Lilan Kane

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Lilan Kane (Lee-lawn)

Interview conducted on March 18,2021

By Dan Locke

Lilan Kane (pronounced LEE – lawn) is a soul and jazz vocalist based in Oakland, CA. A graduate of Berklee College of Music, she studied with Grammy award winning vocal arranger Donna McElroy and drummer/arranger Kenwood Dennard. She has a full-length album Love, Myself and her EP Wonder produced by Michael Aaberg (Lalah Hathaway, Goapele) as well as an EP Shadows, a collaborative release with Cosa Nostra Strings. Her new single “TKMO” pays homage to the challenges of quarantine as well as one of her favorite artists Roy Ayers, available on all digital platform’s March 12, 2021.

Backed by her dynamic band, she has sold out notable jazz venues Yoshi’s Jazz Club and SFJAZZ. Last fall, she completed an East Coast tour including the notable venues Minton’s Playhouse in NYC, Wally’s Jazz Cafe in Boston, and Chris’ Jazz Cafe in Philadelphia.

You are an Oakland Jazz/Soul singer. What is your upbringing?

I grew up in Novato, CA. Music was my refuge from a young age, both in listening and playing piano and singing in bands and choirs. You could always find me out on the piano trying to learn songs off the radio or singing along to some Billie Holiday or Aretha Franklin.

How did you discover music?

There was a piano in my kindergarten class and I begged my mom to take lessons because I wanted to be able to play for my class. My dad also introduced me to a huge catalog of soul and blues music and I ate it up. I loved listening to my parent’s record collection too – everything from Whitney Houston to Ray Charles to the Beach Boys.

How did you start to write music?

I was always at the piano and would dabble singing ideas and trying to play them. I started to write some songs around 12 or 13 years old and really just was finding a place to express myself. I felt very alone and isolated through much of my adolescence so I found songwriting to be very therapeutic.

Describe your music.

I would say its melodic built around soul and jazz chords with some pop/gospel influence. I’m obsessed with lush harmonies and background vocals. I love having a hip/hop backbeat under these kinds of chords. My voice ranges from singing softly and vulnerably, but I also like digging into the raspy, raw delivery too. I try to be honest in my lyrics, which i guess is fairly obvious with my trending theme of love and heartbreak. Although my new music has matured and is more speaking of life experiences and self-reflection.

What was your first performance like?

I’m not sure I even remember my first performance…probably some school talent show. I grew up singing in my church and in a high school a cappella group so we were performing all the time.

How was it the first time you sold out Yoshi’s?

That was a very humbling and overwhelming experience. I found out I had a serious vocal injury about a month before the show, which was scary and devastating. It was hard figuring out how to navigate promoting and performing confidently when I felt so insecure about what I was going through vocally. The show was better than I imagined and my band was incredible. But it was sort of bittersweet because I felt like I was proud and elated to have such a welcoming crowd, but also sad that I physically couldn’t deliver the way I wanted to because of the vocal issues at hand. I guess that’s the humbling part. The irony is I had to be strong enough to surrender to how weak my voice felt at my album release concert.

You have opened up for the likes of Hall & Oates, Lenny William, Freddie Hughes, The Doobie Brothers, Chicago, Sharon Jones, and Trombone Shorty. Did they offer you any words of wisdom?

I didn’t get much of a chance to interact with them, but watching them throughout soundcheck and their interaction backstage was fascinating. Just observing their process and presence. My biggest takeaway was the respect amongst the artists and their teams, the comraderies’, and the work ethic I witnessed.

By playing with your bands you supported, did that help build your fan base?

It did help, definitely increased my album sales and local show attendance, and led to other events at the venues where I played.

Do you belong to any to songwriters’ organizations like the International singer-songwriter association, SESAC, BMI or ASCAP?

I am and ASCAP member and a voting Grammy member.

What makes a good songwriter?

I’m not sure that there are many rules anymore. But songs that I enjoy usually have strong lyrical content – I love a good poet, I like wordplay and alliteration in lyrics; a story – the lyrics must tell some sort of story – not just have one word that repeats over and over and over; A catchy melody, that even when all the production is stripped away – the song is great just with piano and melody – it can stand on its own and doesn’t need all the bells and whistles to make it shine; I enjoy creativity – someone that takes risks and does something unconventional but it still must be musical, nothing forced.

What was the title of your first original song? Did you record it?

I can’t remember it was so long ago, but the first one that I can remember was called “Bring It Back.” I wrote it around 2009 when I lived in NYC, but didn’t record it until 2015.

Tell me about your new single TKMO (Time Keeps Moving On)”?

It was born out of hope and desperation in the beginning of the quarantine. I was learning to produce and I felt so lost having literally lost my shows, my livelihood, my income, my sense of identity and I just felt helpless. At the time I was escaping by listening to Roy Ayers on repeat. So, I started writing and really wanted to keep his music in mind. I’ve often gone through phases binging on different artists and I can hear it my originals, who I was listening to at the time cuz I can hear the influence it had on me.
How was it to self-produced your recording? It was exciting and challenging. I had to learn a lot – technically on Logic in order to be able to achieve what I wanted to do. It took a lot of time, and also patience. I relied on other musicians to record certain parts, but I relied on myself to make executive decisions, which was a nice change. To purely create a song that I loved without considering or being swayed by other people’s opinions.

How do you stay healthy while performing?

I don’t know that I did that much before lol. But I’ve eaten a healthy diet and exercised, but I drink too much and don’t sleep much, which nightlife really supports. Throughout quarantine, I’ve turned more to trying to take care of myself – body, soul and mind – because I believe that real health encapsulates all three aspects. I eat a mostly plant-based diet, with occasional dairy and seafood. I am trying to find a regular sleep pattern but deal with bouts of insomnia – which is mostly stress-related. So, I try to exercise regularly, take supplements, and go to therapy to help keep my stress and depression at bay and keep my mind healthy. And I’ve cut way back on the cocktails!

What are you feeling about streaming music?

I mean, it kind of seems like a necessary evil.

The symbol # is known as the number sign, hash, pound sign and a sharp sign in music. The symbol has historically been used for a wide range of purposes Since 2007, widespread usage of the symbol to introduce metadata tags on social media platforms has led to such tags being known as “hashtags”, and from that, the symbol itself is sometimes called a hashtag. Are people forgetting that the # is a part of music?

all the time! I teach kids and they ask about the hashtag on the music.

Digital or vinyl?

Vinyl – if I could afford it. Maybe my next album. And definitely Vinyl for listening.

What song from the past is in your mind right now?

Moreover, what does that song mean to you? That’s a loaded question. It really depends on the day. Earlier today I was listening to Marvin Gaye and “Mercy Mercy Me” has kind of been stuck with me all day. A timeless song, the lyrics are still so relevant. It means a lot – a lot of truth, pain, and reality.

If “Video Killed the Radio Star” do you think that the Covid-19 virus has killed live music?

Do you feel the Covid-19 virus is going to affect the music business in the future? I don’t think it has killed live music at all. In fact, I’ve been so inspired by how creative people have become in still performing online and in video collaborations. It definitely killed touring for a while, but I think a lot of artist are taking this as a time to refine their craft and reflect. COVID-19 obviously devastated a lot a part of this industry, but streaming has killed the music business more than the pandemic has – if we’re talking the financial hit that we’ve experienced. I think musicians and patrons and fans are dying to play and see live music so I think over time we will book, but it will probably be different and hopefully valued more.

What have you been doing while in quarantine?

Producing a lot of music, self-care, performing via livestreams, deep and meaningful conversations with friends, teaching vocal and production classes, doing recording sessions, producing livestream performances for other artists, learning more financial literacy and definitely catching up on some Netflix.

I see you were busy during the lockdown.

You even did a series called “Lilan Kane Presents” How many episodes did you create? I had a 7-episode music business series called “Mind Your Business” and I produced a series called “Social Call” in support of calling for social change. Through Lilan Kane Presents I also produced several video projects for other musicians and private events.

Have you discovered or rediscovered any new hobbies?

Definitely actually practicing. I took back up studying jazz piano. Also relaxing. That is something I’ve never been good at but always enjoyed, so I’ve been doing more of that.

How can bands keep their fans if they cannot play live in front of the fans and sell merchandise to them at the show?

Social media, Patreon, email lists, livestreams…

Is pay to play still a thing?

probably, but I’ve always refused to do that

What about Holographic concerts in our living room?

i don’t know…. could be cool, might also mildly freak me out.

Governments around the world are hearing the call of thousands of music creators and included protections for the music community in the omnibus bill. In addition to extended and improved unemployment benefits and small business loans for freelance creators, the package includes several bills which the Recording Academy, its members, and the larger music community advocated for. From the Save Our Stages Act, provided a lifeline to performance venues and promoters, to the CASE Act, which creates an avenue for smaller creators to defend their copyrighted works, Congress has ensured that both music creators and those who act behind the scenes to bring music to life are given the support they need during this difficult time.” Do you think this will save music venues?

I’m not sure how the payments are being delegated. Several bay area clubs have been forced to shut down or are barely holding on, so I don’t know when/if they will be granted part of these payments. I don’t know much about this specific act; all I know is that is has been incredibly difficult for artists and working musicians and it feels as though the government has not acknowledged us. There are creative people who fall in between “broke” artists and famous artists, and we have really been hit hard.

Did you know that the Grammys MusicCares can help artists? The MusiCares COVID-19 Relief has helped thousands of music industry artists and professionals during these difficult days. This is the most recipients helped, for any single event, in MusiCares’ history. The need remains great, and these unique times remain critical for music people. It has taken a community uplifting one another to get through this pandemic, and MusiCares has pulled together a list of additional organizations and resources to further support you: https://www.grammy.com/musicares/get-help/relief-resources. Have you applied for it yet?

I applied last year, but there were so many musicians in need, the resources were tapped out pretty quickly.

In the past if a musician stops doing music, they find a new career. For example, David Lee Roth from Van Halen became a licensed EMT in New York for six years. San Spitz (guitarist for Anthrax) became a master watchmaker. Dee Snider (Twister Sister) voice over work for SpongeBob SquarePants. If you can’t do music what would you like to be doing?

I don’t have a plan B, so I don’t really know what else I would do or want to do, honestly. Maybe something with animals or youth.

Spotify’s ‘Stream On’ event on Monday (February 22), the company confirmed that more than 60,000 new tracks are now being ingested by its platform every single day. This means people are added new tracks uploaded to its platform every 1.4 seconds. The figure, announced by Spotify’s co-Head of Music, Jeremy Erlich, means that across the course of this year, approximately 22 million tracks will be added to Spotify’s catalog. Spotify confirmed in November last year that its platform now played host to around 70 million tracks. Therefore, it’s reasonable to assume that, by the end of 2021, Spotify will be home to over 90 million tracks. And that in the early part of next year, it will surpass a catalog of 100 million for the first time. But still back at the beginning of the year Spotify deleted 750,00 songs, mostly from independent artists. What do you think that could mean for independent artists?

What it already means. We get 0.03 cents per stream. So really being on Spotify is for exposure. It’s hard to imagine that Spotify has offices around the world with salaried employees having more financial security and income than the artists they make their living off of. It’s really a tough subject. It’s a monopoly with being the main streaming platform, we all want to see ourselves on their, but it doesn’t really translate into much income. I feel bad for artists whose tracks were deleted altogether.

What is your favorite song to perform?