Born and raised in Amsterdam to a Catholic mother and Hindu father, Joelle Charan is empowered by her mixed heritage and religions. Upon graduating from the Conservatory of Amsterdam, she moved to New York to deepen her knowledge of songwriting. She studied at The New School for Jazz and Contemporary Music in Manhattan with generous scholarships from the prestigious Prins Bernhard Cultuurfonds and the conservatory itself. Joelle found inspiration in all corners of the city and returned from her year in New York with a suitcase full of songs.
In this interview spotlight, I chat with Joelle about her latest music, adapting during a worldwide lock down and more.
Full Q&A along with links and music below.
Where are you from and how do you describe your style of music?
I was born and raised in Amsterdam; my mother is Catholic and my father is Hindu. My father is a descendant of indentured labourers from northwest India who worked under harsh conditions in Suriname following the abolition of slavery. My musical style represents my identity and with it, I strive to contribute to the healing of Indian-Surinamese collective injury. I feel empowered by my mixed heritage and religions. To me, fusing east and west in my musical style is a very personal choice. My parents blended eastern and western ideals in our home and by following their example, I really hope my music can in some way help to break the cycle of prejudiced attitudes which are still too prominent in today’s society.
I like to write songs with a strong narrative. I love when a song captures me with descriptive lyrics, so I strive to do the same. I’m often inspired by my family, the stories from my Indian grandparents and the hardships they’ve faced, but I also love to be inspired by snapshot moments on my travels. When I see a stranger, my mind wanders and imagines who they are and what their story could be. Musically, I draw a lot of inspiration from artists like Laura Mvula, Daniel Lanois and Norah Jones. I like to write my dreamy pop songs, but infuse them with classical Indian elements for a bit of surprise.
I have photographic memory and tend to remember memories as images. A painful echo resonates less when I turn it into a song. Sometimes my subconscious creativity takes over. Then I create a fantasy world in my head, and build lyrics and music around it. I’m usually inspired by graceful lines, lots of movement, pastel colours, fantasy and scenes from nature. If I see a bird fly gracefully up towards the sky, I think of a harp. If I see black ink drop on paper, I think of electric guitars and a raging tabla.
My dad’s made some beautiful paintings, which have hung in our house ever since I can remember, even still. He never made his profession out of painting but I think I inherited his talent, because I love to draw and paint too. My parents have always sparked my interest in visiting art galleries and museums. Whenever there’s a nice exhibit around or when I’m in a new city, I always go look at interesting art. I’m particularly drawn towards impressionism and Asian art, and sometimes modern art.
How did you get here? As in, what inspired or motivated you to take on this journey through music and the music biz?
My parents had a piano when I was still in my mum’s belly. My dad used to play pieces by Chopin on it and that’s where my love for playing the piano comes from. When I was a baby, my mum recalls me recognising the same melodies he’d play. So I’d already listened to music before I was born.
During lower school, I hated singing in the obligatory school choir and mimed instead. My favourite teacher noticed that; she told me I sang beautifully and that I should take up singing lessons. I took her advice and over the years singing became my passion.
When I graduated from the Conservatory of Amsterdam in singing and piano, I moved to New York to deepen my knowledge of songwriting and to study at The New School for Jazz and Contemporary Music in Manhattan, with generous scholarships from the prestigious Prins Bernhard Cultuurfonds and the conservatory itself. I found inspiration in all corners of the city and returned from my year in New York with a suitcase full of songs.
To keep developing my skills in both singing, playing the piano and songwriting, I always try to do something new in every sound production I make of my songs. One day I want to write for a full orchestra, but for now the sonic images that lift the lyrics on my upcoming album have become my ‘in between’.
How does your latest project compare/contrast with your previous release(s)? Were you setting out to accomplish anything specific, follow a specific theme, or explore different styles of creation?
Streetlight Silhouettes is the latest single from my debut album, which will be released in the New Year. The first single Blue Moon Bird was released on 1st October. I was very excited to collaborate with producer John Reynolds, known for his work with famous artists like Sinéad O’Connor, Brian Eno and U2.
Blue Moon Bird is inspired by nature, Stravinsky’s The Firebird Suite and Vince Mendoza’s harp arrangements on Laura Mvula’s 2013 Sing To The Moon album. I wanted to step away from my piano and introduce the harp into my own contemporary music. The harp is the core of this song, as I felt the instrument accurately paints a narrative of the fluttering heart and beautiful voice of a fickle, free-spirited songbird. Although the blue moon bird sings more beautifully than any creature on this earth, his song for me cannot last longer than one night. He can never stay, never belong. All throughout the song there’s a duet going on with the Indian sarod, endlessly replying to my voice and the harp. Like they’re sharing stories.
My latest single sparks images of wintery nights and the almost cinematic experience of walking amongst the streetlights. I wrote Streetlight Silhouettes as a personal soundtrack to my long night-time walks down New York avenues during my time in the US, inspired by the foggy silhouettes of people passing by, like ghosts under the city lights. I wrote a string quartet arrangement and layered it with celesta, piano and a waltz-like rhythm. Combined they breathe warmth into the track and paint a romantic soundscape, despite the love song’s sad lyrics. When I played the song to my mum she said it reminds her of our walks together on the Brooklyn Bridge in New York, with helicopters buzzing around the skyscrapers, touching the sky. I think that’s a really nice reference for Streetlight Silhouettes.
The song initially ended with my lead vocals. While working with John, I thought it’d be a cool idea to use a string quartet arrangement that I had composed for a separate interlude on my upcoming album. John and I experimented with the material in the studio and I think it worked out nicely!
Name the biggest challenge you faced as a creative during these unprecedented? How did you adapt? How have you kept the creative fires burning during all this?
With no live performances on the horizon, I’ve been growing my digital presence on social media and Spotify. I’ve also been in touch more regularly with people online. I’m spending much of my time outdoors to keep finding inspiration for my music, instead of staying locked up and isolated at home. Since the lockdowns I’ve had more focus and peace of mind to write, to try out new instruments and sound combinations without getting distracted.
What was the last song you listened to?
‘Let it Lie’ by The Bros. Landreth. It is a beautiful, romantic song about letting go and moving on.
Which do you prefer? Vinyl? 8-tracks? Cassettes? CDs? MP3s? Streaming platforms?
CDs, as I grew up with them. I bought my first inspirational singles and albums on CD and will cherish them forever.
Where is the best place to connect with you and follow your journey?
I’ve added some links for you below:
Instagram: https://www.instagram.com/joelle.charan/
Facebook: https://www.facebook.com/joellecharan
Twitter: https://twitter.com/JoelleCharan
YouTube: https://www.youtube.com/channel/UCTUpnsRRP0WWmnnrIq_S4IA
Spotify: https://open.spotify.com/artist/57fnehZdJ3Zjc4lyX0NgcZ?si=5TUnTvz_T0SNEDUMK0x-lQ&nd=1
I really appreciate your time. Anything else before we sign off?
Getting heard and noticed as an unsigned singer-songwriter is immensely difficult. Working in the music business is a long road, and finding a firm audience and fanbase takes time and dedication. So thank you very much for helping me with this interview! ❤️
