A Pre-Concert Conversation with Erykah Badu – HuffPost 6.3.11

Mike Ragogna: Hello, Erykah.

Erykah Badu: Hi!

MR: I loved how you interacted with My Morning Jacket during rehearsal, especially after one of the songs when you reached out and touched hands. That was really sweet. How close are you with this band?

EB: We met a few years ago when they did a cover of my song, “Tyrone.” I met them a year before when we were on a documentary together called Before The Music Died. It was a different perspective of what people would understand about the music business–the artist’s perspective, and people who are kind of behind the scenes a little more. It was a cool documentary, and that’s where I met them originally. We just kind of started listening to each other’s music, and I think they’re really funky.

MR: They are, and although your styles of music aren’t interchangeable, they do blend nicely.

EB: Oh yeah, absolutely. We have some of the same influences.

MR: Who are some of your influences?

EB: The Doobie Brothers–I’m a child of funk–Funkadelic, Grand Central Station, Pink Floyd, Joni Mitchell, Earth, Wind & Fire, Jimi Hendrix, Chaka Khan…

MR: …it’s funny you put Joni Mitchell in that category because she does consider herself a child of soul.

EB: Oh yes, definitely soul.

MR: When you were rehearsing with the guys, you were playing something that contained percussion samples and something like an electronic theremin, what was the device?

EB: It’s called a Roland Handsonic, and I’ve been playing it onstage for about ten years now. It’s like my friend on stage, so no matter where I am, I like to bring those sounds and elements.

MR: You’re so rhythmic, do you gravitate toward percussive instruments or to percussion in general?

EB: Absolutely, I’m African. I was an emcee before I was a singer, when I was about ten to sixteen years old, so there was a lot of that influencing me finding my place in the beat–finding my space in there, and achieving that more.

MR: Do you find that the beat pushes out more of what’s inside you?

EB: Yeah, that’s how I write. I don’t ever write words first because that would be poetry. I usually write to the music already done and I find the rhythm in there. Percussively, I write first and then melodically, then I listen to it back and try to interpret what I was trying to say.

MR: Do you find rhythm in things other than music?

EB: Everything. Everything is frequency and rhythm. The sun comes up and then goes down at the same time, like clockwork. Nine months it takes to have a baby, seven days for a period. Green lights and red lights all seem to be syncopated–sometimes I get green lights all the way.

MR: Support of nature, some call that.

EB: That’s right.

MR: I guess when you’re in the rhythm, you’re in rhythm with everything.

EB: Exactly.

MR: Do you find that songs, rhythms and other elements come to you out of nowhere, do they spring from a certain place inside of you?

EB: Yeah. Unfortunately, I don’t know where it comes from, but that is fortunate as well, and I don’t ever ask. This is just how they made me, and I’m happy to be a part of that–whatever that thing is, I’m plugged into it.

MR: You were singing an impromptu “God Bless The Child” during sound check, and it was very special to hear such a sweet version performed impromptu. And your command of improvisation…

EB: …it’s like “Tyrone.” That was an improvisational thing–I was making it up as I was going. It’s so funny that (My Morning Jacket) covered that, and it’s so funny that that’s what I’m known for all over the world. It’s like a horrible private joke the universe is playing on me because I’ve taken so much time and written all these songs, but I’m known for “Call Tyrone…” (laughs)

MR: Nah, you’re also known for you own material, come on. (laughs) So, what do you think is going on right now musically in the world? Is there some sort of musical shift, or evolution going on?

EB: I don’t know. I’m so far in it that I really can’t see what’s happening. It’s a balance, it seems like. The music business is a balancing act. We’re trying to find our way in this new industry where the old model is not working anymore. That also means that there is more freedom in the language of music. With social networking, we are able to stretch out and touch things that we’ve never touched before. I guess that’s what the Age of Aquarius does.

MR: That’s what I’ve been told. What advice do you have for new artists?

EB: Follow your heart.

MR: Of course, but there’s so much out there that’s distracting and can pull you off course, isn’t there? I mean, even following the news…

EB: …just follow your heart. If you’re “distracted” by the news, then that’s what you need to write about. Whatever it is, there’s no good or bad, it’s just following your heart because it never fails you. It usually gets you to the place that you need to be, whether that’s a big platform or a small one.

MR: Speaking of big platform, what do you think of tonight’s venue here at Louisville’s Palace Theater?

EB: I can’t wait to see what’s happening behind me. I hear it’s extraordinary, the lighting… I love My Morning Jacket’s set every time they come to town–it’s real to me. It feels real, I feel connected, and I’m just looking forward to it. I want to see what you want to see too–the visuals, what happens, what they turn it into.

MR: And it will be interesting to see all of those Twitter eyeballs and faces fans submitted as well.

EB: Yeah man, I want to see what kind of ship this turns into–with the people and the energy too–it’s going to be amazing.

MR: Which songs are you singing beyond “Tyrone”?

EB: I’m singing “Worthless Chorus” and “The Day Is Coming.” These are two new songs that the audience has never heard, so I can make up some s**t if I wanted to. It’s just good to be doing some new, interesting material that I also can relate to.

MR: Also, you realize that tonight’s event is pretty cutting edge with fan interaction, staging, and internet broadcasting being coordinated so succinctly. And you’ve got Todd Haynes directing the show and its visuals as well. What’s it been like working with him?

EB: You know, I just got here today. He’s very gracious. He’s an artist’s director. He lets us work things out and block ourselves a little bit, and then he remembers that he’s there to incorporate what he’s doing into that.

MR: What’s on the horizon for Erykah Badu?

EB: I don’t know. I’m just in the right now, but I am constantly writing music and working on music. I have another album coming. I’m working with this guy named Flying Lotus out of Los Angeles, California, who is an incredible writer and producer. I’m doing a little secret project, and I don’t know what else. I’m working on my own album, of course.

MR: Do you have all of the material together for it yet?

EB: Somewhat. You know, I’m never finished. They have to pry it out of my cold, dead hands, you know? (laughs) But, yes, I’m getting somewhere with it.

MR: Thank you so much for your time, Erykah. It’s been a pleasure.

EB: Thank you, Mike.

Transcribed by Ryan Gaffney