WIUX

Craig Shank: So, if we could just get started by talking about the relationship you have with your record label…

Laura Veirs: I have a new record out on Nonesuch. It’s my third release, and it’s technically the last one in my contract. So…it’s yet to be determined whether we’ll do another one together, but I hope we will. They’ve been really great and, you know, I had a difficult decision, in a way, to go with them because I was on a really good label in Europe called Bella Union for a number of years before I signed with Nonesuch and I didn’t have a US label. So, when I got the offer from Nonesuch they said, “you have to go with us for the whole world, we can’t just take it to the US.” So, I had to let go of the old label in England, which was hard because they took the risk to sign me in the first place before anyone gave a sh*t. Then, after did people give a crap, Nonesuch came on board…at least they gave a crap in England because that’s how Nonesuch found out about it. So…I…you know, it was a hard decision, but I’m glad that I did it because I think Nonesuch is a good label for me… There are only eleven people on the staff and I know all of them. They all come out to the show when we play in New York, they’re really supportive, they give us good record budgets, and they give us tour support so I can bring the whole band, and it’s been really good, but the record industry is struggling and I’m selling less CDs now than I did with my last CD. Even though I think I’m more “popular”. I’ve gotten more press and more radio play and more good tours and I’m selling fewer records. And that’s, I think, indicative of the industry at large, which is really struggling, especially when you’re talking about bigger labels. I think the smaller labels are doing better.

CS: On the subject of recorded works, what is currently in your CD or MP3 Player?

LV: Today in the van we listened to Regina Spektor, Scout Niblett, Andrew Bird, and some old soul, like, 60’s soul music…it’s really everything. I love music and I’m influenced by all kinds, but…you know…my boyfriend Tucker Martine, the drummer and producer, he has way too many CDs, so I’m learning about every kind of genre of music now living with him.

CS: You mentioned both Regina Spektor and Andrew Bird, who have both played here at the Buskirk. As an artist and a performer do you actually get a chance to go out and see many shows, or does your schedule not permit going out and seeing concerts?

LV: Well, I do tour about four and a half months a year, but, you know, especially when you’re playing festivals, you can see other artists play and now, of course, now I get to see Mirah every night and they’re great. So, that’s really a fun thing, but yes, when I’m at home in Portland I can go to shows a lot, and I prioritize that because……well, sometimes I want to sit at home and watch a DVD and relax, but I’m friends with Andrew Bird and I want to go see him when he comes through town. You know, there are a lot of musicians that I’ve met over the years that I admire as people, as well as those musicians, and of course when they come through town I want to go. And that’s the nice thing about Portland. It’s a smaller town, but it’s on the tour route, so everyone goes there.

CS: Who are some of your influences as an artist and performer?

LV: The list is too long to get into, but I started out more in the punk world and riot girl punk was a big influence, then later more slow-core stuff like Low, and even then that kind of lapsed into people like Gillian Welch and then more traditional American folk music and now, I love people like Juana Molina, she’s on Domino records and is from Argentina, she has a really interesting take on rhythm and her style is all her own. So, I’d say it’s a whole spectrum between punk rock and like, alternative, weird noise kind of music.

CS: Did you have any formal musical training or are you entirely self-taught?

LV: I had maybe six months of guitar lessons with a really good guitar teacher in Seattle when I was around 25. That got me going on the finger-picking style of playing which is kind of the foundation of a lot of my music, so I was grateful to be able to do that, but mostly I’ve just learned from playing in bands, playing with really good musicians, and listening to records and just mimicking things.

CS: What are some of your least favorite questions to answer in interviews?

LV: ‘Why do you write about nature?’ ‘What are your lyrics about?’ Those are the two that really bug me, like, “Why do you do this?” I don’t know, because it’s there. “What are they about?” I don’t know, they’re about whatever you want them to be about. You need to think about that.

CS: Really, your concern is about having people hear the record, get what they want out of it, and you get what you want out of it by writing it and you don’t like to be quizzed about your own work?

LV: Yea, exactly. I don’t like to be dissected like a little frog on a plate. I want to be able to just have my music be something that is very freeing for me, not something that I have to analyze and think intellectually about because for me it’s a very organic, almost like a dream-like state, that I get in when I’m writing. It’s not at all about intellectual thinking and meaning. All of the stuff that I end up having to talk about makes me a little bit self-conscious, and in that way I’ve chosen to not read any of my press. I did initially because I was like, “Wow, I’m getting press!” But then I realized it made me feel weird. Everyone is analyzing things and saying this and that and then I started to get self-conscious. So, I just try to keep it as fun and organic as possible and not over-intellectualize things.

CS: As far as fun goes, sometimes touring can get rough for musicians. Are there any things you bring along or any rituals you have on tour to make it less daunting or more like home while you’re on the road?

LV: I have my books and my journal. I love to read and when I need to escape I’ll read. I brought my running shoes. I haven’t gone running on this tour yet, but that’s something I try to do, but I’m usually not very successful. Mirah, on the other hand ran 7 miles the other day because she’s planning to do a marathon. But, when I’m touring with my own band I bring my pillow so I can snuggle up with that in the van. Over the years I’ve brought knitting stuff or watercolors for art. I did bring my watercolors this time, but I guess on this tour I didn’t bring a whole lot. I brought my computer. I downloaded a bunch of music onto my computer before I left from CDs. Then I left my headphones at Bryce’s mom’s house, but I will get the headphones back and then I’ll be able to listen to music. Oh, and another thing I do is I write short stories.

CS: That’s probably something most people don’t know about you. They probably think music is an all-consuming thing for you, but you have your writing, knitting, and art. So you’re finding ways to be creative outside of music…

LV: Yea, if I get too involved in the music world I start to feel squished. Like, there’s no room for my music because I’m always listening to music, and analyzing it, thinking about it, talking about it…and then it’s like I don’t even want to have anything to do with it. So, I need to have other things in my life, especially when I’m home I don’t really listen to a ton of music. Though, Tucker does so we end up listening a lot. I just like to garden, go to yoga, and have people over for dinner. Just really simple stuff so that I feel like I have a normal life and I’m not traveling every second of the day.

CS: What is the most rewarding part of being an artist?

LV: I think….a lot of times……it’s…….that’s a really good question. I think it’s a mixture of things for me. It’s the moment of creation of a song. That light bulb goes on and, “Oh my God, I did it again! I didn’t know I could do it again,” because there is always that secret doubt like, “Oh, maybe I’m done. Maybe I won’t ever have anything to say.” But, when you find a melodic hook, a guitar part that works well with a melody or a lyric, its like, “Wow!” It is kind of like a little miracle.

That is such a great feeling and it’s a bit addictive, and I think that’s why people keep doing it. But also, hearing other musicians play or hearing my ideas come into life in recorded music is also a really satisfying feeling. It’s like, “Wow! I had this shell of an idea and now it’s this blossoming flower and everyone can participate in it.” Hearing other musicians play on that stuff is a great feeling. I guess the third thing that’s great about it is when your band is feeling good, or maybe even solo, there are these rare nights where it all gels and the audience is with you and everything is flowing and it’s this magical moment of a night of music and everyone’s hearts get opened up. That’s a really great feeling too.

CS: What do you think you’re the most proud of so far in your career?

LV: Um…..I would say…probably….my body of work. I’m proud that I’ve been prolific and also my connections with other people that I’ve formed through this. You know, the kind of joy of communal art-making, I mean, that’s what musicians get. We get to make art together and I think that’s really beautiful and sometimes frustrating because we’re human beings. But, like I said, when it works it’s really…it makes you feel this alternate grand connected-ness…So, I feel proud that I’ve been able to forge friendships and keep my band together and also create six albums in eight years.