Catching Up With Heloise & the Savoir Faire


By Benjamin Lindsay

After a four-year hiatus, 'Diamond Dust' marks the musician's return to center stage.

And I’m sure that the fun ones are a blast to perform. I’ve heard that to really get a feel of who you are as an artist, we should see you live. Walk me through a show of yours; what kind of mentality do you have when performing live?

It’s so funny because I’ve had so many different skins—that sounds disgusting—, but, you know, at first it was me and two dancers and it was very, very campy. We couldn’t stop ourselves from changing costumes, like, I’d have three or four costumes per show, and I’d always layer up. I would wear an orange jumpsuit and then just several thing underneath it and just tear away, tear away, tear away, tear away. I would just make it so complicated for myself. And then we got a band, and I would always dress the band. They were guys, and then we, the frontline, were always girls, I guess, I don’t know, even though there were boys in it. And we were way more flamboyant than these guys who’d wear uniforms. And then we just kind of went, “Okay, let’s be a regular band,” you know? So the band wasn’t wearing matching outfits, they would just wear clothes and I would wear something insane, like, a giant sequined onesie and a disco ball broach with a huge red cape, so I was, like, the star.

And with this record it was weird because I was trying to, like, some of these songs are really, really electronic—like, they weren’t made by human beings, they were made with computer synthesizers. And trying to recreate it with humans wasn’t really working. So I decided that I was gonna make it a one-woman show. That’s where it’s currently at. And now I’m using projections, and we’re making it more, like, I’m actually in the process of designing some sets, and so it’s really more of a theater piece.

That sounds a lot of fun though!

I guess that’s both a problem—well, that’s not really a problem, I guess. But I like to change it up a lot. I can’t really stick to one thing. So it’s changed a lot. Yeah, now it’s more, like, this kind of—because the record is trying to stay on this kind of ancient, why human being tell these stories over and over again. Because if you look at different mythologies and you look at different religions, it’s all kind of the same. There’s all these archetypes that are really similar. I mean, I guess the past and the future are kind of, like, you know, they’re versions of one another. So I’m trying to make that the look of the set now. I mean, whatever, it’s still in the process, but currently I’m thinking big white pyramids with LEDs underneath it, and then we can project, like, things onto the pyramid panels. So it’s like a past-future.

I mean, if you’re tackling something as grandiose as the eons of time, I would hope your show is just as grandiose, so it sounds like you’re up to par with what we should expect.

I just need a million dollars! But we’ll see, I don’t know what the future holds.

And will you be going on tour for this album?

Yes, I am currently trying to book that out right now. I’m excited about it.

What do you have in the works for upcoming singles? Any videos?

I do. We shot a video for “Time Lords” out in El Mirage, it’s, like, a dry lake bed just north of Los Angeles. We did a day shoot out there, and it was a very dramatic—it was cool, because it’s like another world out there… And we shot it on a really nice camera, that’s the thing. My friend Georgia did the first one [“Vibez”] with his phone just for, you know, low-fi, and then this one, I think it gonna be a glossier look. It’s the highs and lows.