Exclusive Interview with GENEVIEVE SOVEREIGN

In addition to releasing her debut EP “It’s yours,” Genevieve Sovereign had a successful 2022. She also expanded her network and her opportunities for collaboration, particularly after taking on the role of Melbourne Coordinator for the Australian Songwriters Conference and looking into cross-genre contributor opportunities as a classically trained flutist.
Maintaining that momentum, Sovereign has teamed up to creatively explore electronic dance music, one of her first musical loves, in a series of singles coming out this year and into next. Ben Tenison, her co-vocalist and collaborator on the project, is a career musician and songwriter who most recently self-released a pop song under the name Roxley. This duo has created ethereal soundscapes entwined with thought-provoking messages that truly see their journeys through, building on their combined strengths in arrangement, production, and cerebrally visceral songwriting.

Inviting listeners to combine thought and sensation into a vast but oddly nostalgic cosmos, the collaboration’s lead single “Vibration Angle” poses almost koan-like questions like, “What can you see from your angle – does it lead your gaze further than mine?” “Can you feel these vibrations around you, lifting hairs from your skin to the light?” was followed by another question. Check out the song and the exclusive interview below:

1. Can you tell us a bit about where you come from and how it all got started?

GENEVIEVE SOVEREIGN: Delighted to! Though 2022 alone has been a pretty epic year for me as it is, haha. Just released my first-ever electronic / IDM collab single “Vibration Angle (feat. Ben Tenison” (https://emubands.ffm.to/vibrationangle) this 11 November, after launching my debut EP “It’s yours.” in March. And already up next this 25 December, my new collab track “Life Soaked Reveal (feat. Ben Tenison)” (https://emubands.ffm.to/lifesoakedreveal) is coming out in memory and on the birthday of my late friend, Melbourne-based composer Luke Paulding. I’ve also focused heavily on broadening my network and collaboration opportunities this year – particularly through becoming Melbourne Coordinator for the Australian Songwriters Conference, and exploring cross-genre contributor prospects as a classically trained flutist.

But preceding all that, I guess my story really begins where I was born and raised – those gorgeous forested expanses of northwestern Ontario, Canada. Growing up, the closest neighbour was a 15-odd minute walk down our rambling country dirt road. The closest village was a 20ish minute drive away, depending on the weather. Tucked down at home, I’d often sit upstairs in my bedroom window for hours listening to all kinds of music – legs dangling out over the ledge just watching the moon and stars across fields of summer fireflies, or clouds drifting past a distant winter sun. The profound depth of meaning to be experienced amidst all that natural beauty, and the foundations it laid within my heart and mind as a girl, have been a source of strength and inspiration throughout the intervening years. I’d say that formed the bedrock underlying my creativity across all expressive media I’ve explored – music, visual arts, writing and movement all.

2. Did you have any formal training or are you self-taught?

GENEVIEVE SOVEREIGN: I picked up basic music theory in school, fatefully learning concert flute during high school. Went on to play both flute and piccolo in school bands and my city’s youth orchestra, before moving off to Toronto for university – where I played for a season in the pit orchestra of a campus musical comedy production, whilst simultaneously working and studying.

Life got busy attending uni in the big city though, as it does, and I actually stopped playing anything at all for more than a decade – until I found myself in Melbourne, Australia during its pandemic lockdowns of 2020. Ironically that’s when I got back into music, and started teaching myself guitar. Once things opened up again, I began taking in-person guitar and singing lessons. I’m particularly keen to keep developing my voice, and exploring where it wants to go from here!

3. Who were your first and strongest musical influences?

GENEVIEVE SOVEREIGN: I’ve always had eclectic tastes, and enjoy all kinds of music. But I suppose the styles I gravitated to earliest in my life were various flavours of electronic, new age and ambient music – as well as traditional folk tunes and instrumentation! So depending on my mood, it would have been entirely possible for young me to swap between Enya and Enigma, to the latest Dance Mix EDM compilation, and then over to Riverdance or a Flamenco album.

Perhaps that’s a strange preference combination, but I’ve always admired the power of great leading hooks supported by complementary soundscaping. That’s probably what I strive to achieve in my own music too, in its various forms, now I think about it!

4. What do you feel are the key elements in your music that should resonate with listeners, and how would you personally describe your sound?

GENEVIEVE SOVEREIGN: Joy, love and curiosity. Three of the greatest gifts, in my books! I hope listeners will take some or all of those elements from the music I offer… And if they do, I’ll consider it a job well done. As an artist, I’m deeply driven by the belief that everyone brings unique gifts into this world – with each moment of life an expression of limitless individual power and potential. My hope is to produce music that helps people remember who they are, nurture peace and inspiration within themselves, and continually (re)create in loving authenticity.

People have described my general sound as a hybrid of Björk, Enya and Massive Attack. Maybe with a sprinkling of Ionna Lee (iamamiwhoami) and Mogli thrown in… All of which I’m incredibly stoked about! However, my recent collab work with Ben Tenison actually has a much more EDM / pop flavour than the sounds from my EP. This collab project of ours has been described as vibing kinda Yazoo meets The Human League… Which I consider a huge compliment too!

5. With social media having a heavy impact on our lives and the music business in general, how do you handle criticism, haters, and/or naysayers in general? Is it something you pay attention to, or simply ignore?

GENEVIEVE SOVEREIGN:

That’s a fascinating and important question, in my opinion. Whilst on one hand I absolutely love learning about people’s perceptions and interpretations, across all manner of things, I think it’s also vital to keep in mind that those don’t necessarily have much to do with me at all – and are almost entirely to do with that individual person’s own way of interacting with the world. Keeping that lens firmly in place helps me remember it’s ultimately pointless to take people’s opinions personally, whether good or bad. Generally my efforts in the world produce outcomes as intended – but every time they don’t is still an opportunity for me to learn, develop and refine my skills moving forward.

6. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?

GENEVIEVE SOVEREIGN:

All of the above, 100%… Plus anything else people can and want to shape music into, or derive from it. That is a foundational property of art’s beauty and power, in my opinion: Its potential is endless, and adaptable to every perceiver. No two people take exactly the same thing from one piece of art – be it music, painting, literature, performance, etc. Both the creation and perception of artistry open the mind in countless ways, facilitating dialogues that surpass the limitations of language. I think exploring that whole universe of processes is vital for our continued growth as humans.

7. Do you think is it important for fans of your music to understand the real story and message driving each of your songs, or do you think everyone should be free to interpret your songs in their own personal way?

GENEVIEVE SOVEREIGN:

I don’t think those things need to be, or even can be, mutually exclusive. I believe it’s both critical and unavoidable that people are free to interpret and apply their own significance to what they take in from the world. In the end, that’s what makes things really valuable to people: Their ability to stimulate and connect with something deep inside, particularly something that may otherwise not have expression or representation in their outer world.

At the same time though, I also believe people often benefit from some wider context around what they’re perceiving. Awareness of the intentions and perspectives of an artist can lead to greater insight and clarity within the beholder, as well as connection and assignment of meaning from within their own point of view. So I think both those aspects of your original question are really two sides of the same coin, and integral to the efficacy of any work.

8. Could you describe your creative processes? How do usually start, and go about shaping ideas into a completed song? Do you usually start with a tune, a beat, or a narrative in your head? And do you collaborate with others in this process?

GENEVIEVE SOVEREIGN:

I love the adventure of unfolding ideas, sculpting them, and then communicating them out into the world to see what people make of them! One of the things I enjoy most about creating is that profound moment of connection, and what can spring forth from it both between people and within people. Having dabbled in various expressive media over the years, I think music is an especially fantastic channel to explore a breadth of creative approaches. At different times I’ve taken a stab at all the music-creation starting points mentioned in the question above, and it’s been fascinating to discover where each has led.

9. Creative work in a studio or home environment, or interaction with a live audience? Which of these two options excites you most, and why?

GENEVIEVE SOVEREIGN: Well, I must admit my experience of the latter is limited – having only engaged in serious live music performances years ago, playing flute and piccolo as part of an orchestra or stage band. I haven’t performed much of my own material live yet, although hopefully that will change someday! I do absolutely love the process of creating though, both at home and in-studio. Writing a song and developing the arrangement – either on my own or with collaborators – is wonderful fun. As is heading in-studio for recording and mixing sessions, in company of the remarkably talented music professionals I’ve had the fortune to work with on my projects. I’m one lucky lady, enjoying such fantastic experiences across the board!

10. What would you consider a successful, proud or significant point in your life or music career so far?

GENEVIEVE SOVEREIGN: I could never chalk it up to just one thing, accomplishment or moment. This entire journey is the reward and ongoing achievement for me. I’m grateful to be able to pursue music as I have been, and will continue to do. I’d incidentally like to invite anyone interested to share the journey with me, on my website at https://www.genevievesovereign.com or by connecting through any of my platforms per https://linktr.ee/genevievesovereign – always love the adventure! xoxo