Beck on his orchestral tour, stardom in the ’90s and the hit songs he never saw coming

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I, Beck Hansen, have lived through the ever-evolving landscape of music for the better part of my career. Having grown up with artistic parents – a musician father and a performance artist mother – music was an inherent part of my life from an early age. However, I didn’t want to impose my tastes on my children. Instead, I tried to find the beauty in what they loved and support their creative inclinations.

Around thirty years ago, Beck shared with us during the era of chimpanzees (a figurative term for the grunge period), he was an up-and-coming singer-songwriter. With his youthful appearance and baby face, he landed unexpectedly in this musical scene. His standout hit, “Loser,” from his 1994 major label debut album “Mellow Gold,” combined the soothing strums of a folk guitar with a pulsating hip-hop rhythm. This unique blend catapulted the native Angeleno into unwanted fame as the voice of a generation that was unsure of its message.

During the late ’90s and the beginning of the 2000s, Beck continued to elude a set definition – moving between psychedelic music from junk shops, gritty garage rock, seductive R&B rhythms, and mellow acoustic ballads. As a result, he became a symbol of the diverse musical landscape of his native city. Beck is now scheduled to perform at the Hollywood Bowl on Saturday night as part of a tour where he’s collaborating with the L.A. Phil to present orchestral interpretations of songs from his extensive discography.

At the Hollywood Bowl, Beck, age 53, will utilize his father’s, David Campbell’s, arrangements for the show. David, a skilled arranger and conductor, previously collaborated with Beck on an alternate version of his 1996 track “Jack-Ass.” He also supplied the charts for Beck’s 2008 performance with the Hollywood Bowl Orchestra Strings. However, that collaboration only involved a few songs, not a full concert, according to Beck. His latest album, “Hyperspace,” was released in 2019, while other notable works include “Morning Phase” from 2014, which won the Grammy for album of the year, and production roles on records by Thurston Moore of Sonic Youth and Pavement’s Stephen Malkmus.

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“Does the extent of his involvement in this production imply that he’s been practicing with the L.A. Phil? He chuckled and replied, ‘No rehearsals for me. I prefer being prepared, but coordinating such a large group is quite a challenge.'”

As a devoted cinema-goer, I’d recast that passage as follows: I, a father of two with my former spouse, the actress Marissa Ribisi, had an engaging lunch conversation last week at Little Dom’s in Los Feliz. We delved into various topics including his concert plans, the influence of streaming on his musical journey, and the challenges he faced during his introduction to pop stardom. Moreover, we discussed his aspirations for the provocative “Midnite Vultures” album released in 1999.

Why an orchestral tour?
This started with the Royal Philharmonic calling me out of the blue last year when my tour with Phoenix was wrapping up: “Hey, we want you to come do a night with the orchestra in October.” I said, “October 2024 — great,” and my manager was like, “No, this is in, like, 10 days.” So we pulled something together and we did that show last October and everybody had a great time.

I’m deeply drawn to the enchanting world of orchestral music. Once upon a time, I found myself frequenting the L.A. Philharmonic. I didn’t always know if it was Brahms, Schubert, or Philip Glass conducting that day – but I didn’t mind one bit. Each visit was part of my cherished weekly routine.

In this new environment, I believe some fresh tunes would enhance your existing repertoire. Instead, we’re playing songs seldom heard live due to the absence of an orchestra: “We Live Again,” “Waking Light.” We plan on introducing a track titled “Missing” from our 2005 album “Guero,” featuring a groovy ’60s Brazilian arrangement.

As a cinephile, I can relate to the excitement of stepping away from the familiar greatest hits and exploring new cinematic gems. The film industry is ever-evolving, just as music tastes do. There used to be certain films that would elicit a predictable response from audiences, but now, thanks to streaming platforms or simply changing preferences, lesser-known movies have emerged from the shadows and gained a massive following. For instance, “Eternal Sunshine of the Spotless Mind” introduced me to the hauntingly beautiful song “Everybody’s Gotta Learn Sometime,” which wasn’t part of my repertoire before. Or consider “Go It Alone,” a collaboration with Jack White for “Guero.” This song never saw the light of day as a single, but its discovery by fans has led to it becoming one of my most beloved works. We now proudly include it in our performances.

“Listening to ‘Harness Your Hopes’ by Pavement, I was reminded of this. My daughter introduced me to the track, saying ‘Listen to this band I discovered.’ Unbeknownst to her, this artist had recorded his album in our home when she was just three years old. It’s amusing how record labels used to select a hit single for mass promotion, assuming listeners would grow fond of it through constant radio play. However, with the current streaming era, consumers can freely decide what they prefer.”

When I entered the music industry, I found it rigidly structured with strict rules to follow. It felt like trying to fit into a pre-made mold. However, once I left that phase, I experienced an extremely productive time, releasing three EPs and three albums within a short span of six to seven months. Upon signing with a major label, I was advised to slow down significantly, limiting my output to 10 or 12 songs every three to four years. This was quite a shift from my initial prolific year where I released over 50 or 60 songs. Adjusting to this new creative rhythm required some mental reconditioning.

On his latest tour, Beck plans to play songs he rarely performs.
(Dania Maxwell / Los Angeles Times)

As a seasoned musician with decades of experience under my belt, I can tell you that coming up with 50 songs in a year is a daunting but achievable feat. However, let me clarify that we’re not necessarily talking about producing 50 No. 1 hits here. That’s a whole different ball game.

In the ’90s, did you try to embody the pop-star persona that was expected of you? Or did you identify with being a unique personality in the limelight during that era?

I stood out by wearing a three-piece suit on stage instead of the casual clothes that were popular during that time. I also shaved off my long hair to resemble French movie stars from the 1960s. This was not necessarily provocative, but going against people’s expectations was part of the cultural zeitgeist. My first two records were considered mainstream pop music at the time, but listening back now, they sound quite unusual.

As someone who grew up in the 90s, I can vividly remember the excitement of discovering new music and being introduced to genres that I had never heard before. For me, that pivotal moment came when I was around ten years old and “Mellow Gold” by Beck was released. This album opened up a whole new world of sounds for me, expanding my musical horizons in ways that seemed magical at the time.

I’m pretty sure Nirvana’s “Unplugged” introduced me to Leadbelly.
And that was a song I’d probably performed 100 times in bars and coffee shops. People would come up to me and say, “Yeah, man, cool Zeppelin cover.”

As a movie critic reflecting on my own evolution within the industry, I must admit that my initial skepticism towards the music business was soon overshadowed by the allure of its rich traditions. I’ve found myself drawn into the fold, attending prestigious events like Clive Davis’ pre-Grammys gala. The weight of history is palpable in these moments.

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In L.A., as well as other cities, I have a fondness for exploring historic neighborhoods. Before the pandemic hit, I visited New Orleans and was struck by how they had replaced all the gas lamps with LED ones in the French Quarter. The sight of a lit-up French Quarter street at midnight, reminiscent of a brightly lit CVS store, was a unique experience, alas, one that may soon be lost to the march of technology. Progress brings benefits, but also means sacrificing some of the old charm.

What’s one way that’s played out in music?
I have a theory: There’s a certain point where we crossed this digital threshold, which means the thing that kids will remember the strongest — the way we remember radios and television with eight channels — is the iPhone. And the iPhone, it’s very sleek and minimalist. They see the world through that prism, so I think music has evolved to sound like something that should be coming out of that object. And rock music doesn’t sound great coming through those little speakers. But pop and electronic music sound great. It’s like how music in the ’60s sounded like what should be coming out of a transistor radio.

As a movie critic, I’d put it this way: Have you ever pondered over the impact of smartphones on your kids’ interpersonal relationships? It’s like a magnetic force that’s hard to resist. When they were younger, I made a conscious effort to avoid using my phone or computer whenever they were around during daytime hours. I believed that limiting their exposure to adults engrossed in technology could help instill healthier habits and foster better communication skills.

Beck: “I came into a music business that was so — I don’t know what the word is — codified.”
(Dania Maxwell / Los Angeles Times)

Growing up with artist parents, a father involved in music and a mother in performance art, didn’t force me to pass on my creative inclinations to my kids. Instead, I believed it was essential for them to explore their interests independently. I’ve seen friends push their children too hard into listening to “good” music, making them feel indoctrinated. My attempts to introduce mine to more complex genres didn’t work out initially. They preferred Top 40 and resisted my suggestions. In hindsight, perhaps I should have been more persistent with the Velvet Underground or Caetano Veloso. However, I focused on appreciating their choices instead.

As a cinema devotee, I can relate to how artists create distinct eras in their work. Back in the day, you were already doing that intuitively, producing records with unique looks and vibes. Did you consciously label those periods in your career? Take for instance “Midnite Vultures” from 1999 – was that a pivotal moment for you?

“Which person did you believe would tag along with you back then? I couldn’t tell you for sure. I was feeling quite excited and thought the future was already here with Aphex Twin leading the way in 2000. However, I recall feeling quite disappointed. I watched acts like Outkast and The Roots perform, and everyone else seemed to be dancing and having a great time. We wanted to create a physical and visceral experience, but our crowd just stood there, not celebrating or even raising their hands. There were fans of rap in the alternative music scene, yet it wasn’t socially acceptable for some.”

As a devoted cinemagoer, I find it hard to comprehend how things were once strictly categorized in the world of music. It’s almost unfathomable to me now. The lines between dance, indie, rap, electronic, and folk have blurred, creating a beautiful fusion where each genre intertwines seamlessly, making for an incredibly rich and diverse musical landscape.

I’ve had quite an intriguing journey in my musical career. When I first started out, I was deeply rooted in country music, drawing inspiration from the rich storytelling and raw emotions of the genre. But as time passed, I felt a pull towards rap music – its rhythm, its energy, and the creative freedom it offered were irresistible to me.

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2024-07-18 20:52