The Lowdown: LUXE

Being able to reinvent yourself is one of the most exciting parts about life, knowing that everything is in a constant flux. London-based artist LUXE is one of those people who, from the outside looking in, seems like has been going through that process of reinvention over the last few years. Whilst she may be known more for her breaks and rave-inspired club productions on labels such as Method 808, Foundation FM, Planet Euphorique, Banoffee Pies Records and GODDEZZ to name a few, recently LUXE has been returning to her classical music roots to bring a new element to her artistry through live performances.

Debuting her REVERIE show earlier this year, LUXE’s live iteration is bringing her two worlds together of classical and electronic music to create a symbiosis between the two worlds. Creating this dreamy, ethereal universe, the REVERIE show is written and performed with live electronics, flute, voice, string quartet and harp. To add to this, LUXE’s upcoming live show at Draaimolen Festival will see the multi-instrumentalist work with her biggest ensemble yet as she works with a local Tilburg-based choral on the vocal elements of the show to create an innovative and deeply moving show.

With only two days to go until we return to the MOB Complex for the 2024 edition of Draaimolen Festival, we speak to the multidisciplinary artist LUXE about the preparation and rehearsal process for her performance on The Chapel stage, working remotely with a choir, her journey with classical music and introduction to raves and much more.

Hey Lucy, thank you for taking the time to do this interview! How are you doing? What has your summer been like so far?

Thanks for having me! I’m well, much better after managing to go on holiday and take a break! My summer has been busy, balancing life / DJ / Live / writing music and actually taking some time to process recent times / years.

Earlier this year, you entered a new chapter of your artistry via a double single release which saw you combine modern classical elements with club sounds – what has your journey been like bringing those two worlds together? What inspired you to initially bring them together?

The journey has been very healing for me, and at the moment it feels like I’m frequently feeling that full circle sensation. I think I had a lot to process from growing up playing classical music and unbind myself from the structures that exist within that world, which for me at least, made it feel like a bold step to take the knowledge and skills into your own lane. For a long time it felt like I was so constrained within those structures – for me personally, it wasn’t an environment where I felt very liberated or intentionally able to tap into my creativity and true self expression. What inspired me to bring them together really was a love of both worlds and an intense desire to reignite and reconnect with classical music, but this time on my own terms.

How do you decide if something is a good idea?

I rarely decide this very consciously, but more instinctively. Generally if it feels exciting and I feel inspired, I’ll always carry on working on it. On the flip side, if an idea is not inspiring me, I’ll move on. Another thing that’s been useful is really giving new ideas time to breathe, not listening to them for a week or so, then returning with a fresh perspective and seeing how they make me feel.

Classical music is something that has always been around in your life – who was it that introduced you to that music and what do you think draws you to it?

My family – despite my parents not being musicians, they love music, and always said they wanted to try their hardest to give me the opportunities that they weren’t given, for which I’m forever grateful. They were always so supportive and nurturing, as a small child who was showing signs of being musical / interested in it, they always encouraged me.

I guess the introduction was also from school, I started piano lessons and remember loving it, and when everyone would do recorder lessons together, I remember the teacher saying to my mum I should try out the flute, so I did, and it just developed from there. I feel an immense gratitude that it was something recognised and encouraged, otherwise I wouldn’t be where I am today.

I think what draws me to classical is how calming it is to play, practice, and improvise. Sitting at the piano improvising is one of the ways to allow my brain space. Some days it’s the only thing I can handle listening to. This always brings me back to classical – but also its range and potential to make me feel a full spectrum of emotions.

How were you then introduced to club music and raves?

I discovered garage, dubstep and UK bass music from around the age of 16/17, then at a similar time when I first started going to clubs I remember having my first moment of being enamoured by House music. I remember seeing Heidi DJ at Patterns in Brighton, she played a classic jacking house set and I remember having the best time ever. When I went to study in Manchester age 18 I was surrounded by electronic music and very quickly started collecting music, digging, going out and experiencing a whole world of new music, but simultaneously growing a frustration that most people DJing at the time seemed to be (straight) men. I started playing house parties, radio shows and local gigs, and with the support and nurturing of older people in the scene, I began to play out more frequently. I remember playing my first little headline show under my old alias, DJ Luz when I was about 19 and feeling on top of the world.

When you’re writing music are you more motivated by your emotions, process or environment?

It can be a chain reaction of all three interacting, in varied orders, but also I often feel inspired by concepts and imaginary worlds in my head.

When do you feel most comfortable to take creative risks?

I try not to think in terms of risk when being creative, as ultimately there isn’t a tangible negative outcome for me if things don’t go the way I want. I’d say I feel most able to be impulsive and instinctive when I’m feeling inspired by something in my life – when I’m not thinking about it too much, everything’s flowing, I become more experimental and perhaps write more boldly or in ways I haven’t explored before.

You mentioned on Instagram that for your forthcoming live performance at Draaimolen you will be performing with your ‘largest ensemble to date featuring newly explored instrumental elements and premiering some new compositions’ – what stage of the prep are you at right now? What has this creative process been like for you? The joys and the challenges?

In terms of prep, I’ve recently mixed down all the music with a trusted engineer. I’m finishing up writing, notating and arranging the new music for the ensemble and new parts – some of which are show specific including a little surprise. Organising rehearsals, styling mood boards, coordinating the players with my team. The list feels endless at this point but I just try my best to trust the process!

The creative process – honestly takes a lot of organisation and clarity of what needs to be done. Hour by hour break downs and clear priorities for what I’m going to work on (the foundation of being able to be creative for me is not being overwhelmed). As I’m currently doing everything myself, obviously the writing of the music, but the notation, arrangement, orchestration etc., there is a huge to do list, so I have to be pragmatic with my time and work smart. It’s been a journey of constantly learning & pushing what I deem possible / know I can do.

There have been massive peaks and troughs, and I have felt under a lot of pressure. Some of the pressure is definitely pressure I put on myself, fundamentally because I really care and want to do the music, my team, and myself justice through the performance. Promoting the debut show with my small team & switching between DJing & then composing and performing live takes a lot out of me – so this has been a process of growth and understanding myself and the world around me better.

For me, the joys have been seeing and making my compositions come alive – working with talented instrumentalists has filled me with joy, realising what I’m capable of and the joy in constantly learning and growing. Feeling liberated to express myself in different spaces that mean a lot to me, such as scoring & performing in art spaces and exploring further the intersection of different arts.

The challenges have largely been within me feeling overwhelmed with balancing everything – this year has been A LOT for me in the best and also most intense way, so I’m learning how to set better boundaries, truly look after myself inside and out, and manage natural spiralling under the pressure.

What’s the narrative and concept behind this performance? What story are you trying to tell?

The choral ensemble that you’re working with on the show is based in Tilburg – have you had a chance to rehearse with them yet? What has that process been like working with them in different cities?

I wanted to work with local talent for the choral ensemble, as they are based in Tilburg we haven’t yet rehearsed in person. First time rehearsing in person is the days prior to the festival but we are communicating consistently and have online rehearsals beforehand. The process working with them remotely has been pretty smooth all things considered, and it brings an added element of excitement for when we finally meet in person and it ties together.

What resources have you used for inspiration for this performance? Any books, films, poems, albums you’re referencing?

I can’t really think of tangible inspiration, but more emotions and landscapes. I’ve always had a very vivid imagination, and I have a visual narrative in my head which translates into emotions and the music. I’m also forever inspired by nature, that’s often enough for me to feel so inspired. I also think that my natural emotionally intense response to things that may seem menial in life fill me with added energy and inspiration – I’ve had to learn how to channel this.