney to Bonnie Raitt and Tom Waits. She likens receiving mixes from Blake via email to opening a "box with a big red bow." But these were not gifts she would have been ready for earlier in her career.

"I think it was really good that I've made freaking 20 records already, because I think if this was my second record, I wouldn't have been able to just delegate and let go," says DiFranco. "When I'm making a record, I think I have that kind of DIY thing very deeply in me where it's just like, 'F*** it. I'll just do it. I don't have time to call in the professionals, I'll just f***ing do it.' This time, it was like, yeah s***. I don't know anything, except that I don't want to be alone in this moment, in this world, moving forward, so I just started calling all the brilliant people I know and getting them involved."

Ani DiFranco, 'Binary'

If DiFranco has mellowed in her creative process, she's only gotten more ardent in her activism efforts. For her Rise Up tour, she partnered with Emily's List, an organization focused on electing pro-choice Democratic women candidates, and will headline the LEAF and Clearwater festivals in support of arts in the community and environmental protection, respectively.

"It just seems like it's easy for all of us to get so weighed down and overwhelmed by the idea that we have to fix everything," says DiFranco. "I think what is helpful, for me at least, is to refocus as to not how can I fix or change the bad guy, but how can I help the good guys?"

"We so often fall in that trap of trying to convince somebody they're wrong, when really it's just go find the good people doing the good work and help them out."

As a mother, a songwriter, an artist, an activist, and the head of her long-time independent record label, Righteous Babe, DiFranco's life is full of cultivating ideas, causes and art into fruition. So when asked about what she enjoys outside of making music, her answer is appropriately symbolic: gardening.

"I really like having dirt under my fingernails. I really like interacting with plants and attending to my little slice of goddess' green acre. It's literally grounding for me," she says. "Like I said in a song once, I've planted a few trees. Just the idea of tending to something that lives beyond you … planting a tree and watching it grow and helping it thrive, it really does my soul good, bearing witness to that sort of life force."

DiFranco also mentioned in her recent "Talks At Google" appearance that she's tackling writing a memoir. Like gardening, it's a process involving a healthy amount of slow progress.

"I'm getting there. I have another couple of months, according to my publisher, to bring this thing home. And I'm going to use every second of it. … I've got a hundred thousand words," says DiFranco, calling the experience surprising, challenging and gratifying. "It's funny, after 30 years of writing songs and exposing myself in many ways through my writing, this is even a deeper level of exposure."

While the personal journey of self-exploration is a lifelong walk for DiFranco — and for her fans — her memoir stands to shed light on all paths, or as she puts it in her song "School Night," "I'm looking for my door key, but you are my porch light." Over the past three decades, few songwriters have illuminated our world, our hearts and our purpose as brightly as DiFranco.

Whether it's DiFranco's uncanny ability to articulate a personal feeling, political purpose or social urgency, her fans often find some form of transformation in her music. For many, the open dialog about sexuality in her songs since day one has provided the strength to stand by who they truly are. For others, her explorations of the grey areas in the mind and heart have shined rays of comfort into the complexity of being human. Either way, her music unites and empowers.

https://twitter.com/Righteous_Babes/status/996053653352890368

Thank you to our amazing crew, band, and special guest @gracieandrachel for a wonderful May #RiseUp tour run! pic.twitter.com/7868tauJ8k

— Righteous Babe (@Righteous_Babes) May 14, 2018

"I've received so many letters over the decades, just mind-blowing, heart-wrenching, tears-in-my-eyes letters," she says. "People who have said, 'Your music came into my life, healed or enabled me in some way and then I went and became myself, and this is what I'm doing, and this is who I am.' For me, that's my salary. That's my reward. It's feeling like I dropped somebody into their own skin."

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"

A Perfect Circle

Maynard James Keenan and Billy Howerdel

Photo: Rebecca Sapp/WireImage/Getty Images

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A Perfect Circle Talk Building 'Eat The Elephant' perfect-circle-influences-collaboration-building-eat-elephant

A Perfect Circle On Influences, Collaboration & Building 'Eat The Elephant'

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The influential rock group stopped by the GRAMMY Museum to discuss the impetus for their new music, their early influences and the creative process behind their big 2018 return
Nate Hertweck
GRAMMYs
Dec 25, 2018 - 7:30 am

A Perfect Circleis the kind of band fans wait with bated breath to hear new music from, no matter how long they are away. In the case of Eat The Elephant, the band's fourth album, the wait was a full 14 years. Still, the new material was met with much anticipation, a testament to the art.

A Perfect Circle Talk 'Eat The Elephant'

Back in October, we premiered a video for the title track from the album-length film the band made for Eat The Elephant. In the song, lead singer and songwriter Maynard James Keenan’s stark, haunting vocals creek and soar over lead composer and guitarist Billy Howerdel's dynamic backdrop. During a recent visit to the GRAMMY Museum in Los Angeles,as Keenan and Howerdel shared how they came to revisit the project after all these years away.

"I think it was just time," said Keenan. "I was really busy with Puscifer for quite a while. Then I was gonna get back into doing some Tool music, and they weren't ready, so I was like [to Howerdel], "Hey, what's up?"

The time passed since their previous album, 2004's Emotive, manifests itself on Eat The Elephant in the space within and around its songs, creating a new sonic environment from the band's previous work. This had everything to do with how the songs' foundations were built.

"A lot of times on this record we had the song kind of almost complete, and then he put the vocals on top. It was pretty amazing," explained Howerdel. "Maynard had a lot more input into the music this time, just to, you know, try to some things, because he knew where he was gonna go vocally. He wasn't in the room when I was working on the music, so we'd kind of lightly steer in that direction. And I think it worked out because he just had something in mind and then was able to throw the solid final performance on top of it."

When it comes to architecting a vocal, Keenan does it like no one else. The genesis of his genius instincts begin with responding to the music, as he revealed during the conversation. "First and foremost, it's a reaction to the melodies and structures and time signatures that the group of musicians are presenting me, whether it's Mat Mitchell, or Billy, or Tool," he said. "It's all a reaction melodically to those rhythms, constructing it in a way that feels like an actual conversation. And I of course react better when they're not in 4/4. I don't speak in 4/4."

"Then [I] figure out where that emotion is going, and then just look at your life experiences, what you're experiencing at the moment, and attach a set of words or a circumstance to that set of rhythms and melodies to see if it opens up a whole story, because you know, human interaction, human experience from birth to death, there's an infinite number of flavors and colors and bandwidths and emotions that come with those experiences."

Keenan also named an intriguing roster of early influences, providing a glimpse into his stylistic DNA. His early exposure to everything from Roberta Flack to Black Sabbath to Joni Mitchell led to an appreciation of Minor Threat, Killing Joke, Swans and Nick Cave and the Bad Seeds, which in turn led him to Gillian Welch and PJ Harvey.

"To me, there's a sadness that's captivating in that writing that's essential," Keenan says of Welch, Harvey and his tastes as they've evolved over the course of his life.

A Perfect Circle has evolved, too. At its core, it's a dynamic collaboration, which means Keenan and Howerdel cannot say what will come next.

"It's a marriage of sorts," says Howerdel. "You have to make this more than just the sum of its parts, more than the sum of the two of us. That comes from the unknown of collaboration… Having collaboration is the magic of never knowing what's coming next."

A Perfect Circle’s Billy Howerdel On New Music, Touring Again & More

Imogen Heap

Imogen Heap

Photo: Roy Rochlin/Getty Images

News
Imogen Heap Launches Innovative New Project & Tour inside-imogen-heaps-interactive-creative-passport-project-mycelia-world-tour

Inside Imogen Heap's Interactive 'Creative Passport' Project & Mycelia World Tour

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The GRAMMY-winning artist and tech innovator brings together live concerts, interactive workshops and tech talks to nine cities across North America
Nate Hertweck
GRAMMYs
Dec 10, 2018 - 5:16 pm

Fans of multi-instrumentalist songwriter/producer and multi-media artist Imogen Heap have learned to expect the unexpected from their hero. Never one to disappoint creatively, Heap's latest endeavor is also one of her most ambitious.

The GRAMMY winner has announced a nine-city North American leg of her Mycelia World Tour, complete with the launch of a new project, 'Creative Passport,' which integrates concerts, workshops and discussions to push the typical limits of what a live tour can mean.

The continuation of her Mycelia World Tour follows successful stints across Europe during 2018 and will make stops in major U.S. cities between April and June 2019, including Miami, New York, Chicago, Toronto, Seattle and San Francisco. The tour is named after Heap's research and development hub aimed at cultivating a fairer payment system for artists by establishing a music maker database.

Billed in a statement from Heap as "promoting a fair and flourishing future for the Music Industry," her 'Creative Passport' project is geared toward, "realising a vision of the future which sees music makers connected through a verified and decentralised ecosystem, promoting artist-led, fair and sustainable operating practices."

The slate of events for each tour stop includes some or all of several elements, including solo concerts from Heap as well as reunited duo appearances with Guy Sigsworth as electronic duo Frou Frou for the first time since 2003.

'Creative Passport' also offers workshops with local music makers, technologists and industry influencers, workshops for families where children will get to build and code their own MIni.MU gloves (Heap's proprietary electronic instrument of the future) and talks given by Heap on "technologies which are positively shaping the future of the music ecosystem, building better business and audience relations with music makers."

https://twitter.com/imogenheap/status/1072130478608658433

New tour dates! #myceliaworldtour #imogenheap #thecreativepassport pic.twitter.com/sVRenQcRCt

— Imogen Heap (@imogenheap) December 10, 2018

“For years now we’ve been complaining about the state of the music industry and how it has been held back by old ways of thinking, negatively impacting music makers–a major pain point being that we are the first to put in any of the work, and the last to see any financial reward or even payment," explains Heap. "Through Mycelia and its ‘Creative Passport,’ as music makers we now have no excuse but to put our best foot forward and become open for business, decentralising the ecosystem so that it will ultimately benefit everyone. I am excited to be going on the road to bring this to life, in addition to showcasing other new technologies which will add to transforming the music industry into a fair, flourishing and vibrant place”.

Heap released her debut album, iMegaphone, back in 1998 and has spent the past two decades surprising her fans with her classically trained yet wildly innovative interpolations of pop music. While her work has always pushed the boundaries between music and visual media, her sounds reached her widest audience yet as a producer on Taylor Swift's GRAMMY-winning album 1989, which earned Heap her second career GRAMMY Award.

Tickets for Heap's North American dates of her Mycelia World Tour go on-sale to the general public on Friday, Dec. 14 at 10:00 a.m. For full details, visit her website.

Imogen Heap's Life Of A Song Project Shows Who Gets Paid

Jed Hilly of the Americana Music Association

Jed Hilly

Photo: Erika Goldring/Getty Images

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Inside The New Americana Tour Blueprint americana-tour-blueprint-provides-musicians-valuable-booking-routing-resource

Americana Tour Blueprint Provides Musicians Valuable Booking & Routing Resource

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The new online tool from the Americana Music Association gives artist members info for roots music-friendly opportunities in over 100 markets
Nate Hertweck
GRAMMYs
Nov 1, 2018 - 2:10 pm

Touring is tough. For all the joy and rewards of playing your music in a new town each night, there are so many risks and challenges, starting with booking. Now, thanks to the Americana Music Association, a new tool called Americana Tour Blueprint makes routing a tour easier by connecting artists with venues in cities with a roots music-friendly support network of radio stations, retailers, and local press.

Watch: Jason Isbell Wins Best Americana Album

The brand new online tool, which was conceived two years ago, allows members of the organization not only to map out a tour route based on information about over 100 markets on the circuit, but to request a booking at the 20 or so venues that have agreed to receive pitches from Americana Music Association artists.

The locations covered by the blueprint stretches through the area roughly surrounding the Interstate 95 corridor, including northeaster cities like Boston and New York all the way down to Miami. There's also a path through Interstate 65 that leads through markets like Atlanta, Asheville, N.C. and more. The organization hopes this project will go a long way toward fostering the artists of today and tomorrow in the genre it champions.

"As an artist advocacy group, our mission is to support the authentic voice of American roots music," says Americana Music Association Executive Director Jed Hilly. "But as a trade association, we are mindful of working with the industry to not only support legends but also to work for the next generation of rising stars."

https://twitter.com/caitlincanty/status/1057338139495358465

I'm proud to share I'll be headlining the "Americana Tour Blueprint" presented by @AmericanaFest. I'll be touring down the eastern seaboard this January playing 13 shows and visiting radio stations along the way. https://t.co/wWucvtmuEo pic.twitter.com/s4OaUz8LnD

— Caitlin Canty (@caitlincanty) October 30, 2018

To commemorate the launch of the new tool, the organization is walking the walk, presenting the inaugural 2019 tour featuring Caitlin Canty and Oshima Brothers, the first artists to use the new resource to book their tour, which kicks off Jan. 4 at New York City's Rockwood Music Hall.

Americana is inherently a live performance-oriented music genre, known for the use of acoustic instruments, vocal harmonies and road-themed lyrical content. For a style so steeped in tradition, this innovative new tool promises to support roots musicians and free up more of their time to do what they should be doing, making music. See you on tour!

Willie Nelson To Be Honored With 2019 Producers & Engineers Wing Award

GRAMMYs

Elle King

Photo: Daniel Mendoza/Recording Academy

News
Elle King On Self-Love, Nature & New Music elle-king-self-love-individuality-you-dont-get-what-you-dont-ask

Elle King On Self-Love & Individuality: "You Don't Get What You Don't Ask For"

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Backstage at ACL, the GRAMMY-nominated pop rocker dishes on her latest single, her upcoming album, what she does to unwind, and why she loves Austin
Nate Hertweck
GRAMMYs
Oct 7, 2018 - 2:39 pm

Roaming backstage at the Austin City Limits Festival, wearing a big cowboy hat and an even bigger smile, Elle King's energy is contagious. It's the same blend of confidence, character and creativity that launched her into the budding star she's become since releasing her 2014 breakout hit "Ex's & Oh's," which earned her two of her three GRAMMY nominations. With a new album, Shake The Spirit, on the way and several sizzling new singles teasing what's next, King is primed for a full-blown gritty pop rock takeover.

Elle King Talks New Music, Brandi Carlile At ACL

The singer/songwriter sat down with us backstage at ACL to talk about her latest single, recording her new album in Texas, what she loves to do outside of music, and much more.

Your latest single, "Little bit of Lovin'" came out just yesterday. Tell us a little bit about how that song came together.

It's my favorite song with the [new] record. It has like some of the most meaning to me and I wrote it on the first night of recording, actually. I stayed up late, and the guy who runs the studio in Texas, he let me stay up late, and I was really going through a lot. Somehow this song just like came through me, and it was the first song that I really thought about, like, what message I'm putting out into the world? I was really struggling with a lot of things personally. I had no idea or concept of what like self-love was, and for some reason there was just this message that had to come through me.

And I'm really glad that it did. And I had no idea that I could write a song like that… I'd never been like, "Let's write a universal song about self-love and blah, blah, blah." And I just probably would have laughed at an idea, a song like that. But it came through me and it was a beautiful moment and that song made me snap back into my body, you know? It's kind of because of that song, which is how we got the title of the whole record. It's just a special, special thing and I hope that one person can hear that and be like maybe I should think about the way I feel about myself, and I should love myself. So it's an important song, I think.

Speaking of the new album, where were you able to take this project musically that was a new place for you, considering all the success of "Ex's & Oh's" and Love Stuff?

The special thing about "Ex's and Oh's" and Love Stuff was that, it really, it gave me a really magical platform. It gave me some say so on my own ideas, and I had no idea that I would be able to produce something, or make a record and have it be [my vision]. I didn't know that I had any kind of sonic vision at all. And so, I just asked my label, "Just let me make this with my band." And they did. You know, you don't get what you don't ask for right?

And so to go through all of this and have people around me, you know, men surrounding a woman and listening to her ideas and having really great support and not just musically, but emotionally and everything, I made this tangible thing that was such a cathartic process that is so me in every sense of the word. And there was so much freedom in it and it was just a really incredible experience.

You've been such an impactful artist in today's industry and society on issues like gender equality, authenticity and self-love. "Naturally Pretty Girls" is a bold, empowering example of that. How does it feel to have had that impact on music and on culture, all stemming from trying to write a song that mattered to you personally?

I never, ever, set out to be like, "I'm gonna make a difference," and "I'm gonna do something," but I knew that I would be a different type of person. Because there really is only one me. There's only one of every type of person. You know? And that's what's beautiful and we should celebrate individuality in every sense of the word. So I never set out to do anything like that, all I did was wanna play songs and you know, it took a long time for people to listen to me. So I fought louder and I sang louder and played harder, and then this theme came up with like people being like, "I agree with you." And like, I was singing about things, even on the first record and to now, like I sing about things that not a lot of people want to sing about.

When I see people come let loose at my shows, it's a beautiful, beautiful thing. And it's great, and you know people should be able to do that. People should celebrate themselves and their individuality. I don't want to sound like anybody else.

Before the interview, you mentioned you went hiking earlier. What else do you like to do outside of music?

Over the last like year and a half I've really had to find something other than music. Because, you know, music is a hobby, it's my "jobby." [laughs] It's like everything, you know?... But there can come a time in it where like, "Oh well this isn't gonna be a hit," and I don't want to finish writing a song. And there's like all this pressure that I was putting on myself and so I would go out to the desert, and it was very like healing for me. And then I got really into stones and I really like rock hounding. I'm not like a physically fit person, but I like to be out in nature, so I'm really into hiking and looking for rocks. I got a rock in my pocket right now. I found a really cool agate at Pedernales Falls, and I found some really beautiful agate, feel that, it's really soft. It's a healing stone. It's a grounding stone.

https://twitter.com/ElleKingMusic/status/1038072729809944576

“You have to shake yourself. You have to shake yourself out of it.” This record was a crazy, beautiful, enlightening, scary process and I can’t wait for you all to hear it and feel it within you. Excited to announce that Shake the Spirit is out 10.19.18! https://t.co/UdrpHWlr8h

— Elle King (@ElleKingMusic) September 7, 2018

You've traveled and lived all over. What is different about Austin as a music town? And maybe specifically ACL, what sticks out to you?

Well, this is my first time playing ACL, so I don't really know anything about it yet, all I know is that like, like I've never played it in the past, because only the cool people played it in the past. So now I'm like, I'm playing ACL. I feel cool! But I love Austin, my music broke here, and so I owe so much to this town. I think that you have to be cool for Austin to like you. And you have to be [yourself], like keep Austin weird and everything. There's a really big celebration of individuality here, when everything is super, super special. And so, for someone to just show up in Austin, like me, and stick out and have people kind of gravitate towards me, that was a very, very cool thing. And so I've always felt very at home here. And I love Austin to death, I really do.

Hozier Opens Up About "Nina Cried Power," Reveals What's On His Playlist

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.