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The artist known as Empress Of, whose real name is Loreley Rodriguez, is attempting to discuss her latest album with me, but an issue arises. 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 friend and fellow pop singer Rina Sawayama at a fancy Mayfair restaurant. She was surprised to discover that the chicken dish was priced at £140.
She is currently situated on the third floor of the Barbican centre, enjoying her coffee before we visit the textile exhibition. Today, she is not in Mayfair looking glamorous, but rather dressed casually in a black bomber jacket and sleek ponytail. She talks about the photoshoot that her team arranged for the article, which had a “fashiony” vibe reminiscent of Mugler and Schiaparelli. She also mentions the interest in her upcoming album, but our conversation is constantly interrupted by visitors asking if the conservatory is open. With our dark coats and coffee cups, we blend in with the gallery staff. When we inform a woman that we do not work here, she walks away in an offended manner. This encounter feels both polite and passive-aggressive, a perfect representation of English culture.
We return to the album and the artist comments, “The album has a provocative vibe,” as we enter the exhibit. She shares that it represents her time as a single person. She also tried out a dating app, specifically Raya, which is known for its high-profile members. Rodriguez expresses her initial experience as unpleasant, but also recognizes it as inspiration for her current fun and carefree attitude. She mentions that her new songs have a more pop-influenced sound compared to her previous work.
Rodriguez is embarking on a new journey, having made a splash in the electropop scene with her 2013 EP Systems and 2015 debut album Me. These projects featured unique and experimental tracks that tackled issues such as capitalism, sexism, and heartbreak. According to Rodriguez, her early supporters were often Pitchfork readers and dedicated music fans, predominantly straight men. However, with subsequent releases like 2018’s Us and 2020’s I’m Your Empress Of, the artist delved further into themes of femininity, relationships, and her own experience as a Honduran-American immigrant. She has also had the opportunity to tour with artists like Lizzo, Maggie Rogers, and Sawayama, and notes that her fanbase has since grown to include many queer individuals. Rodriguez suggests that this may be due to the allure of witnessing a woman confidently embodying her own persona and using it as a means to create and express herself. As she puts it, “Empress Of” is a channel through which she can unleash her wild side, something she may not always feel comfortable doing offstage.
This album, For Your Consideration, features several personas that reflect the ubiquitous phrase “everywhere” in Los Angeles. The artist explains that everyone in the city seems to be striving for some kind of award. The opening track, also titled “For Your Consideration,” explores a breakup that captures the essence of LA with lyrics like “Took me up a canyon / Just to say you needed space.” The song includes ASMR breathing from Rodriguez and a minimalist beat, creating an intentionally unsettling and nostalgic atmosphere.
Rodriguez shares that the majority of the album centers on using various vocal techniques. She remembers that the creation process began after a filmmaker she was romantically interested in took her to a hill and revealed that he was emotionally unavailable, while simultaneously launching his Oscars campaign. When asked about the potential of people online discovering the filmmaker’s identity, she expresses indifference, stating, “I am not worried about it.” The rest of the album features energetic house and dance tracks, with some in Spanish, all celebrating sex, flings, and wild nights. “I have written numerous breakup songs,” Rodriguez states, but this time, she wanted to avoid writing about heartbreak.”
As we move from room to room, we are greeted by a variety of colorful and textured installations. The Prayer Clouds of Igshaan Adams shine brilliantly on the walls, resembling delicate glass. Rodriguez is captivated by a quilt created by Loretta Pettway, adorned in shades of blue. Rodriguez admits to feeling apprehensive about venturing into a more pop sound. She recalls moments in the studio where she felt exposed and embarrassed by the indulgent nature of her songs. However, she ultimately decided to embrace the pop genre, particularly with love songs, which she had not explored before. She acknowledges that some still view her debut album as her best work, but she hopes to continue growing and evolving as an artist. I mention how artists who gain recognition from Pitchfork often struggle to break away from their initial success, but Rodriguez sees it as a blessing and strives for further success.
Exiting the exhibit and walking through the main lobby of the Barbican (which she refers to as “70s space age” with approval), we continue our conversation on a corner sofa. Our attention is quickly diverted by a little one who makes faces at us and then becomes shy when Rodriguez greets them. Rodriguez shares that her passion for music started at a young age. Growing up in Los Angeles, her father was a musician in a Honduran band and her mother worked as a nanny. She recalls, “I was always curious about music. We had a piano in the house and I would try to figure out how to play it.” At 12, she began taking vocal lessons and aspired to become a jazz singer. As she discovered artists like Björk and Imogen Heap, she developed an interest in pop music. She pursued her studies at the prestigious Berklee College of Music and then moved to New York in 2011, where she gained experience in the local music scene. She reflects on this time as “amazing” and remembers, “There were so many DIY venues and warehouse shows. I even saw Grimes perform for an audience of 250 people.”
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Flourishing underground music scenes like New York’s have since come under threat. Artists face many economic challenges. “Maybe it’s the recession. Maybe we just don’t know how to make money because we’re not getting enough royalties from streaming.” Rodriguez says that, as with many musicians “it’s hard for me to tour. Everything costs a lot.” There’s also the other side of being a working musician. “So much of my career is social media. And being on my phone. And being an internet person.”
This can be overwhelming. There is pressure to constantly share every aspect of your life, including behind-the-scenes moments and trendy things. Sometimes, I wish I could keep something just for myself. Just yesterday, I had to post a photo announcing that I was going on the BBC. Instead of just sharing a simple photo of myself, I had to find the perfect one that would get the most likes and engagement. This is also part of my job. However, when I do live shows, I am reminded that there is so much more to life than just my phone.
When asked about her future aspirations, she expresses a desire to not be undervalued and may even be open to being overvalued as a joke. The cover of “For Your Consideration” features the musician on a large gold star, symbolizing her ambition to achieve success and recognition. She playfully references the title with a sweeping gesture, implying that the answer to her goals is right in front of me. However, she stops herself from stating it aloud.
Source: theguardian.com
