Erin Rae

Erin Rae

Photo: Daniel Mendoza/Recording Academy

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Erin Rae Talks Exploring New Sounds On 'Putting On Airs' & Working With John Paul White | Newport Folk 2019

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"It is my first Newport and I've been having the best time. It's special for so many reasons," the powerful singer/songwriter told the Recording Academy at Newport Folk Fest
Ana Yglesias
GRAMMYs
Jul 29, 2019 - 1:42 pm

Tennessee native Erin Rae has been on a roll lately and is grateful for it all. The catalyst seems to have come from, at least in part, her latest album, 2018's Putting On Airs, with she recorded with a small team in a remote monetary-turned-creative-workspace in Wisconsin.

Reflecting on the collaborative process, she reveals it has helped her hear sounds differently, saying, "For me, it was a jumping off point into this new creative realm."

Jul 29, 2019 – 1:39 pm

Erin Rae On New Sounds Of 'Putting On Airs'

More: Maren Morris, Natalie Hemby & Amanda Shires Of The Highwomen Are "Redesigning Women" | Newport Folk 2019

The album was released on Florence, Ala.-based indie label, Single Lock Records, which Rae was signed to earlier that year. GRAMMY-winning singer/songwriter John Paul White, who runs the company, met Rae at a show in Florence, which she was opening for now-labelmate The Kernal.

From the "surreal" moment of connecting and working with White to playing her first-ever Newport Folk about a year later, the Recording Academy caught up with the powerful vocalist/lyrist at the festival to hear about it firsthand.

"It's my first Newport and I've been having the best time. It's special for so many reasons," Rae said, smiling. Check out the rest of Rae's Newport Folk Festival interview above.

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Dermot Kennedy

Dermot Kennedy

Photo: Recording Academy

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Dermot Kennedy On 'Without Fear,' Bon Iver & Coachella | Up Close & Personal

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The Irish singer/songwriter talks new music, gratitude for his growing fan base, love of Bon Iver and more in a recent interview with the Recording Academy
Ana Yglesias
GRAMMYs
Sep 16, 2019 - 10:53 am

Dublin-born folksy singer/songwriter Dermot Kennedy has had a great run recently, and he's just getting started. This year alone, he's shared his smoldering vocals and uplifting lyrics with major performances at Coachella, Glastonbury and on The Ellen DeGeneres Show, to name a few. Later this month, on Sept. 27, he'll drop his debut full-length album, Without Fear.

Sep 16, 2019 – 10:21 am

Dermot Kennedy On Debut LP, Bon Iver & More

The "Power Over Me" singer recently stopped by the Recording Academy headquarters for our latest episode of Up Close & Personal to share what fans can expect on the new album, as well as insight into the story behind one of its lead singles, "Outnumbered." He also spoke to his biggest influences, which include David Gray and Bon Iver, and how he stays fresh while on tour. You can watch a portion of the conversation above and read the full interview below. You can also visit on our YouTube page for a longer version of the video, as well as for other recent episodes.

You're releasing your debut album, Without Fear, soon. How are you feeling about it?

Excited. These are a bunch of songs I've known for a long time, for the most part. I've struggled with that for a while, the patience you need to have if you've got a certain song that you are super proud of but need to wait because it will exist on a project. So this is that moment where all of the things I'm most excited about get to come out. And up until now, there's been so much singles and EPs and stuff, and I'm excited to have a body of work out in the world.

What was your favorite part about working on this project in terms of that it was a full album?

I think that's always been really, really important to me. I think it would be very easy to just work away and find the songs that click and then put them all together and have a project of these songs, but any time I think about artists that I'm inspired by, like Kendrick [Lamar] or Hozier and stuff like that, I think about these bodies of work that are cohesive projects and every song works with the next and all that kind of thing, so that was really important to me to do that. I think it's like another thing where you put a bit more pressure on yourself, but it's worth it, for sure.

One of your most recent singles is "Outnumbered," which, to me, feels very powerful and empowering. Can you talk a little bit more about the backstory on that song and then the video that came with it?

They line up in a way. I wrote the song quite a while ago, and it was one of those lovely things that kind of came together in a day, almost. It was this really organic thing where—my favorite days in studios are when you don't second guess everything. I didn't know it was going to be a single, and I didn't know what the plan was for it, so I guess it was a good thing I was just there to make music. If it worked, happy days, and if not, then it was fine.

It was a different stage in my life, I guess, and a different set of circumstances. What it meant for me was just I wanted to almost send a message of comfort to somebody and to just remind someone that despite how difficult things might be and how. You know that feeling of being in a rough patch, and realistic-you knows there's the next chapter, and that will end and you'll be on the other side of that. But when you're in it, it's not very easy to see that. It was me trying to remind somebody that there is that next part where that bad patch has just gone away.

Then, I guess it was written by me for someone in particular, but on a bigger scale that message could translate to anybody.

It feels like that for sure, especially with the music video specifically, as there are different people in the video.

For sure, yeah. I thought that was important. We did that with the video for "Lost" too, because, again, it was like, be aware of everybody because everybody's got their own thing going on. You might think you've got the worst set of circumstances out of anybody, but everybody's got their own struggle. You know what I mean? I think that's a big part of my songwriting, to try and just provide comfort to people.

I think if even one person can relate, you know?

Oh, exactly. I'm sure, through the ages, so many artists are thinking of one specific person when they do that, but you end up writing a song that can work for a lot of people, hopefully.

Once the album comes out, then you'll be touring in the U.S., and then Europe and U.K. this fall and winter. What are you most looking forward to with this tour?

The venues. The venues are getting better and better all the time. It's this really lovely way of gauging how your career is going, too. It's really cool. I try not to take it for granted because I know some people can come and tour the U.S. and play to 10, 15, 20 people, and so I've been so lucky that gigs sell out. It's that lovely thing of you play to, say, three hundred people and then come back in a few months and you play to a thousand people. It's this beautiful way to watch the rooms grow.

This tour, I'm just excited. I feel like there's certain things on the journey that you figure out. Currently I'm fixing the way I sing to have proper technique locked in, things like that. I can't wait to not be exhausted after a gig. And I can't wait to play all the new songs. It's constantly evolving, yeah. It's this lovely thing of always, when you finish a tour, you're like, maybe this could have been better, so you address that next time. But then you are on to a new set of things that you think you could improve, so it's this cool thing to chase.

Speaking of big shows, you did Coachella and Glastonbury, which are both epic in their own right. How did those two experiences feel for you when you were in them?

Coachella was awesome because I was shocked by the amount of Irish people there. Obviously, you do the two weekends, and the second weekend I was quite sick. I was like that guy before I went on stage with my face in the steam, trying to melt everything here, so that was a tricky one. But I went out and it was just a lot of Irish flags. So many Irish people go to things like New York and Boston, but I didn't know if people went to Coachella from Ireland so it was this really lovely boost to get when I walked out onstage.

Then, Glastonbury was amazing because leading up to it you just realize it's a really important thing to be a part of. Even if you never do it again, you've had your little moment of Glastonbury history where you play your part and do your best. It was just fun.

I think one of the things that touring a lot does for you is it means I don't necessarily—I'm sure this is case-by-case—but I don't get nervous before I go onstage. I get excited. Obviously, there's a certain amount of nerves, because if it goes wrong, that's a bad thing. But it's mostly just excitement.

Also, things are so fast-paced, so I like that you play Glastonbury and then literally you're back on a bus and you go play a different festival. I think that's something that is quite difficult. Sometimes you don't get to let things sink in and you just move on very quickly. To play Glastonbury, if you told me that eight years ago, not in a cheesy way, you would not believe it. To do those things now week in, week out and then move on so fast, you've got to check yourself and take a moment.

When you are on tour, is there anything that you do to keep yourself grounded?

I think two things that are really important when you're on tour is obviously to stay in touch with home. I think that would keep me grounded, for sure. And then I think it's also important to try and stay active creatively because it's very easy to fall into a routine of bus, venue, gig, bus, sleep and just be like, "Perfect. This is what I do for a month," and not necessarily feed yourself any art.

If you have a day off, to go to a museum or go to the cinema or something. I feel like that stuff is really important, if you don't, when you come off tour and go to the studio its like, oh, I haven't used this part of my brain for a long time.

It's a very strange bubble to live in. We're really lucky because everybody's close in our crew. It's not this thing where I show up to the venue and then we do a show and then we all split up. Everybody spends all day, every day together, so it's this lovely thing. That's really important in terms of if you're down, just knowing there's people to lift you up and talk to and that kind of thing, so I am really lucky with the crew I've got too. There's a lot of things that have fallen into place in a really nice way.

Last year, you worked with Mike Dean for your collaborative mixtape. I was curious if you had any other dream collaborators, be it producers, songwriters, other vocalists.

There's a few, for sure. There's an act from Ireland, it's not traditional Irish music, that's where its roots are, but it's this really interesting, sort of a step on from that, and they're called The Gloaming. I won't even try and describe it, but it's just this super ethereal music. It's just really magic. They play the National Concert Hall in Dublin. I've seen them like five, six times, and it's just the best. The [Irish] President always goes to see them. They are the best at that.

And then in terms of people who, say, influence me, I would love to ever be in the same room as Justin Vernon or anybody from Bon Iver and just be involved in that. When I watch interviews with him and when I watch things about Bon Iver, I just realize they've been so successful but just maintained the same values the whole time. It's always only been about music, and that really appeals to me.

I would love to get way outside my comfort zone too. If I could be involved with the likes of Stormzy or J. Cole or anything like that. Yeah, stuff like that would blow my mind.

Speaking of musical influences, who would you say are your biggest influences to this day?

I started off wanting to do the acoustic thing, like to play in theaters with just a guitar and a piano. When I started out it was like David Gray and Glen Hansard were the people I wanted to be, basically. Then, obviously, that evolved. Again, Bon Iver were instrumental for me. The reason I wanted to do that [acoustic performance] was because lyrics were what impacted me most, and when I saw someone telling a story through a song, it just hit me. It was this really potent thing. That's why I love hip-hop so much, because to me it's the same type of thing.

I figured if you put too much music around that or if you had these big arrangements, you'd lose that intensity or that intimacy and the power of the lyrics getting across. Bon Iver were huge for me in terms of realizing the amount of people on stage can grow, the arrangement can grow, and you can still keep that closeness between you and whoever's listening. That helped me get out of my own way and start working with musicians and wanting it to grow. I was lucky enough in the last few years to start working with producers who could bring that to life.

I would say it started off like acoustic, lyrics; folk music, basically. Then the Bon Iver thing happened, and then hip-hop started influencing what I do, in a way, so it's just this big mess of things.

What was the first CD you every bought and first concert you attended?

The first CD I ever bought, it was a live album by an Irish band called The Frames. Do you know them? It's Glen Hansard's band from when he was like 19 to this day. Every now and then they'll play a show in Dublin, they're the best. Couldn't tell you what age I was, maybe 11, 12, I saw them on TV. I barely even owned a guitar yet, so I hadn't awakened that part of my brain where I would judge music, but just whatever Glen Hansard was doing, I was locked in to him expressing himself. I was so drawn to that, so I bought the album the next day. Just incredible.

It's so funny because even when you tour, and every night you're like, oh, my vocals were okay but not on it. But if you listen to that album, it's like every single thing is perfect. It's super demanding music vocally and he just nails it. And the first concert I went to, which I won't talk about much at all, was Westlife. It was because of my sister, I had to go.

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Brandon Jenner

Brandon Jenner

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Brandon Jenner Talks New EP, 'Plan On Feelings,' Catching The Feels With Ben Harper & More

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"I feel like I'm kind of putting energy back into this thing that gave me so much. So, I sit here today feeling like I'm exactly where I'm supposed to be," the L.A.-born singer/songwriter tells the Recording Academy
Ana Yglesias
GRAMMYs
Jul 25, 2019 - 5:35 pm

L.A.-born singer/songwriter Brandon Jenner has used music as an emotional outlet from a very young age. To that end, he is genuinely grateful to now be writing songs that not only help him process his feelings, but his fans' as well. On June 14, he released an especially heartfelt project, his appropriately named third solo EP, Plan On Feelings.

Jul 25, 2019 – 5:27 pm

Brandon Jenner On New EP & Catching Feels

Jenner recently stopped by the Recording Academy headquarters to go in-depth on his new music and the therapeutic process of writing it, finding inspiration in connecting with his fans and how he's learned a lot about himself from teaching the next generation of songwriters at a recent GRAMMY Museum Summer Session at the GRAMMY Museum.

You recently released a new EP, Plan on Feelings. How did it feel to share that project?

It felt great. It feels like a big weight off. And then as soon as it's out, I just want to make another one and put it out. But I put a lot of vulnerability into this one, I really allowed myself to just say what I was thinking. So, it was definitely an important one for me to put out. I didn't know how it would be received, but it's been received so well and I think people appreciate the honesty and vulnerability.

The songwriting feels very personal. Can you speak to the creative process and journey of it?

A lot of it is a personal journey... kind of creative writing exercises. Sometimes I'll sit down and I'll write something that I'm embarrassed to write, and that's the point: to sit down and write something that I wouldn't want people to know about me and then put it into a song. Lyrics are really important to me. I love music. I love groove. I always have. But the music around what you're saying is just kind of a platform for you to be able to say whatever you want in those three minutes and have people listen. You kind of have this license to say things that you wouldn't normally say in conversation, and I think that's a beautiful thing. Honestly, I can't wait for the next record so I can be even more vulnerable and say things that embarrass me even more.

Do you feel like making music is a therapeutic or cathartic process for you?

Absolutely. Always have been.

And the video for the EP's lead single, "Death Of Me," is amazingly cinematic. [Actress] Margaux Brooke really draws you in. Can you explain the vision behind the video and how it came together?

I knew that it was a really great song and I wanted there to be a great video for it. Nowadays, you really need visuals with releases, we live in a very visual world. So, I reached out to a good friend of mine, Z Berg. I sent her the song and said, "Hey, would you?" in the hopes that she would consider giving me some ideas for a video. She said, "Absolutely. We've got to do this. I have to direct this video."

She sent me a whole script, basically a treatment for what it would be, what she envisioned. So, from the moment that I contacted her, she pretty much took the reins and worked with her longtime directing partner, Drew Fuller, who brought so much to the table as well. And pretty much just the two of them created this video for me that I couldn't be more proud of.

How did it feel then seeing that song in that visual representation?

Well, it was great because I believe strongly in the song itself and the way people react to it. So, I knew that it needed a video that had an equal quality to it. So, it just feels like a complete package really at this point. It's the video that the song deserves. A lot of other videos, not that they're bad, but in the past it's me always trying to create and not waiting on people around me. I'm always a do-it-yourselfer kind of person. I shoot videos on my iPhone and stuff. I didn't want to do that with this one, I wanted there to be something with a little bit more thought into it. I wanted it to look great and be a bit more cinematic. I think we achieved it.

I feel like I'm kind of putting energy back into this thing that gave me so much. So, I sit here today feeling like I'm exactly where I'm supposed to be, and I'm inspired to continue to write not just for my myself, but also for others.

What music did you love when you were growing up, and who are your biggest influences to this day?

When I was young, music always really helped me get through difficult times. I would be going through a break up or something when I was in high school and would listen to Ben Harper, some of his early songs where it's just real simple stuff, and find myself just crying and letting it all out. But then at the end of the song or the record, I would always feel so much better. I would feel lighter. I always saw music as this form of release. It's a way to help process emotions, pent-up emotions and stuff.

So, music did that for me a lot when I was young, and I really gravitated towards a lot of soul stuff like Al Green. Lately, I've been listening to a lot of Sam Cooke and some kind of soul-funk stuff. I listened to a lot of '90s rap too when I was young. That was kind of the it thing to do, and it was just so unique at the time. I really loved it, my brother and I did. But now music has kind of begun—learning how to write music and learning how to open the channel between whatever it is and my voice and my playing has really kind of turned the therapy. So, songwriting has become that therapy for me.

And then I get messages from people that say that my music has helped them through some kind of a tough time, and it just kind of completes this weird circle that I feel like I'm doing exactly what I'm supposed to be doing. I feel like I'm kind of putting energy back into this thing that gave me so much. So, I sit here today feeling like I'm exactly where I'm supposed to be, and I'm inspired to continue to write not just for my myself, but also for others. I'm happy.

That's important. And that's a great segue into the I Believe stories on your website, that I think were fans' messages, and felt really powerful. Can you explain the backstory on that a bit and then how sharing other people's messages felt for you?

I had an idea to make a music video for the song "I Believe" that was on my first solo record, and it was kind of scary to make this Instagram post of just a video of me saying if there's anybody that would like to be in my next music video, you can email me and I will get back to you. It was scary because you're really putting yourself out there, you don't know if anybody's going to email you. But I got what ended up being thousands of emails from people saying, "How can I be a part of this?" Basically, I wanted them to use the words "I believe" in a cool, creative way, and wherever you were in the world, you could participate.

And some of the stories that I got from people, a little bit of the backstory on their life, was just so—I mean, I would sit at the computer reading some of these people's stories and was just crying, weeping, thinking what an honor to have this person that's been through these struggles want to be a part of this music video. So, some of them, I just wanted to share on my website so that other people could get an idea of what it was like for me to go through it. I really spent the next couple weeks doing nothing but being at my computer replying, I wanted to do it myself. If somebody writes something really profound, I didn't want to just say, "Cool, well here's the info" kind of a thing. I wanted to really respond.

So, it was a big chunk out of my life, but it opened up my heart in a way where there's things that happen in your life that remind you that the world is full of amazing people. The vast majority of people are kind, have a great capacity for empathy and want to treat others well and are selfless. It was just another reminder that that was the case.

Do you think it's important for artists to use their platform to either share other people's stories or to highlight issues that are important to them?

Yeah, if they can, if that's part of their journey. I think it's for each his own. So, if some people feel like they're more of an introvert and they feel like the energy that they put into their music is giving enough to the world, then that's okay with me. I'm somebody who would prefer to look for other ways and other avenues to be able to give back and inspire in different ways. I like using my platform for stuff like that, but I don't hold it against somebody that doesn't. A lot of times, people thread the line too, the political line and stuff. They don't want to kind of be on one side or the other because they don't want to alienate people. I don't really subscribe to that, but I think I understand why other people do.



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You recently led one of the GRAMMY Museum Summer Sessions. What was the biggest thing you learned from talking with those young aspiring songwriters?

It was interesting because it was a moment where I got to kind of regurgitate a lot of the things that I've just learned in my life. I haven't really sat down and had an opportunity, especially with younger people, to talk about what they can expect in the coming years and what they might find in their journey of self-exploration in writing. I learned a lot about myself.

I learned that I have had a lot of experiences and I have had a lot of "a-ha" moments that have led to things that have helped me in the process of creating music. So, I got to share that with them and I think it really inspired them and it made me realize that I have, in my time, figured out some things that they could use as shortcuts. I can be of service to people that are trying to figure out how to write better songs and come from a better place. So, that was the thing, and I enjoyed it, I had such a great time. It was really wonderful.

I think sometimes we don't realize how much we know until people starting asking questions.

For sure. Especially in this field, something that I've spent so much time working on, is learning how to be more open and not being somebody that shies away from failure or mistakes, but somebody that welcomes them because that's where all the growth comes from. So, I've kind of lived my life as much as I can like that, and it was just a great experience and I think I left at least some of them somewhat inspired.

What would be your biggest piece of advice for young people looking to break into the music industry?

I mean, no matter how great you are, any of that stuff, nothing will happen for you unless you work hard and you sacrifice things. You have to sacrifice your own ego a lot of times. Hard work is something that is irreplaceable. Sometimes you have to do the things you don't necessarily want to do. It's a lot of fun for me to just lock myself in the studio and create tracks all day, right, and it isn't necessarily the most fun thing for me to sit down and write lyrics to pull all that stuff up. But if I don't set aside time and I'm not structured about it, things will never get done. I'll just have a hard drive full of these beats.

Sometimes you have to do the things that you don't want to do, or sometimes you have to take the path of the most resistance in order to get to where your goals are. I would just inspire people to look at your artistic expression as a whole, figure out where the weak spots are, figure out where you can spend your time most efficiently, and be a bit of a business person in that regard.

>>>Don't forget to check out on our YouTube page for a longer version of the video, as well as other recent Up Close & Personal episodes.

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Alec Benjamin

Alec Benjamin

Photo: Recording Academy

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Alec Benjamin On Working With Alessia Cara, Meeting His Idol John Mayer & Chasing Dreams

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"People can't enjoy your art if you don't show it to them," Benjamin, who played more than 150 parking lot shows in 2016, told the Recording Academy in an exclusive interview
Ana Yglesias
GRAMMYs
Jun 13, 2019 - 4:22 pm

Phoenix-born, L.A.-based pop singer/songwriter Alec Benjamin calls himself the "narrator," going so far as to name his 2018 debut mixtape Narrated For You.

Over the last year, he's been actively growing his fan base and living his dreams. He's gone from playing more than 150 shows in parking lots outside of other pop artists' concerts in L.A. in 2016 to bringing out his idol, John Mayer, as a surprise guest during his headline show at the El Rey Theater this past May.

We caught up with the rising star to learn more about how he manifested Mayer into his life and how relocating from Arizona to California has shifted his musical career. We also found out what it was like working with recent collaborator (and GRAMMY winner) Alessia Cara, with whom he collaborated.

Jun 13, 2019 – 4:11 pm

Alec Benjamin Talks Pursuing Music Dreams

So you just performed at Bottle Rock in Napa. How was it?

It was awesome. It's the first time in a long I've performed at a festival and the first festival I've done in the U.S. When I first started making music I had the opportunity to do a couple of festivals abroad. But those are actually tented, so it felt like I was inside. This is the first festival I've played that was open air. I had a great time. I've never been to Napa before, it was beautiful.

I learned a lot from that experience because there's so many new things happening. The crowd was great and overall it was fun, but I was really nervous. It's just going to take some getting used to. I have a few more festivals that I'm going to be playing this summer. I'm happy that that was the first one that I did because the crowd was really welcoming and super friendly and also forgiving because I was really, really nervous.

Do you have any lessons from that experience going into Lollapalooza, and other summer festivals, that you're excited to showcase?

Yeah. I think I have a couple of changes that I want to make to the set. I'm excited about Lollapalooza. I'm excited about all of the festivals. And I'm excited about Lollapalooza because of the history that it has and there's so many people playing there. There's going to be a lot of artists that I'm going to get to see that I have never seen before, so that will be great. I'm just trying to go into with an open mind.

That's awesome, it is totally huge. Speaking of touring and live shows, you also wrapped part of your headline tour recently. What was your favorite city that surprised you on the tour?

There's one city that I hadn't spent a lot of time in before I started touring. Not even just for the show, the show was great, but I really like Seattle as a place. I thought it was beautiful and we got there on a really sunny day and we got to go down by the water and really try the food and hang out. People were really friendly.

And then I had a great time in Detroit. I thought Detroit was really, really cool. The crowd there was crazy. But I think overall every city was pretty awesome. I think that was probably the most surprising thing is that how great the crowds were everywhere that we went. Sometimes you don't get to spend as much time in the city exploring as you like. So that was a bit of a bummer, but ultimately I think all the shows were great. That was probably the most surprising thing. Not that I'm surprised the shows were good, but I didn't expect it, you don't expect every crowd to be so amazing and they were.

What do you think was one of the biggest challenges that you maybe didn't expect while touring?

Maybe the biggest challenge is getting adjusted to life on a tour bus. I was in a tour bus accident three years ago. That was a really short tour. This is the longest period I've lived on a tour bus, for almost seven weeks. I didn't realize how much that affected me. That was the first real near-death experience that I had. So getting back on a tour bus and have dreams about it and stuff, that was the hardest part. Just getting adjusted to living life on the road. That was difficult.

You often refer to yourself as a "narrator," and your album is called Narrated For You. Can you speak to how this idea guides the stories behind your music?

I wanted to define myself in that way just because, well, it made it easier in my music videos because then I didn't have to act in them. I could just tell the story. I'm really not great in front of the camera. I also think that sometimes it's nice to take words that you don't necessarily hear in the context of music and repurpose them. I mean, I'm a singer/songwriter, essentially, but that was the thought process behind it.

You released a new version of "Let Me Down Slowly," bringing on GRAMMY winner Alessia Cara, resulting in a great pop duet. How did that collaboration come about?

That came about because one of her fans sent me a message and was like, "She's doing promo right now and she was talking about your song!" So I tweeted her. I'm a huge fan of hers. I was like, "Yo, I love your music. We should work together." And she was down, like, "Oh, that would be great." Which was really exciting for me and I was surprised. We couldn't organize a time to write a new song together because we were both on tour. I was like, "Would you wanna do a verse on this song?" So she sent me a voice note of her verse. I was like, "That is amazing."

She has the best voice I've ever heard, ever. On a voice note with no editing. It's crazy. She sent it to me and I was like we should just put this on the song. It's super easy to work with her. She's just a good person.

That's so cool. Have you guys met in person yet?

Yeah. The first time we met was when we made the music video together. It was her and her friend that she travels with, and then I bought them both dinner. I was like, "This is the least I can do." The crazy thing is that we went to Downtown L.A. to get food. And we walked past the GRAMMY Museum, where they have all the people that have won GRAMMYs and one of them is for Best New Artist, which she had won [at the 60th GRAMMY Awards]. We took a picture next to her thing on the sidewalk, which was really cool.

Are there any other artists that you have your eye on working with?

I like it when it's a surprise who you collaborate with. When I thought about it after the collaboration had taken place [with Cara] I was like, oh, that makes sense. But I haven't really been thinking about it that much. I just want to improve my own music and then if the right collaboration comes along that would be great.

You've talked about how John Mayer is one of your biggest inspirations. Do you have any other musical inspirations who made you want to pursue music?

I really love Eminem. I love his storytelling. I'm a big fan of Paul Simon. I love Leonard Cohen. I like Citizen Cope a lot. I listen to a lot of different types of music, I also really like System of a Down. I listen to a lot of rock music and stuff. [Pauses.] Oh, I love Coldplay too.

Can you tell us a little bit about the backstory behind your song "Death of a Hero" and getting to perform it with John Mayer?

Yeah. It was really cool. I was just sitting in my van at that time, we were on tour. One of my friends was like, "Yo, wake up, man. You gotta check Instagram. John Mayer is posting about your music." It came out of nowhere. It was crazy. I had sent him a message in 2017 or 2016 just being like, "I love you. You don't understand. Thank you for everything." And then he saw it and responded to it. That was so cool. So he invited me over to his house to do "Current Mood," the show that he does on his Instagram. We just kept in touch since then and hung out. He came out at my show at the El Rey and performed with me; it was awesome.

You grew up in Phoenix and live in L.A. now. What was the moment that made you want to move out here? And what was the biggest shift you felt once you then were in L.A.?

I moved from Phoenix to L.A. because there's such a great creative community out here in California for songwriting, and there's a lot of labels and studios and things. When I decided to move my parents were like, "Well, if you want to go to California you have to go to college." So I went to school for a year and then I dropped out because I got a record deal. I was signed for two years and then I got dropped. So I moved back home, but luckily my parents had actually moved to California. Not because of me, it just worked out that way. My parents moved to California for work. So I moved back home and I started playing parking lot shows on the street in front of other artist's concerts to get fans. The last six months of 2016 I played 170 different shows. So I printed out tens of thousands of cards at Staples and handed them out anywhere I went.

It took a long time before I really felt a shift, like oh, this is the right decision. I think sometimes I often even now that I've been on tour and I'm not playing in parking lots anymore. Even though I still would. I'd do whatever I had to do. But even now sometimes I have doubts. I'm like, was this the right choice? But I think when I got to meet John Mayer, the person I looked up to and who he's the guy who inspired me to make music. So when he was like, "You done good," I was like okay, cool. That's dope. Because I was like, "I want to be you." And then he said, when I was doing his "Current Mood" Instagram show, "You're kind of like a version of me." I was like, "Dope." That's what I'm trying for. That moment I was like, okay cool. This was not a terrible decision.

I feel like that's part of being a human, no matter what we do.

Especially in this industry. It can be very fickle. You never know. I don't necessarily always feel like I'm on firm footing. This could all go away tomorrow. But that's the same with anything, you never know what's going to happen in life.

"People can't enjoy your art if you don't show it to them."

What's the biggest piece of advice you would give to someone at the start of their career?

One thing that I can say that was very hard for me to do, which I wish I would have understood sooner, is when you're writing songs and it kind of feels weird to show off your music. You don't want to be like, "Oh, check me out." You don't want to be that person, but at the same time, people can't enjoy your art if you don't show it to them. They're not just going to find it magically. It took me four years to get that. Even if it feels uncomfortable at first, show people your music. Post it, even if it's not perfect. Because it's never going to be perfect. Even the music I put out now, even my favorite songs that I put out I'm like, "They're not ready. Wait." I'm happy that I have people behind me being like "No, it's time."

Even if it takes you finding someone in your life to motivate you to just get your music out, just get it out there because even after it's out and it's solidified even if people like it or whatever, you're still going to be like, "Oh, but I could have... if I was only." It's never going to be perfect so you just have to go and show people and sing for people. If people at a party hand you a guitar, sing. You never know who's going to hear your stuff. Even if it's hard. Just do it.

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BANKS

BANKS

Photo: Recording Academy

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BANKS Talks 'III,' Exploring Life's Messiness In Music & Loving Fiona Apple | Up Close & Personal

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The "Gimme" singer recently stopped by the Recording Academy headquarters to discuss her latest album and the themes and sounds behind it, her biggest influences and more
Ana Yglesias
GRAMMYs
Sep 20, 2019 - 2:32 pm

L.A. native Jillian Banks, a.k.a. ethereal pop singer/songwriter/producer BANKS, is a creative force of nature. In 2014, she confidently asserted her presence with the first major dose of her sultry voice and trippy beats on her debut album, Goddess. Earlier this year, on July 12, she dropped another powerful project, with a big dose of empowerment; her third studio album, III.

Sep 20, 2019 – 2:26 pm

BANKS On 'III,' "Contaminated" & More

The "Gimme" singer recently stopped by the Recording Academy headquarters for our latest episode of Up Close & Personal to talk about the new album and the intricacies within. She also shares what she's most looking forward to on the upcoming III Tour, which artists drew her in at young age and more. You can watch part of the conversation above and read the full interview below. You can also visit on our YouTube page for a longer version of the video, as well as for other recent episodes.

You released III recently. How are you feeling about having this project out in the world?

I feel amazing. I was writing it for two-and-a-half years and so it feels exciting, scary, liberating. I'm just excited to tour it and perform it and all that stuff.

What are you most looking forward to about sharing the songs in that element?

I don't know. The more you perform songs, the more personality they all have. There's a different vibe to each one, and so I'm kind of just excited to get in the groove of each vibe and each world of each song. It's fun to see the reactions of the crowd, which ones resonate the most. I have a lot of movement in my show, so it's going to be fun.

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The album, to me, feels very powerful and bold, and also very vulnerable and honest. Can you tell us about some of the overarching emotions and themes that you explored on it?

Wow, that's a big question. It's a lot of self-love, learning that life is not just black and white. There's a messiness in there, very messy. Perfectionism. Trying to be okay with not being a perfectionist. I have been one and it's been quite painful at certain times in my life. Yeah, owning everything. Owning yourself, what your desires are, who you are, what you stand for, your body, everything. It's just [about] being a woman, I guess. But that's kind of awkward because it's not really just for women. So, being a human.

There's a lot of really great sonic texture across the album, which you executive produced with BJ Burton. What was it like working together on the production aspect of it?

Yeah, it was really fun just because I have so many layers to who I am, and each song kind of tapped into a different part of who I was. Certain songs, I felt like, needed a lot of grit and distortion and stuff like that, songs like "Stroke." Then there's a lot of songs that feel, I wanted it to be very stripped back, like "If We Were Made Of Water," "What About Love." There's an innocence that I wanted to capture on a lot of it sonically, because a lot of what this album is about is going from this innocent person, like a child turning into an adult. It's like you go from being really quite naive, but maybe in a romantic and a really positive way, you're not jaded or bitter or anything, and then you go through heartache and all that stuff for the first time. Coming out the other side but maintaining that innocence, I think, is really important.

I feel like I captured a lot of that. "Alaska" is a very sassy song, but it has that playfulness to it. Yeah, every song is different, it was fun. Each album I do, I don't really work with a big group of people just because it's almost like therapy sessions every [studio] session. It was pretty much just, I had a few people, and me and BJ went in on every song, and made sure they all flowed.

One song that I want to look at specifically is "Contaminated." Can you talk a little bit about that song?

That song is like a hard lesson in being an adult. It's funny because this album is a lot about how things are not black and white and how things can be messy, and opening your mind and allowing to understand things in a different way. But then there are certain things in life that you wish were not black and white. Like usually the things that you want to be black and white, good or bad, are just really messy and gray and confusing. Then there are certain things that you want to be really gray and confusing, but they're just black and white. "Contaminated" is a song about a relationship that is just toxic and it's bad for you. That's it, it's a black and white thing, and you don't want it to be bad for you.

Because when you want something to continue, it's like you're addicted to it, so it's like you want to find the gray in there. But there are certain things that are not gray, they are black and white, and you have to kind of be a savage about it. And so with that type of situation, I had to be, and I wrote about it.

And then can you speak to the "Contaminated" lyric video?

I think that there's beauty in learning and pain. I guess it sounds kind of cheesy, but the video, it's very human, but it's painted in a million colors. You go through life and you're just this body, and you're just a human, and you have all these emotions and you go through all these experiences that are really beautiful. But they can hurt you, and it could be colored dark and it could be colored light. That video is about showing the earth, but contaminating it in certain ways. So there's the body with paint moving around, and these may be really beautiful ways and there's also really contorted ways. It's a little bit like the graphic part of life. I've always had a lot of black and white in my visuals, so it's been really fun on this album to have a lot of colors, in my own way.

You recently published a poetry book, Generations Of Women From The Moon, which is so cool. Were you working on that while you were working on the album? What's the story behind it?

Well, every song is kind of like a poem, and I've always written poems. Before I even got into songwriting, it was more of just this stream of consciousness thing that turned into to having melodic chants behind it, and just turned into a song. But with poetry, I just got really into writing and there's definitely a theme to my poems.

It's funny, writing music and writing poetry comes from, it fulfills the same need in me, but they come from different voices. Sometimes, I feel like my music is about the nitty gritties of life, different dynamics and relationships and stuff like that. And then my poetry feels like it's bigger concepts, like speaking from this wise woman voice that I have in my stomach. There's a lot of moon imagery in my poetry that I didn't even plan on. The first poem in the book is called "Generations Of Women From The Moon." It's a two-part poem.

When do you tend to feel most creatively inspired?

God, I don't know. For me, creativity just comes. There's not really a setting. I mean, I do like to have a nice couch in a studio, a really comfortable zone to get in there. But, I mean, any time of day, it's more whenever a certain mood hits.

When you were younger, were there any artists that you admired that made you think, I want to go into music or I want to make something like they're making?

Anybody with a voice that didn't feel perfectly trained, but you felt their soul in, that was for me growing up, any voice that I heard that had that grit, and lyrics that weren't just—you can tell when an artist writes their own music. For me, that's what it's always been about. Fiona Apple was somebody that I always loved. Ben Harper, I used to listen to all the time. Tracy Chapman. And Brandy's voice kills me, still kills me. It's like butter. My dad would play a lot of Peter Gabriel, which is always amazing. Yeah, I'm really into atmospheres as well, so a lot of stuff that just took you into another world but maybe didn't even have lyrics.

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