Singer-songwriter Lucy Kruger has teamed up with a full band for her second release. She answers a few questions.
Good day, Lucy. How are things?
Things are busy – in the very best way.
Photo by Amor Coetzee
Congrats on the release of the Lucy Kruger & The Lost Boys EP. It’s been two years since your debut and this EP certainly does have a different feel to it from that of your previous, solo release. How would you describe the growth that’s taken place, and how do you feel about the new release? What’s the response been like?
I recorded the first album very shortly after leaving varsity and before spending very much time collaborating with a band. Everything I had done before that had been relatively isolated and stripped down. I really dove head first into that debut album and learnt a lot that way.
This second recording is after two years of growth spent playing in very different set-ups with very different artists. I had time to find a sound; to discover what I wanted to be and what I'd rather not be; to find players that understood what I wanted and could further shift and stretch my ideas in a way that I love very much.
I think it is really just a matter of having that time to play. I believe very strongly in the idea of process. I don't think you can really rush ahead. What I am most pleased about with this latest offering is the genuine collaborative nature of it all.
I really enjoy the space in the music – something I'd like to take even further.
Upon first (and second and third and so on) listen, the tracks all sound like they’re still built on strong foundations of good sound-writing (as they were on the first album), though there’s a lot more going on musically – you now perform and record with a full band. How does the songwriting process differ for you if you know it will be a fairly stripped performance and/or recording, compared with when you know there’ll be a full band involved? What are the respective challenges and joys of the two processes?
It frees up the songwriting process quite a lot knowing that there is a band that can either fill in the spaces or (and my preferred option) create the space in the music. When I write music I imagine it going a lot further than where I can take it with just my guitar. The boys offer something very gentle, wild and beautiful whenever I bring forward a song.
I much prefer playing with a band. Even when I do stripped-down performances I like to have at least one or two of The Lost Boys by my side. The energy that is created is more special for me that way and easier to sit within.
To be honest, I cannot remember the last time I played a completely solo show. André and I are doing a tour together in September – which will be the most stripped down we will have done in a while. I'm looking forward to re-imagining the songs in that way.
Photo by Lupa Photography
According to the press release for the EP it was recorded in the space of three days, in Onrus. Three days seems like an astonishingly short time in which to record five tracks as diverse and layered as these are! How did you and the band come to the decision to approach the process in this way, and how did it go in terms of hitting set targets while leaving room for new inspiration? What kind of role did Onrus as a setting play?
Three days is very short – but we were very prepared. I promised myself that I would not rush into recording. It was only when the songs had found their shape and personality through rehearsals and live shows that I decided we should record. Recording live is quite tricky – but also simpler. Once we were all happy with how it was played, that was that.
The choice to do it live was to keep the integrity and heart in the music. Force ourselves – or rather allow ourselves – to keep it organic. This is obviously only something you would want to do with a band that you really trust and who understood each other well enough. It was a very rewarding thing for me to be able to experience that.
In terms of leaving space to create: that space is always there. It's just about letting it in or not.
Onrus is obviously a very special space. A studio can be quite daunting – you are very aware of the weight of what you are doing. Being in the Onrus house helped to create a very relaxed and open atmosphere. I also like to have everyone in the same space over the time of recording. It keeps the energy together and focused.
As on your first album, your vocal stylings make an immediate, defining impression on the EP. It seems like there’s some more versatility and, if it’s the right word, maturity, regarding this element of the music – the vocal approach complements the music perfectly, sometimes in unexpected ways. How do you feel about this – have there been any specific developments in this regard you’ve experienced? What is your philosophy regarding ideal vocal work and its interaction with the instrumentation?
I have a very soft spot for vocals – and I don't think it always serves me very well. I have a tendency to go too far into creating harmonies – or doing tons of takes until the pitching is perfect. I tried this time to find the essence of the song. It is the instrument that I understand the best and so it is very much about finding the balance between controlling it and letting it go. I like to think I found that in this EP.
You’ve decided to make the EP available as free download – this is an interesting approach. What’s the thinking, or tactics, or strategy behind it? What are your feelings regarding hard copy versus digital at the moment, as well as where this is heading?
I am very proud of the EP and feel like it is my first very independent offering. I would rather people have the music and pass it on.
I am a very big fan of hard copy, but it is obviously not as viable as it once was. I have printed a few CDs and plan to sell them at shows, etc. It becomes merchandise or a rather glamorous business card. As long as I create music I'd like people to be able to hold it in their hand. I hope people will keep wanting to do that.
Speaking of the nature of the beast: the local scene is certainly going through some interesting developments, though many singer-songwriters and bands struggle to “crack” it. What are your feelings about the local scene as it looks today, its strong points and weak points, compared with the challenges of the overseas market? If you could change one thing about the local scene, what would it be?
My head starts swimming with that question. To be honest, at this point I am working to create good music that I am proud of and sharing that with people who would like to listen. I will keep doing that until that really stops making sense. That is as far as my business philosophy goes right now.
I would like very much to go overseas for a bit next year to play a few shows and see as much live music as I can.
You’ve been on the scene for a while now, playing lots of shows all over the country … Any particular highlights thus far? Any incidents or venues you’d rather forget?
My first few shows playing solo were really quite depressing and very forgettable.
Since I’ve been playing with a band, even the depressing ones can become endearing. It is a lot easier to have a sense of humour when there are a few of you.
What does the near and far future hold for Lucy Kruger (and The Lost Boys)?
I have a number of projects running at the moment and the idea with all of them is to keep writing and playing and building up something beautiful. Like I said previously, I hope to travel those projects overseas next year if I can get that right.
In the immediate future ... We are flying up to Joburg tomorrow to play Oppikoppi this weekend. I am looking forward to that.
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