Published in MiPOesias
Vol. XXI, Issue 4 | September 2007
Showmanship is all but lost these days, with onstage drunkenness, lip-synching, and mechanical movement seemingly the norm. But from the moment she takes the stage, generally in a cozy bar, Mather Louth makes it clear that the audience is sharing a rare experience. Her talent for singing is enhanced by a natural power of presence: From her impeccable makeup and dress (think highnecked velvet and corsets and fishnets, oh my!) to evocative facial performance, Louth is a captivating subject. Forget simply listening--it's hard not to watch during her demanding delivery of what she calls "burlesque blues," an enticing blend of drums, electric guitar, saxophone, voice... and the all-important tease.
How did you come up with "burlesque blues" to describe your music?I've always been intrigued by the underground world of burlesque. It was and is about the mystery of femininity and glorifies the individual woman in her dichotomy of strength and vulnerability. A true burlesque performer is able to capture the attention of men and women alike, [and] can hold an entire audience captive until the moment the lights come down and she leaves the stage.
To me, burlesque blues is the marriage of that feminine mystique with one of the purest, most primal musical expressions--the blues. I once had a stranger tell me that something in my voice had caused "an awakening" in them, and that "something" is why I consider myself a blues singer.
What artists inspire you? Do you align your sound with any other musicians... or hear that you remind people of anyone?Oh, my inspirations are always diverse and oftentimes unexpected.
Certainly good literature is a continued source of inspiration, as is good music. I love the literary works of Huxley, Vonnegut, Orwell, and classic playwrights. I love Nick Cave for his uncanny ability to tell a story. Of course, I am also highly influenced by the Velvet Underground, BRMC, Mark Lanegan, The Stooges, Garbage, My Bloody Valentine, Billie Holiday... and many others. Each artist I listen to offers a different musical viewpoint.
The comparisons I receive tend to be as eclectic as the music I listen to. However, I do get overwhelming comparisons to classic female jazz and contemporary blues singers. But rather than offer specific names, I would suggest for the readers to listen the music and find their own touchstones in my work.
I'm always interested in the process of creating music. Do you have a standard procedure, whether planned or incidental?I wish I did... it might very well make things easier! Sometimes, I will stumble upon a guitar tone or keyboard setting and create a song that suits it. Other times, I will write prose that later becomes the basis for lyrics. I've written a few songs within one or two nights, and others have been pieced together from various writings and riffs.
What presence or message, if any, do you hope to convey while performing?Well, above all else, I want to establish a connection with the audience. To me, the best performances I've seen are ones where I've come away with something I didn't have upon walking in to the show. There is a very intimate exchange that occurs within the medium of live performance, and I hope to always give the audience a piece of who I am. Some nights, there are demons that need to be exorcised, and other nights, there is beauty that needs to be expressed. But, good or bad, success or failure, the performances will always transmit the truth of the moment.
You play your guitar upside-down and backward. What's up with that?Ah, yes, always a point of intrigue! The interesting thing is that when I first started playing guitar back East, I learned standard lefty. However, I left behind my acoustic guitar in the midst of a cross-country move. My first roommate here in the West owned a lousy green Ibanez with one bridge missing--making it a five-string--and sold it to me for somewhere around $30. Rather than go through the hassle of shipping and insuring my lefty acoustic and waiting for it to arrive, I began playing the Ibanez as it was. It didn't take too long for my brain to make the adjustments, and eventually I grew to appreciate the newfound low-end that playing backwards offered me. It's an integral element to my sound.
A popular belief about blues singers is that the "real" singers are the ones who show their souls unapologetically through facial expression. Your facial expressions during performances are whimsical and seem to be influenced by or in response to the words you're singing. Are they natural reflexes, part of a stage persona, or intended exclamation points to accentuate specific lyrics?To be honest, I really consider it a case of both spontaneity and intention. I am a glutton for language and storytelling, and so oftentimes, I create "characters" in my songs. In a way, those characters dictate the live performance. For instance, in my song "Vultures," my protagonist (so to speak) is a weather-beaten middle-aged drifter. The intentional element enters when I give the character a voice. However, sometimes (if I am lucky), I gain a new insight into a song mid-performance and will emphasize certain words or moments.
I've been learning to sacrifice a piece of that infamous Leonine vanity onstage, though hands-down, I would much rather give a good performance than simply "look good." LA certainly already has a surplus of those types lurking about.
Unfortunately, as a result, I am sure that there are more than a few incredibly unflattering images of me performing that I will no doubt have to live down!
Learn more at myspace.com/matherlouth or matherlouth.com.
