elizabeth weinberg
Last month, renowned journalist, producer and radio host Jenny Erisk launched the 100th issue of her book. L.S.Q. Podcast featuring an interview with the band's frontman Samuel T. Herring islands of the future. Then she released episode 101 with Brittany Howard. And episode 102 of Idols frontman Joe Talbot.
“Episode 103 starring Dhani Harrison, of course, will be released next week on March 5th,” she says. “And we have some great episodes coming up this spring with Rodrigo y Gabriela, Ty Segal, Gossip’s Beth Ditto, and more.”
For many music fans, the fact that this show has been around for so long with no signs of slowing down is priceless.
SiriusXM hosts since 2006 and earlier rolling stone A staffer and contributor for more than a decade, Elisku has built a renowned reputation as a knowledgeable journalist with a passion for music and artist advocacy. Released in 2017, L.S.Q.' milestone, and subsequent episodes, is a feat of longevity at a time when music journalism has shrunk and traffic-based celebrity tracking has increased. These long, independently produced interviews are a rarity these days in any medium, and are a service to artists and audiences seeking further insight behind the music.
Looking back at the list of names Eliske interviewed on his podcast gives us a snapshot of some of the most influential artists in indie rock and surrounding music: Conor Oberst, Jack Antonoff, Courtney Barnett, Steven Van. Zandt, Angel Olsen, Tame's Kevin Parker Impala, Johnny Marr, Tegan and Sarah, Caroline Polachek, Leon Bridges, Sharon Van Etten and more. but, L.S.Q., what makes it such an important destination for artists is the investment she puts into each interview, offering long, deep conversations between journalists and casual tenors who are more like close friends than subjects. It's about being there. That's no coincidence. Many of her subjects are either friends or become friends.
“When you talk to Jenny Erisk, you feel like the most interesting person in the room thinks you're the most interesting person in the world,” says Tegan Quinn of Tegan and Sarah . “With years of experience, Jenny is not afraid to dig deep, but trusts the process as she asks great questions and listens exceptionally well, interspersing memorable insights from her vast knowledge and love of music.” You can. No interview is typical because Jenny knows more than most of us about the music that inspired us to become artists. Somehow, she learns something about herself in the process. You will learn.”
“I first met Jenny over 10 years ago and to be honest, she made me feel so at ease right away that it didn't feel like we were meeting for the first time,” added Beach House's Victoria Legrand. . “It felt like we'd known each other forever. Interviews with her always felt like natural conversations, and while it may sound easy, this is a true skill.” Her deep love for art, music, and love, as well as her deep care and support for the relationships she builds, is incredibly beautiful. She is a pillar of strength and peace, and we are lucky as artists to call her a friend. is.”
“Jenny has an amazing way of disarming artists in interviews,” says Little Operation, whose artists Angel Olsen, Devendra Banhart, King Tough, and Bethany Cosentino are all featured. Management founder Christian Stavros says: L.S.Q.. “I think it's because she's also an artist in the way she approaches interviews. She has a way of connecting and building relationships, but also a candor with questions that brings real insight into the process. I'm a huge fan and have the utmost respect for her talent, and for the artists that I work with, the artists that I work with on her podcast, that's never going to be the case. I think we can all agree that it never felt like work, but more like a fun way to kill time.”
outside L.S.Q. Her SiriusXM hosting, Elisku will executive produce 2021 Netflix documentary Britney vs. Spear And now production is underway on another major music documentary, scheduled for later this year.
she spoke with signboard About exceeding 100 episodes L.S.Q.and the broader music media landscape.
When you listen back to old episodes of the podcast, what comes to mind most? How has the show changed?
When we started this series in 2017, our goal was to create a space for longer audio interviews with artists. I've been blessed with great avenues for other types of interviews over the years, like Rolling Stone magazine cover stories, Sirius I was eager to capture more thoughtful and expansive conversations. We talk about their upbringing and the moment that defined their approach to their craft. I wanted to know about all things evolutionary: my childhood music lessons, my first concerts, my early attempts at songwriting. And getting answers to these questions continues to be my favorite part of this podcast.
I'm often reminded of a story that Aaron Dessner of the National told in his episode 2 interview. The story goes that when he and his brother Bryce were six years old, they discovered a dusty old drum set in the furnace room of their basement. A 1959 Blue Sparkle Slinger Garland that their father got for his bar mitzvah. He had been a successful jazz drummer before the twins were born, which introduced them to the family's history. Aaron started playing the drums shortly after. Or how tenacious Michelle Branch was as an unsigned teenage singer-songwriter in episode 50, when she drove a golf cart around her neighborhood to a restaurant in Sedona and ate there. The story is that he gave a demo tape to a record company executive. Or, in episode 100 of Future He Islanders' Sam Herring reminisces about the first time he tried freestyle with one of his favorite KRS-One tracks when he was 14 years old. “You just have to start, don't stop,” his brother told him. He freestyled for about 20 seconds and jumped up and down on the bed, elated that he had done it. I love stories like that!
In other words, the show itself hasn't changed much since it started. I still have a lot of fun doing these types of interviews, and there are so many other artists I'd love to hear about. But I've learned from experience that it's better to keep him in one interview per episode (some previous episodes had him in two). We also spent a lot of time over the first few seasons incorporating vintage his audio from our pre-podcast archives, which we found very difficult to do on a regular basis since we work alone. got it.
How do you choose the artists you interview? What makes a good interview?
The selection process is really just looking at the artists' work, learning their backstories, and following my intuition from there. Sometimes I have interviewed a person in the past and have had the opportunity to find out how smart, funny, sensitive or charismatic they are, and I can imagine that a longer interview would be interesting. Masu. But I think all artists are potentially great interview subjects if you make them feel comfortable and open up.
You've worked in all areas of music media and journalism. What do you like most about the podcast format?
I love that podcasting itself comes in a variety of formats, whether it's immersive, highly produced storytelling, or a more casual chat show or candid interview series like LSQ. I like that podcasting still feels a little more DIY and vaudeville. This means you can stream episodes as long or as often as you like, and that's fine. And podcast listeners are a loyal audience that supports more nuanced, niche programming, and I'm always excited to be a part of that interaction.
What do you think is the key to being a successful interviewer? Here are some quotes from artists and their management that praise you. How do you create such a comfortable environment?
I think the key is openness and genuine curiosity. Although it may be tempting to read or listen to all the interviews the person has done, I prefer not to prepare too much and simply ask questions without preconceptions about the answers. We strive to make the interview process feel like a conversation over coffee with a friend who listens carefully and asks thoughtful follow-up questions.
You've been covering music for almost 30 years now. During that time, the music industry has changed dramatically from CDs to piracy, streaming, and social media. Apart from where you've worked, what has changed about your work? Why do you think it's important to host extended interviews like this?
Yes, the music industry and the media environment surrounding it have gone through a lot since I started in the 90s. It was amazing that I was able to work at Rolling Stone magazine in early to mid-August, before the print business really started to decline. This was because I was able to spend a lot of time focusing on the artists I was writing about. interview. However, things have changed as the web and social media have become more popular, and artists no longer need to rely on that type of news outlet. Don't get me wrong, I think it's ultimately a good thing for artists to be able to communicate to their audiences without the control of the media, but it's definitely changed things in a big way. For a while, it felt like there were fewer opportunities to do longer journalistic work, but we're finding that both podcasting and documentary film are opening up exciting avenues for sharing artists' stories more deeply. I did. That's the next frontier for me. It's about working with artists to help them tell the stories they care about in a way that maintains their original authorship.
LSQ Can you tell me some names that are still on your artist wishlist?
Erykah Badu, PJ Harvey, Mac DeMarco, Mitski, Thundercat, Jarvis Cocker, Jonathan Richman, Run the Jewels, Fiona Apple, and more.
