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The artist known as Empress Of, whose real name is Loreley Rodriguez, is discussing her latest album with me. However, she faces a complication. Originally from Los Angeles, she is currently in London for a week of promotional events, including a performance at the Jazz Cafe, an interview on Radio 1, and a dinner with her friend and fellow singer Rina Sawayama at a fancy eatery in Mayfair. Loreley was shocked to learn that the chicken dish at this restaurant costs £140.
She is currently in the corner of the third floor of the Barbican centre, drinking her coffee before we visit the textiles exhibition. She is not dressed up like she usually is in Mayfair, instead opting for a casual look with a black bomber jacket and a neat ponytail. She talks about the photoshoot for the article, expressing that it had a “fashiony” vibe with Mugler and Schiaparelli influences, and mentions that The Guardian may not be ready for it. However, the conversation is frequently interrupted by people asking about the conservatory’s availability. We are mistaken for gallery staff because of our dark coats and coffees, but we clarify that we do not work there. One woman seems offended and walks away, making the encounter feel polite yet passive-aggressive – a truly English interaction.
Returning to the album, the artist states that it has a sexy vibe as we enter the exhibit. It is considered her single era. She recently joined Raya, a dating app known for its high-profile members. Despite its negative reputation, Rodriguez sees everything as potential material and embraces a light-hearted attitude during this phase of her career. The songs on the album have a more pop sound compared to her previous work.
Rodriguez is embarking on a new chapter in her music career. After making a splash in the electropop world with her 2013 EP Systems and 2015 debut album Me, where her unique and experimental songs tackled issues like capitalism, sexism, and heartbreak, Rodriguez is now evolving and exploring new themes in her music. Despite being initially supported by die-hard music fans and readers of Pitchfork, who were primarily heterosexual men, Rodriguez has since gained a larger and more diverse fanbase with her 2018 album Us and 2020 album I’m Your Empress Of, where she delves into topics such as womanhood, relationships, and her experiences as a Honduran-American immigrant. She has even had the opportunity to tour with acclaimed artists like Lizzo, Maggie Rogers, and Sawayama, and she has noticed her fanbase becoming more diverse and queer. Perhaps this is due to the appeal of watching a woman confidently embrace her own identity and embody her alter ego, Empress Of, on stage. As Rodriguez explains, “Empress Of” is a persona she uses to express herself and make a mark in the world. Despite her shyness, she becomes a powerhouse when she steps on stage.
The latest album, For Your Consideration, features several characters, all named based on the commonly heard phrase “everywhere” in Los Angeles. The artist explains that everyone in LA seems to be striving for some sort of recognition or award. The first track of the album, also titled “For Your Consideration,” explores the theme of a breakup in the context of LA, with lyrics like “Took me up a canyon / Just to say you needed space.” With the addition of ASMR breathing from Rodriguez and a minimal beat, the song intentionally creates an uneasy feeling while also evoking a sense of longing.
In the album, many of the songs revolve around utilizing the unique sounds produced by my own voice,” she explains. The process of creating the album began after a director she had strong feelings for, who had recently launched an Oscars campaign, took her to a hill and revealed that he was unable to emotionally commit. When asked about the possibility of online detectives uncovering his identity, she is unfazed and replies, “I’m not concerned.” The album consists of a sequence of pulsating house and dance tracks, with some verses sung in Spanish, all of which depict experiences with sex, brief relationships, and wild nights. “I’ve written many songs about breakups,” Rodriguez shares. “But this time, I wanted to avoid writing about heartache.”
As we move from one room to another, we are greeted by a variety of colorful and textured installations. The golden Prayer Clouds created by Igshaan Adams adorn the walls, shimmering delicately like glass. Rodriguez is captivated by a quilt made by Loretta Pettway, draped in shades of blue. She admits to feeling some apprehension about exploring a more pop sound. “There were moments in the studio where I felt vulnerable and almost embarrassed by how indulgent the songs were,” she confesses. She would often worry that a particular song was “the worst I’ve ever written,” but then remind herself that it’s okay to embrace a pop sound. “I’ve never really done that before – a love pop song,” she adds. Despite her growth as an artist, she still feels that some people view her first album as her best. I comment that this seems to be a common fate for indie favorites who branch out. “And thankfully so!” she exclaims. “I hope to continue to evolve and achieve even more.”
Exiting the exhibition and walking through the main lobby of the Barbican (which she describes as “70s space age” with approval), we resume our conversation on a corner sofa. Our conversation is interrupted by a young child, who makes faces at us before becoming shy when Rodriguez greets them. Rodriguez shares that she knew she wanted to be a musician from a young age. Growing up in Los Angeles, her father was part of a Honduran band and her mother worked as a nanny. “I was always intrigued by music,” she says. “We had a piano at home and I would try to figure out how to play it.” At the age of 12, she began taking vocal lessons and dreamed of becoming a jazz singer. Her musical interests expanded into pop music as she discovered artists like Björk and Imogen Heap. She went on to study at the renowned Berklee College of Music before moving to New York in 2011 to gain experience in the local music scene. She looks back on this time fondly, recalling it as an “amazing time.” “There were so many do-it-yourself venues and warehouse shows. I remember seeing Grimes perform to a crowd of 250 people.”
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Thriving subcultures in music hubs such as New York have recently been facing difficulties. Musicians are confronted with numerous financial obstacles. According to Rodriguez, this may be due to the economic downturn or the lack of sufficient streaming royalties. For many artists, touring is a challenging and costly endeavor. Along with performing, the job of a musician also involves maintaining a strong social media presence and constantly being connected via the internet.
It can be overwhelming. There is pressure to constantly share every aspect of one’s life, including behind-the-scenes moments and trending topics. However, the individual sometimes wishes to have something just for themselves. For instance, they recently had to post a photo about appearing on the BBC, and felt compelled to take numerous selfies in order to get the perfect shot for maximum engagement. This aspect of their job can feel exhausting. On the other hand, live shows serve as a reminder that there is more to life than what is happening on a phone screen.
When asked about her future aspirations, she states, “I would be thrilled to no longer be underestimated.” She even jokes about being willing to be overestimated. The cover of “For Your Consideration” depicts the musician on a giant star, painted in gold to resemble an award trophy. With the title, it seems like a playfully ambitious reference to her dreams of stardom. “I mean, For Your Consideration,” she says, gesturing with her hand to suggest that the answer to her goals is right in front of us. “If I achieve…” she hesitates before stating, “I won’t even say it!”
Source: theguardian.com
