Louise Clare Marshall, thank you for taking the time to speak with Occhi Magazine. Reflecting on your earliest musical memories, how do you think those experiences have shaped your artistic identity today?
Being surrounded by my talented family, my brother Wayne who played piano, and my sister Melanie who sang to me, my early years from 15 months old to 7 years old were the richest parts of my musical world whilst sitting for hours in the front room in Oldham as a child. I was accompanied by my brother, who at an early age was an improvisation God, and listening to the skills of my sister singing, I copied her tones and vibes. I still utilize those vibes today in all my performances. Back then, being recorded on cassette tape made those memories some of the best times of my life.
Growing up in Oldham, your family played a significant role in nurturing your talents. How did their support influence your decision to pursue music professionally, and were there any moments of doubt along the way?
My mother and father were wondrous amateur musicians. In the Church choir, my mother was an alto, and my father was a strong tenor. Being brought up in the Church of England way with hymns, anthems, and psalms to get your teeth into, I loved Sunday morning and evening services. We also had a choir full of West Indian singers where I learnt the art of aural training and separating four-part harmony for traditional West Indian spirituals/songs. This trained my ear to the levels where my career sits quite comfortably now professionally. I conducted them for about 5 years and this was another part of my life that I loved.
How did your experiences with the Oldham Girls Choir and Chetham’s School of Music challenge your perceptions of music and push you to grow as an artist?
The Oldham Girls Choir was the pinnacle of my teenage times. Wednesday evening practice was being surrounded and practicing amazing unison, two/three part songs with an amazing conductor, Eileen Bentley, and then joining The National Youth Choir, whilst being at Chetham’s was just a glorious time. My ears and senses were just alive with chords and people being able to sight-read and sing whilst learning to blend was a gift in itself. Learning the art of sight reading is one of life’s musical skills.
Joining the National Youth Choir of Great Britain is a significant achievement. What were some of the most challenging aspects of this experience, and how did it shape your musical journey?
Joining the National Youth Choir of Great Britain was amazing firstly to be part of a 3 to 4-day course totally absorbed with warm-ups singing in harmony singing lessons. Part was just incredible plus being part of a world tour with 140 children travelling the world and singing in the most amazing venues and churches. This was an unforgettable time of my life. I started writing my own gospel arrangements with 8/10/12 part songs which was such luxury with such an amazing group of young singers.
My family has held me in good stance for always learning and being able to keep my options open. If it’s Theatre, Classical, jazz, or World Music, have a good discipline for whatever circumstance comes your way. Behave in a good way you want to be treated. Be yourself but always listen and learn. Being with Jools Holland for the last 20 years has taught me a great deal in being true to yourself. He’s an amazing person to work for.
Who were the mentors that had the most profound impact on your career, and what were some of the toughest lessons they taught you?
Whilst being at both Chetham’s and The Guildhall School of Music as a pianist, I had the best piano teachers anyone could ask for. Alicja Fiderkiewicz and Joan Havill were my guidance in discipline, taught me how to practice properly, brought out my skills utilizing techniques that I had, plus chose the right repertoire for my abilities. I thank them for the introduction to Brahms, Berg, Poulenc, and Scriabin as examples.
Performing at the Royal Albert Hall with Adiemus must have been a milestone. How did this experience challenge your abilities and influence your future performances?
When I performed at the Royal Albert Hall with Adiemus, (Miriam Stockley and Mary Carewe) it was an incredible time, only six singers, two singers on each part, and the music by Karl Jenkins was so recognisable, and those two/three-part harmonies were so strong and the bright tribal sound was so unique. It was a total honour to be chosen to be one of those six singers.
Transitioning from choir performances to West End shows involves a steep learning curve. Were there any artistic challenges faced and how did you adapt?
Transitioning from choir performances to West End was a steep learning curve because suddenly being on a stage where the audience are everywhere high and low, I had to learn to lift my head and my chest high and to stretch the performance levels beyond the crowd, but performance is the same whether in-front of 3, 300, or 30,000 people.
Working with iconic legends like David Gilmour and Dionne Warwick is a dream for many. How did these experiences refine your craft?
Working with David Gilmour on his last two tours has been one of my favourite times being alive as a musician and singer. To be able, and allowed to create new elements to tunes and legacies steeped in such history has been an absolute honour and triumph. To work with artists either in recording, one-off gigs, or tours with so many beautiful people that I’ve been blessed to work alongside such as Dionne Warwick, Noel Gallagher, Chaka Khan, Paul Weller, and Michael Ball has made me the musician and singer that I am now. They’ve allowed me to be myself and yet within the boundaries of still being in their presence, being able to share my thoughts on how to create something for their recordings or performances, and yet still, allowing me to meet myself.
Collaborating with artists like Paul Weller and Michael Ball, how did you navigate developing your unique sound while respecting their artistic visions?
Collaborating with all these different artists allows me to be respectful of whoever I’m working with and listen to their timbre, listen to their ideas their vibes, and hopefully they like what I do and allow me to be creative in their vision. Marc Almond from Soft Cell is one of those artists who allows me and my fellow backing vocalist to create what we hear around his music.
Writing your own albums is a deeply personal endeavour. What are some of the most demanding aspects of the songwriting process for you, and how do you overcome creative blocks?
I found a new freedom in writing and recording my own music. It has been a revelation and it’s lovely to be able to fall back on those tunes or arrangements that sometimes I never get chance to perform live because I’m working with other people. Knowing that somewhere that my CDs or my music is being loved somewhere, in their car, on their phone, is a blessing, & it’s testament that everybody needs a bit of glory and sensations to create music. If you’re not in the mood with the right creative juices to make the statement, then wait another hour, day and come back to that thought another time.
Balancing the roles of performer and songwriter can be trying. How do you manage the pressure, and what strategies do you use to maintain your creative energy?
Being a performer and songwriter has its own hurdles which have pushed me to create my levels of style, brilliance, and flair.
Please tell us more about your current projects and upcoming concerts.
I have many projects coming along soon only in the dance field classical jazz world music whatever music takes me whatever I feel like waking up and creating. I have been blessed with the ability to create energy create musical energy when I can. To sing on a number one Dance Track that was No.1 for 8 weeks in the UK charts in 2022 was an unbelievable time. Afraid to Feel by LF System went crazy that Summer and is now a double platinum song, keeping Kate Bush and Beyoncé off the No.1 slot was a bit fab.
Where can our readers find out more about you?
Please check out my Insta lmarshallsinger, also on my website www.louiseclaremarshall.com. I perform regularly in London or you can catch me on tour with Jools Holland singing lead and backing vocalist with his Orchestra all over the UK and Europe, and I love performing Sergio Mendes right through to Minnie Riperton, Aretha Franklin, Brahms and Bach. I’m also a member of Royal Scammers where we sing the Music of Steely Dan at an amazing level. So, if you come to one of my performances you will be transported to somewhere in my mind, placed somewhere in my brain, which can be crazy, calm or wherever/whatever the vibe takes me. Come along on the Louise Marshall journey.
Photos by Melanie Gail (Main) Gavin Elder and Alicia Marsden, courtesy of the artist
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