Band Meeting – Eliza Marshall
Eliza Marshall blends flute, bansuri, percussion, spoken word and ambient electronics into a deeply moving experience. Drawing on musical traditions from Scotland, Africa and beyond, Eliza channels decades of global experience into this bold new chapter of artistic expression and has performed with Peter Gabriel’s New Blood Orchestra, recorded with Stevie Wonder, Paul McCartney, First Aid Kit, and Florence + The Machine, contributed to soundtracks for Disney’s Mufasa, among many others – we have questions…
You’re bringing your debut solo show Eternal Birth to Ashburton – what does the title mean to you personally?
It’s a deeply personal title, celebrating the cycle of life and our bodies in nature. Inspired by the Thomas Hardy poem Transformations
You’re known for your work across genres and continents – from orchestras to African collaborations. How has that journey shaped your sound for this solo project?
My love of different genres and music from the world is integral to this project; also the use of a loop pedal – a new addition to my weaponry! – which reminded me of the layers of hypnotic rhythms you hear in African percussion sections. It’s been a real joy to bring together all areas of music that I love in a mélange of sounds and influences.
Flute, bansuri, whistles – do you find they each have their own personality? Which one’s the wild child?
Absolutely! Bansuris and whistles are so beautiful to emote on, as they don’t have keys. I can glide through the notes, fall off and slide between the sounds, it’s a truly wonderful way to feel the music. The bass flute is probably the dive, full of energy and percussive possibilities, it brings out all the feistiness in my playing. I love them all, with all their differences.
You’ve played some of the grandest concert halls in the world – what draws you to an intimate space like Ashburton Arts Centre?
I love intimate spaces as much as the iconic stadiums and concert halls I’ve been lucky enough to play in. A venue like Ashburton Arts Centre is one of my favourites, you can have true connection with your audience in a beautiful environment, see their reactions and involvement close up to you, it makes it a very shared encounter compared to twenty thousand people that you can’t really see. I think it allows you to move people even more, and respond to their reactions. I can’t wait for these intimate gigs.
The album moves between breathy stillness and powerful, cinematic builds. Is that contrast something you seek out, or does it emerge naturally?
I think these things emerge quite organically, although I always like to visualise the production, the journey, the feelings; where am I taking people to, and what story would I like them to be a part of. But sometimes you also have to let the music lead you.
Do you enjoy playing solo, or does it feel a bit like walking a tightrope without a safety net?
It certainly feels daunting still, I’m used to be surrounded by band mates, orchestral players, any kind of musician alongside me. But my mantra has always been to push oneself, get out of the comfort zones and keep learning. So I am a victim of my own preaching! But it is also liberating and exciting, so i have no regrets, and I can’t wait to see how the project develops over time, the more I learn and the more I dare to challenge myself.
Improvisation plays a role in Eternal Birth. Do you ever surprise yourself on stage?
Yes! Oh the joy of improvising. I trained at The Royal Academy of Music where my degree was based around learning lots of music that was written down, huge orchestral parts of flute sonatas. But I always loved dipping my toes in the world of improvisation – I feel there’s much more to come, and I love it.
Recording this album must have been a huge undertaking. Was it a solo vision from the start, or did you have collaborators who helped bring it to life?
I have a wonderful team of beautiful and talented people helping to guide me and gently support lots of my creative ideas. Katie Whitehouse has been integral to this project, winning funding bids that have taken me to Real World Studios via Senegal. I feel endless gratitude for her belief and encouragement for all that I do.
You’ve worked with so many iconic artists – are there any particular moments or influences that shaped this album?
Touring with Peter Gabriel had a profound effect on my whole musical life. He is such an incredible musician, but his writing and performance moved me every show, and I realised we have a unique opportunity, as artists, to have a voice and platform for our thoughts and words. Peter stands for so many good causes, and this has influenced lots of the ways I like to approach what I do as an artist.
How do you prepare yourself before a show like this? Is there a ritual? A favourite tea? A moment of silence?
I love to have a cold shower! It wakes my mind and gets me totally ready and refreshed. Not always available, I’m also very happy with a banana and a peppermint tea!
The breath is so central to both flute playing and, arguably, to life itself. Is there a spiritual or meditative element to your performance?
My flute teacher used to say that the breath in the flute is like we’re singing through the instrument, it is our voice. I always like to remember that when I’m playing, I want to allow my breath to be the channel for my emotions.
Ashburton is known for its moody skies and atmospheric views – perfect for your soundscape. Do landscapes influence your music?
Wilderness and wildness are an integral part of my life. It is core to my spirit, and moody landscapes are simply blissful. I can’t wait to be back at Ashburton at such a beautiful time of the year.
Eliza will be appearing at Ashburton Arts Centre on the 5th September – Tickets available here