A Quote by Jamie Lidell
You have to sit with the songs until they start to live. Or do things straight-up spontaneously. I set up a beat just like I do in the live show, add the lyrics that I wrote in thirty minutes - I already had a topic in mind because I had this crazy experience with this girl who was trying to get close to me and it freaked me out because she was really close to another friend of mine, and I thought, "This is a story, I'm gonna make this into a song."
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A friend of mine once asked how to make it in show business and I said "Be so good that they can't ignore you." She thought I was being flip but it's true. The challenge is trying to live up to the opportunities given me.
I mean, my wife is always like - I don't write lyrics. So I couldn't, like, really technically write a song for anyone. I could write a very nice instrumental. So she always sort of gives me a hard time because it's just such a ridiculously impossible standard to live up to, that your step-dad wrote that song for your mom.
Until I was seven, I was very close to my mother because I was so ill and she had to teach me how to walk and talk. But then she had another child, a little girl called Fleur, who died. When she came home from hospital there was a bit of a distance between us. It was never talked about again.
One of my friends said to me, "Oh yeah, of course you aren't writing." So I was like, "The next time you see me, I'm gonna have a new song." I wrote "Criminal" in 45 minutes when everyone else went to lunch because I had to have a hit. I can force myself to do the work, but only if someone is right up behind me.
My live show experience has not been good. It's just because I haven't had a band or anything. I played a show in Santa Ana that I'm just not proud of at all. It came out of the blue, and I kind of freaked out and took the opportunity because it was the biggest thing I've ever been offered.
I heard more of the stories from my mother and my granny and my aunts that would describe what they had known that he didn't often talk about. I remember seeing [grandfather] as a child. He was working in a mine that was fairly close to their home there in Betsy Lane, Ky., and it was so close in proximity that he wouldn't clean up or shower there. He would just drive back home. And I remember one time seeing him come in and it was like seeing an alien person show up because he was still covered in coal dust and soot, and it had a profound impact on me.
I always thought my days spent in darkness [as a child she had cataracts and was unable to see for nearly four years] gave me a very special sensitivity. Much later, when I really wanted to hear, really 'see' a song, I'd close my eyes, and when I wanted to bring it out of the very depths of myself, out of my guts, out of my belly, when the song had to come from far away, I'd close my eyes.
I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.
One of my half-sisters just couldn't deal with it. I think she saw me as someone she had a hard time relating to. We're super-close now, but I probably came home from Europe with weird opinions and attitudes and weird clothing. I probably looked so different to her, and I couldn't show up for things she would have liked me to. My life picked up speed, and I couldn't really stop the momentum.
Finally I started really opening up as a songwriter and an interpreter and taking songs from all kind of genres and stripping them down to just lyrics and the story inside the lyrics, and trying to make them really mine.
We haven't started playing it live yet but we're going to. And then 'Warpaint' is a song that's really, really close to me because it's actually - we've had that song for many years now and it's changed so many times, it's been through every reincarnation of our band with every drummer, with sometimes with me playing drums, it was when we were a three-piece, every incarnation of the band that we've had we have played that song.
What I do now is all my dad's fault, because he bought me a guitar as a boy, for no apparent reason. ... I wrote some of my best love songs ever when I was unhappy and my saddest love songs when I was very much in love. When I wrote 'You're in My Heart', which is an uplifting song, I had just broken up with-Now who had I broken up with?. ... Half the battle is selling music, not singing it. It's the image, not what you sing.
It was a lot of fun doing 'Felicity.' She had just won the Golden Globe, and she was huge at the time, but she was like the nicest girl ever. As a guest star on a show, you get on the set and you feel out of place, but she was so nice to me and really cool.
My life is so different because of 'Waitress.' The people that I'm close to, the things I do professionally, my colleagues, my best friend and my boyfriend - like, all of these things have come to me because of the show. And it's really beautiful.
Most of the really good songs are dead true. ... It had to have happened to have the song be there. Every time I've tried to make stuff up it just kind of falls flat. So the majority of my work is something that happened to me, I saw happen to someone else, or a friend of mine told me happened. There is a certain amount of theatrical and poetic license. People are supposed to like it, that's why you're doing it. It's supposed to be fun. It's not brain surgery, it's heart surgery. They're just songs.
It was nobody’s choice. It was a chemical reaction. I had to cut it. It basically fell out. Somebody had said to me that it was just because, you know, you’re trying to make Gail, you know, because she’s just now coming out of the closet…Not even for 2 seconds would we ever do that. It literally was a really bad hair experience.
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