An INDY JOURNALIST’S BLOG

A Radical Interview with MARTYN JACQUES OF THE TIGER LILLIES, Founder of the British Musical Trio

Diane Walsh, October 12, 2007

FULL-LENGTH VERSION (c)Mediageode 2008 ⬇️

Diane Walsh: Vancouver Island-Canada has received many visits from The Queen. The Island is a favourite of hers. Has Victoria and the West Coast been a similar curiosity for you all?  

Martyn Jacques: I VERY MUCH LIKE VANCOUVER ISLAND, IT’S VERY BEAUTIFUL AND WILD. IT’S NICE TO KNOW I HAVE SOMETHING IN COMMON WITH THE QUEEN AS YOU MENTION HER.

 

Diane: Did you all imagine when you started playing that The Tiger Lilies would grow to this level of success and interest?

Martyn: I NEVER HAVE HAD A FEELING THAT WE HAVE BEEN SUCCESSFUL. I’M ALWAYS WORRYING ABOUT NEXT YEAR. WILL THE WORK DRY UP? SO EVEN WHE WE HAVE BEEN PLAYING ON A WEST END STGE WINNING OLIVIER AWARDS BEING NOMINATED FOR  A GRAMMY STILL FEEL ESSENTIALLY UNDERGROUNDAND UNSUCCESSFUL.

 

What would you guess the age range to be attending your performances? Many punk-pensioners?

YEA WE DO GET PUNK PENSIONERS! WE HAVE EVERY WIDE RANGE OF AGE GROUPS COMING TO OUR SHOWS, EVERYONE FROM IN THE KNOW DRESDEN DOLLS FANS (YOUNG) TO OLDER THEATRE GOING AUDIENCE MEMBERS WHO HAVE EITHER SEEN OR HEARD OF SHOCKHEADED PETER (OUR HIT MUSICAL THEATRE PRODUCTION).

 

Have you played gigs in British Columbia, Canada, previously?

YES ON A NUMBER OF OCCASIONS. I PARTICULARLY LIKE THE CANADIAN ACCENT, I THINK IT’S CUTE!

 

What general characterizations could you make about Canadian (and American, if different) audiences and their understanding of your work?

I THINK THEY GET IT A LOT MORE BECAUSE UNLIKE  A LOT OF OUR AUDIENCES THEY SPEAK ENGLISH AS THEIR FIRST LANGUAGE. THE FACT THAT THEY GET IT CAN ACTUALLY BE A LITTLE BIT UNNERVING AT TIMES. THERE HAVE BEEN A FEW SHOWS WHERE I FELT A LITTLE UNCOMFORTABLE WITH MY OWN LYRICS. THEN ON THE OTHER HAND IT’S QUITE GRATIFYING WHEN THEY GET THE JOKES.

 

What sort of organization does it take to run a 3 member-band? What influenced your choice of instruments – accordion, piano; musical saw, double bass; drums and percussion?

THE TRAVELING SIDE OF THINGS CAN GET VERY COMPLICATED AT TIMES FORTUNATELY WE HAVE AN OVERWORKED UNDERPAID  ASSISTANT WHO IS PRESENTLY TYPING OUT THIS INTERVIEW AND SWEARING AT ME SAYING SHE’S THE MANAGER. THE INSTRUMENT WERE CHOSEN BECAUSE I DECIDED  TO USE A LOT REFERENCES OF OBSCURE EXOTIC, ESOTERIC AND OLD MUSIC OBVIOUSLY IF YOU GOING TO BE MAKING MUSIC INFLUENCED BY THAT STYLE, ACCORDIONS ETC. ARE HELPFUL.

 

 

What is the distinction between “falsetto” and “counter-tenor”? How many years vocal training have you enjoyed? Would you ever consider performing a part in say, a Benjamin Britten opera, or for that matter any classical opera (again)?

I am self trained so I do not know the difference between ‘falsetto’ and ‘counter-tenor’. I suspect the latter is a more classical based term. Yes, Im always interested in trying out different and varied projects.

 

 

Was the often referred ‘Brechtian’ influence a conscious styling/choice of genre, or simply a critic’s ear? 

I would say it was a choice of style / genre. I actually think there are many other things in my music which have influenced me equally.  

 

 

What are your thoughts about the many influences inspiring the general presentation mode of The Tiger Lillies? British traditions/society etc? 

I am assuming you are referring to The Tiger Lillies being on the British traditions/society etc. etc. margin. And I’ve got no thoughts on it, it is just a fact.

 

 

Why do you use the Pagliacci personal/style

Never heard of Pagliacci I’m afraid.

 

 

Given that your music seems to invariably be in the minor key is this in any way an indication that you are eternal pessimists? Would you say that “Britishness” could be described as pessimism wrapped in a flag? Has “misery” brought its own reward to Tiger Lillies?

I would say that at least half my music was in a major key! I would also say that british music is generally something I would associate with the major. I think pessimism is one aspect of what I am doing and misery is certainly a subject that I refer to in some of my songs. But there is much black humour in what I do and in many ways I think that it’s giving the finger to pessimism.

 

 

Do you find that the style of vaudeville, English pantomime/dames, Pythonesque humour etc. has been a conscious element of your development? Is this style and humour readily appreciated and understood in all countries where you perform? The English find great humour in “gender-bending” – Americans (for whom this is a perverse source of humour) – not so much. Any comment on differences in understanding humour/satire etc.?

I think that English humour is widely appreciated by other countries. Probably more so than by the English themselves. It’s certainly an aspect of englishness  which I identify with and appreciate. I love gender bending but as I say I think Americans do too – at least my fans seem to.

 

 

As a journalist who can cover queer culture and GLBT topics on many levels I am often looking at alternative and counter culture beliefs and stereotypes. Your audiences often contain people with whom one might imagine “progressive thinking” is a birthright. Do you feel that you have a special message/connection with the GLBT community? Many of your songs, touching on these areas, are quite sad. 

Not sure what GLBT is but I certainly like and identify with gay cabaret culture. I am presently working on a Punch and Jude show with Nathan Evans, who runs a gay cabaret in London.

 

 

Do you have a political message or your audiences? 

I think that we all as artists project some kind of political message in our work. I guess  as my work is underground and non conformist I am promoting a rejection of mainstream, capitalist culture. I suppose I do believe that that culture is taking us all to hell.

 

 

Clown make-up has often been designed to hide reality that is often sad. Are your sad songs really hiding further sadness? How seriously should we take you? Are you scary clowns?

I think that I am a little like to Capitalism what Joel Gray was to the Nazis. I think there is much irony and bitterness in my words but yes there is also sadness. I suppose all outsiders have an elements of sadness in them.

 

 

Does your presentation fit into the world beyond the “dark” side…do you have any “repressed urges” left to sing about?

We’ll have to see about the represses urges. They sneak up on you and you usually don’t know what they will be.

 

 

Are you a band of shadows and repressed urges…a band striking at the pain of repression…without this question sounding cliché?

Yes to some extent we are.

 

 

I recall a song on the sad life of a homosexual…something about “sheets”?  People who have to, want to or need to, hide-away from society, perhaps? Similar theme to prostitution, drug addiction etc. Are these songs intended as a warning to us or simply, sadly, observational.  

I would say they are observational. Perhaps some people might take them as warnings, but that was not the primary aim.

 

 

Are you a “dark” person? Are you “dark people” whatever that means to you? I have to add that you seemed quite happy on the only occasion when I briefly met you in Seattle after the concert. Promise me you’re only acting!

I don’t think I am particularly dark, but I think we all are essentially dark.

 

 

What is your explanation of your popularity in Eastern Europe? Is it simply that now many more can afford the ticket prices? 

Well we go there, I play the accordion and I am not some corporate rock star. Maybe explains it.

 

 

You’ve been described in some circles as “dark cabaret”  How do you describe yourselves as a band?

I don’t really like the cabaret tag anymore, its become very fashionable, almost mainstream. Though, I suppose some people would say we were innovators and ahead of our time.

 

 

Have you any thoughts on the musical, Cabaret, and its characterization of pre-WWII Berlin and overall style, generally? 

As I said  I relate closely to the character Joel Grey.

 

What would you say to the idea that we are currently living in a latter-day pre-war Berlin? Can you see some parallels with the ring master/Cabaret presenter, Joel Grey (and yourself) and that ominous foreboding that he presents? I got there before you, didn’t I? The TV series, The Office, is set in Slough – I understand  your origins are not a million miles from Slough.  What is it about Slough?  Is Slough, the “Berlin” of our times? Sir John Betjamen, I believe, said, “Come friendly bombs and fall on Slough”. What’s your feeling?

 

I think Slough represents something terribly corporate, mainstream and dull. I think the poem and the series both compliment each other and represent this.

 

 

Can you talk about your time living in a flat in Soho, London? I recall reading somewhere that this time was a time of inspiration for you. Even more inspirational than Slough?!

Well I met a lot of extreme and unusual people, many of who are now dead, some have become quite successful.

 

Do you have any plans to make another movie?

There are always plans to make more movies.

Stay tuned!

That was one epically cool interview!

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Additionally, segments of this interview published in PRAGUE POST Diane Walsh, Feature Writer, Day & Night

“Songs for Sinners – The Tiger Lillies”

September 17, 2008