With a career that spans musical theatre, dance, and the vibrant world of Electronic Music, Eric Redd’s wealth of experience has cultivated a unique approach towards his creativity, appearing as a talented vocalist and performer.
Known for his dynamic live shows and soulful voice, Eric Redd has consistently pushed the boundaries of his craft, aiming to bring an innovative fusion of sound as he merges genres like Soul, RnB, House, and Jazz. From his early days in musical theatre to his current path as a recording artist and live performer, his journey continues to be marked by his versatility and passion, remaining enthusiastic when it comes to sharing his musical individuality with a wide range of audiences.
In this interview, we had the pleasure of sitting down with Eric Redd to discuss his vocal techniques, creative processes, and future aspirations, diving into his approach, collaborations and the challenges he has faced during his four-decade-long career.
Hi Eric Redd! How are you today?
Very good. Thanks for asking.
How would you say your early experiences have shaped your vocal style?
I started singing in Musical Theatre (not my favourite style). It was a great foundation for learning how to study the voice and find your belly of sound. Once I was done there, I had a real relationship with trying to understand my instrument. Now, in my later years, after a lot of shows, touring, and recording, I have a better understanding of what my voice does and doesn’t do. I try never to strain it, but most of all, I LOVE on it. I am grateful for its capacity and the years it has carried me. And I NEVER let anyone—producers or others—make me feel like it’s not big enough, does not do enough, or is not the correct sound to fit the colour of my skin (yeah, that happens). My instrument is a gift I cherish.
Do you employ any vocal exercises to maintain your voice?
Absolutely. I’ve had two extremely competent, great teachers on my journey as a vocalist: Helena Shenel in my London days and Jim Carson in my New York time. Both taught me how to care for my instrument and keep it in shape. I still use their tapes (from back in the day!) and exercises to this day.
What is your approach to creating and recording vocals for your tracks? Where do you draw inspiration from for your melodies and lyrics? Are there specific themes or experiences that influence your songwriting?
I try to always start with the ideas of layers for backgrounds first because I love the way they echo the story; that is usually my first inspiration. From there, I find the sound for the lead and the flavour I want the song to have. Most of my songs come out of stories I want to tell or things that are powerful in my world at the time. My songwriting style is always born out of American RnB and Soul, even when it’s in an electronic song. That has always been the major influence in my life, and those structures are still paramount in how I write, even when the final result veers way off course from that beginning. Lately, I have been trying to streamline my songs so I can feel the colours that come from harmonies and not clutter the journey for the listener.
Who are some of the artists you’ve enjoyed collaborating with, and how did those experiences influence your vocal style?
I loved working with James Hurr (UK producer – Toolroom). He challenges me like no other, forces me to find different ways to do things, and has an incredible ear. I’m working now with one of my favourites, David Anthony (US Producer), as he is an incomparable musician and has an ear for melody like no other. My voice sits so comfortably in his grooves. Claras Brown aka “Beefy” (US producer) has shaped a lot of the way I write and sing over the last few years. His style brings my voice back “home” no matter what he writes. So many others, like producers Ed Roth, DJ Czezre, Ralphi Rosario, and Tommy Bisdee, as well as vocalists Gisele Jackson, Shezwae Powell (RIP), and many great artists over the years.
Is there any equipment or software that you use to enhance your vocal recordings?
I adore just one piece of equipment—FOCUSRITE preamp.
How do you prepare for a live vocal performance compared to a studio recording session?
For live performances, I try to always “steam” my voice, so it has the flexibility once my body gets going onstage. I move a lot while singing in my shows, and if the voice is warm, it will move in its own groove as opposed to staying stuck inside the arrangement. For recordings, I do a basic warm-up and then let the ideas flow. I find if I do too many warm-ups before recording, I wear out my instrument and can’t do as many takes as I would like. The flow of recording many times warms my voice up right where it needs to be for that song.
How do you approach vocal harmonies and layering in your tracks?
Always with the idea of what colours I want the song to have. There’s no rhyme or reason to how I do it or what I choose. Like with my song “Rick James B**ch,” I wanted the track to be females, so I had to sing everything in my higher register. It was a lot of fun. Sometimes, like with the techno stuff (“Nobody Knows”), I want to create an ambience, so I will stack harmonies in a way they can be flown in by the producer for the effect and grow gradually in the atmosphere. It’s like a fun game to see what I can create. It’s something I love doing because I always learn something new from my own voice!
Can you share a challenging moment in your career as a vocalist and how you overcame it?
I was a wedding singer for a large portion of my career. It was great money, and it really gave me the opportunity to sing a lot of different material. It was at times more than 50 shows a year. Many days, the travel and varied climates would wreck my voice before a show. Once, on the road to Vail, Colorado, I fainted on the way to a show from the altitude. My voice stopped responding. Luckily, we only had a soundcheck that day. Once I was able to have a good night of sleep with a humidifier, my voice came back. It was scary as I was the lead vocalist, and we were too far away to fly in a replacement vocalist. It was touch and go for many hours. I learned then to really “research” where I was traveling to (like when I went to Moscow in the winter… oh my voice!).
To end, are there any new vocal styles or techniques that you are interested in exploring in the future?
Opera. I would love to include doing something operatic in what I create. Gospel choir stuff is in my mind’s eye. Many years ago, I created a track for BET Television using an African vocalist singing the entire lead in her native tongue and I did all the backgrounds in English. I loved that experience. It was for a TV show called “Nubian Goddess.” Some of my best work, I thought. Would love to do more of that.
We conclude our interview by thanking Eric Redd for his time and sharing such a detailed glimpse into his vocal craft. As he looks towards the future, seeking to experiment with operatic elements and gospel choir influences, Eric Redd sustains his artistic evolution, driving his creativity forward as he incorporates new inspirations and remains musically passionate. So, be sure to keep an ear out for the next chapter in Eric Redd’s dynamic musical adventure, as he no doubt promises to bring more refreshing music and compelling work as he continues navigating a distinct way within Electronic Music.
Follow Eric Redd on Instagram here.
