One of So So Gay’s great musical discoveries this year has definitely been the amazing Elouise, who we interviewed back in March. With her spectacular voice and showstopping stage presence we were certainly bowled over when we saw the first night her new show, Little Belter, in residence at Madame JoJo’s; so much so that it earned a rare five-star review. It comes as no surprise, then, that one of the many talented people working with her is none other than Mr Steve Anderson. Steve has worked with Kylie Minogue (amongst many other huge acts) since the early Nineties and is the director of Kylie’s current and biggest ever tour, Les Folies, which is currently in Australia after rave reviews in Europe and the US (including four stars from us). With a new set of Little Belter shows about to take off, we thought now was as good a time as any to have a chat with the man himself to reflect on the music industry and what surprises he has up his sleeve.
SSG: Hi Steve, what are you up to?
Steve Anderson: Hi! You have caught me in the middle of producing the new album for a fabulous French pop star called Christophe Willem which is being released later this year. It’s been an incredible year so far working with him, The Ultra Girls, The Hurly Burly Show, Elouise and of course Kylie on Aphrodite Les Folies – I have loved every minute.
Although you’re famed for your collaborations with other people, you first entered the music industry as one half of house music duo Brothers in Rhythm in the early Nineties. What did you like and dislike most about the music industry back then – and how would you say that those things have changed for better or worse today?
I don’t think there was anything to dislike about the industry back then. It gave great opportunities to up-and-coming producers like myself and had labels like deConstruction that weren’t scared of taking risks (which, believe it or not, ‘Confide In Me’ and even Kylie working with producers like us was considered a great risk). The budgets were there to be really creative, especially on remixes, and I think people truly respected the art of remixing whereas today it’s much more to do with how quickly can they have it and how cheap can it be.
As far as the music industry goes I still think there are great A&R people who know how to make records and can spot incredible talent and great songs. For me this includes the whole team behind Adele, Ferdie Unger Hamilton at Polydor, Parlophone who have done such a superb job with Tinie Tempah and Simon Cowell who along with his team consistently know what people will love and has huge hits because of it.
Have your music tastes changed much now that you’re constantly writing and producing?
Not that much. I am still as excited about hearing new music first as I ever was. I love trawling the blogs to find new acts or new songs and still get a real buzz when I introduce someone else to it either on Facebook , Twitter or via Tumblr. Also, I find with a lot of people who do what I do for a living we tend to listen to the complete opposite of what we make or are known for. I have a real love for quite intimate singers like Alison Krauss, Sara Groves and Gemma Hayes as well as orchestral and vocal pieces which I can’t deconstruct so can enjoy like a regular music listener. Artist-wise, at the moment I absolutely love Skylar Grey, Ed Sheeran, Skrillex, Madeon and the new Nicola Roberts album is particularly ace.
How did you first end up working for Kylie?
The first thing I ever did was a remix of ‘Step Back In Time’ for a DMC mix compilation which led onto Brothers In Rhythm remixing ‘Finer Feelings’. When she signed to deConstruction David and I knew the people that ran it so we literally called and asked if we could work with her , they said yes and here I am 17 years later still working with her – luckiest man in the world!
What do you think is the secret to her longevity? A soap-star-turned-popstar would normally be lucky (lucky…lucky) to last two albums, let alone the 11 we’ve been treated to so far.
True professionalism alongside massive likability, genuine warmth and empathy with her audience, plus really smart choices and not being afraid to take a risk once in a while.
Tricky question for you now – which is your favourite album, single and album track by her?
Favourite album Light Years. Favourite single – ‘Wow’. Favourite album track – ‘No More Rain’
Do you see Kylie slowing down anytime soon? And do you know anything about any possible musical direction she might explore next? We know she was keen at one point do an orchestral or acoustic album of her hits, or possibly a Blossom Dearie cover project.
I think both of those things will happen. We had such an incredible response to the Live Lounge and Radio 2 shows last year and people really get to hear how great her voice is in that environment. As with everything Kylie it’s all about timing and when the right time comes along I guarantee she will be sat in front of gorgeous orchestra just singing songs she loves whether they be hers or by other artists. Also we have plans for the Blossom Dearie project as a separate thing but really excited about it.
Asides from Kylie’s tours, you’ve been the musical director for many other show-stopping performances, tours and events. Which others are you most proud of?
I am going to be a bit obvious and say I am proud of all of them but I can say the most fun I have had on a show outside of Kylie was The Hurly Burly Show which William, Polly Rae, Terry Ronald and Ash Wallen and I put together from nothing with no money and it’s just finished playing in the West End to sold out audiences and has the potential to go on to amazing things worldwide as well as return to London in the autumn. [So So Gay interviewed Terry Ronald in March.]
I find that I learn something from every show I do, whether it be working in Paris with Christophe or working with Westlife (who I adore) there is always a lesson I take away. The Westlife acoustic show we did last year was so lovely – again, stripped back with a gorgeous band and orchestra and just the boys’ voices sailing over it. I am known for being over-the-top and I wouldn’t have it any other way, but sometimes it’s nice to bring it back to just the music and voice.
Back in 2007 you were involved with Rent Remixed featuring Siobhan Donaghy as Mimi Marquez. What was it like working with her?
I’m a huge fan, so it was quite daunting meeting her for the first time, but she couldn’t have been lovelier and we got on really well. Vocally she just reduces me to jelly; even now her vocal on ‘Without You’ will make every hair stand on end and put a massive lump in my throat. Her voice is like no one else’s I know – its 100 per cent pure emotion and she is sadly missed now she has stopped recording. Hopefully she’ll find something she is into and come back one day as I absolutely love her.
Onto the amazing Elouise – how did you first discover her?
Bobby from the Don’t Stop The Pop blog contacted me as he knew I loved Dusty, Judy and so on, and sent me some links to Elouise who was doing more Motown kind of stuff then. Terry Ronald and I had written a song called ‘Another Day’ intended for Shirley Bassey but when Dame Shirley turned it down I thought the only person I know who could possibly sing it because of the range and power was Elouise. However, what I wasn’t prepared for was that she would push me more over-the-top than I usually go, which is rare!
She’s quite a different act to the other artists you’ve worked with previously like Kylie, Atomic Kitten and Holly Valance. What attracted you to that?
I just love great voices and have always wanted to work with someone who had that Judy Garland kind of thing: vulnerability, believability and a real belting voice which is the reason the new show is called Little Belter as she literally is compelled to sing like that. Generally I’m very lucky that everyone I’ve worked with I really like; Holly was fantastic fun and Tasha from Atomic Kitten has the most brilliant voice – she’s basically Lulu!
You’re producing her upcoming album – what sort of things can we expect?
It’s going to be very much like the Michael Bublé mix of well-known songs reinvented and a few new ones in a similar style. It’s all going to be showcased in Little Belter and already ‘Tainted Love’ and ‘Born This Way’ show a good indication of how the album will sound. The point is never to rush these things; we need to establish a great audience with the show and go from there, and we are achieving that with every show she does.
As someone extremely clued up on the direction that musical trends are going, what do you anticipate pop music in the near future sounding like? At the moment it’s mostly dance and urban music that’s popular, whereas five or six years ago we were in the thick of the rise of landfill indie.
It’s funny – not so many years ago it was deemed the kiss of death to have a 4/4 kick drum on a record in America or a UK rapper on a record here. Now it’s like the US has discovered 1990 all over again – Will.Iam is slowly working his way through Renaissance Mix albums for inspiration and we have a whole load of great home grown rap artists, particularly Tinie Tempah, who I think is so good – especially live. For me, great songs and melodies will always shine through, especially in the hands of great pop stars. The Britney album proves that, with so many catchy songs. In general, Dr Luke – who has been my favourite writer-producer for a long time now – really rides that balance of credibility and dance with melody and great pop songs. Of course ,there will always be novelty dance music which sounds amazing on a night out, but there always has been. As long as artists like Adele continue to sell millions of records I think everything is as it should be.
Asides from the projects mentioned, are there any other things in the pipeline that you’re allowed to tell us about?
We are working on the Kylie musical. It takes a long time to get all the pieces in place but it’s really beginning to take shape. Other than that I just arranged a Live Lounge with Biff Stannard for Leona Lewis who is breathtakingly good and such a lovely girl too, so I hope maybe to do some more with her. Also I’m writing more songs, particularly with Mark Feehily as we work really well together. There are a couple of ridiculously exciting things that I’m not allowed to tell you about too!
Where would you like to see yourself in a decade – what sort of work would you like to have accomplished?
Honestly, as long as I am working in music and surrounded by talented and lovely people that’s all I could possibly hope for.
Little Belter continues at Madame JoJo’s from June 22. So So Gay readers will be keen to hear that Dress Circle are offering a rather ace deal for it: free champagne, a free programme and an show-only exclusive CD, all for £15. Visit Dress Circle to take advantage of the offer.
For more information about Steve and his latest projects, visit his official website and his tumblr blog. You can find out more about Little Belter on the show’s official website.
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