Melbourne singer/songwriter Loretta Miller brings her charismatic alt-country charm, a penchant for Americana and pairs it all with her rock’n’soul beating heart to deliver her first solo album titled Loretta.
Best known as the enigmatic front woman of Melbourne band JAZZPARTY, Miller has also appeared on many recordings over the years from The Teskey Brothers to Harry Angus [The Cat Empire fame] and Kutcha Edwards to name a few.
She comes from a lineage of creative artists too. She’s the niece of ARIA-nominated Lisa Miller and daughter of singer songwriter Tracey Miller. But on her debut solo, Loretta Miller gives us country heartache, introspection and defiance like never before.
She spoke to The Write Drop about her new album titled Loretta.
When did you realise you wanted to make a solo album?
It’s always been my dream, but I live with a lot of self-doubt, as well as being an extremely busy musician in multiple bands and projects. I love all the different genres and it very difficult to focus on one particular style, project, or thing.
When you’re making a record, you do need a bit of focus on what you want it to be and where you want it to go. I was going through some pretty trying stuff in my life, and I wanted to have something that was just my own, outside of the other projects that I share. In doing so, I feel I’ve grown a lot and become brave, but at the same time, it’s quite lonely being the boss. I really love and prefer working collaboratively and being part of a team.
The actual push I needed came from my dear friend Harry James Angus (The Cat Empire), who invited me to work on some demos at his place. He held me to task; made me play him my bitsy songs, and encouraged me to let them out and stop holding them so tightly to myself. I think I really do need to be pushed.
Three songs and what inspired them
DOG
I wrote Dog fast. It’s probably the song I’m most proud of on the record. It was the first tune — it’s about co-dependency and how that can make you feel. It’s not even particularly about blaming the other person for that — just big feelings. I have a memory of feeling like crap, looking at the full moon, and the song essentially downloading itself into my brain. I know there was more to it than that, but that’s how it felt.
CARRY YOU
I was staying with Harry to work on some of the tunes I’d already written, and after a session, I went walking on the beach. I was having a conversation on the phone with a dear friend who was going through some really difficult stuff. I wrote the song sort of from her perspective — or my idea of what she might be feeling. I didn’t think, “Oh, this is great subject matter for a song.” I just got off the phone and the music came into my head.
BLUE
My friend and bassist on the record, Joel Loukes, is very talented. He had written the music and made a little demo, which he sent to me. I’m into Chris Isaak and cinema and cowboys, and I’ve spent plenty of time in the down-and-out parts of America — roadhouses and bars — touring with Clairy Browne & The Bangin’ Rackettes. That’s what the music felt like to me. I had also just seen a great film at MIFF called Bloody Noses, Empty Pockets — a faux documentary about the closing night of a bar in Las Vegas. It’s full of characters and people who spend a lot of time in this bar and don’t know what they’ll do or where they’ll go when it’s gone.
At the same time, I was working at the Archies Creek Hotel, pulling beers for locals and such. It’s a rich tapestry of moody clichés.
An album that changed your life
The Revelator by Gillian Welch. It was such a time for me as a teenager. My mother introduced me to it, and I feel it reconnected me with her and my family musically. I’d been very ratty and gross, off the rails, and listening to a lot of gangster rap (not that there’s anything wrong with that) — music my folks didn’t really dig for obvious reasons. (Misogynistic lyrical content being at the top of the list.)
This record was shared and loved by my family and my girlfriends. I remember so many cozy, lazy, long nights with girls being girls — listening to that record and Soul Journey, talking, drinking wine, and smoking rollies. I went and saw them play at the Prince of Wales, and it was so AMAZING and special. Perhaps my first big band room show that wasn’t a family member? I don’t know if that’s exactly life-changing, but it represents a lovely, nostalgic time and a reconnection to music outside of what the boys I hung out with thought was cool.
What do we learn about Loretta as a solo artist that doesn’t happen when you work with others – either in their band or as a vocalist on other epic work?
People who know me probably already know I have many different sides to my voice. This record is me at my most personal and vulnerable. I believe music is about connection and feeling rather than learning, so perhaps people might feel a deeper connection with this? But maybe not!
Future Plans
Overseas absolutely. To have an opportunity like that would be a dream come true for me. For as many people to hear and love it as possible. I think just getting it around Australia would be wonderful too. For real, I would love to play a show up in Sydney! It’s been so long. I’m doing everything on my own and working two jobs, so it’s not as simple as hopping on a plane and going. But there are big dreams.
Melbourne Music Scene – what works; what doesn’t.
What works are the things that have always worked; the many varied venues and eclectic offerings of deeply brilliant artists, and committed folks going above and beyond to keep the pulse of the city beating. Our community radio stations are very special too. You can find something amazing to see or do any night of the week; and that’s very cool and shouldn’t be taken for granted.
What doesn’t work? People being too cool. BORING.
There’s a lack of funding for independent artists and smaller venues, and the combined effect of streaming, social media, as well as COVID and the cost of living. I know we’re all sick of hearing about it, but all of that has changed the landscape – especially for younger audiences and the way they engage with live music. I see much more fear and hesitance to try new things, and less of an urge to just get out. I feel it when I perform and when I go out to see others perform too.
Also, I want to see more diversity in line-ups in terms of mixing genres and art forms. Not just band, band, band. What about a dancer, a poet, a performance piece? All the different artists coming together and creating a wild and interesting night. We had some amazing events going on when I was coming up, and it was such an exciting time. I’m not saying it doesn’t happen at all – just that I’d like to see a lot more of it.
Loretta Miller debut album Loretta is out October 1.
https://www.outontheweekend.com.au/loretta-miller-band
