Ben Folds, traditionally a singer-songwriter, has ventured into the realm of classical music with his new album “So There.” Released on Sept. 11 in collaboration with New York-based chamber sextet yMusic, the critically successful album features eight songs and a three-movement piano concerto.

In between touring with yMusic and helping launch Sara Bareilles’ new book, Folds spoke to WSN about his influences, artistic viewpoints and future endeavors.
WSN: How would you compare your collaboration experience with yMusic to your past ventures with various solo artists or Ben Folds Five?

Ben Folds: I’ve had a chance to play with fantastic musicians, I cut my teeth with Darren and Robert of Ben Folds Five who are rock stars in their own right. But yMusic stands alone for me. They push me, but there’s no real dissonance to that push that I would have previously associated with pushing. It’s just them. They’re amazing and I, for once, have to be the one pedaling to keep up.

I trust them musically, as a group, and individually. They feel like my brothers and sisters in a way — as possible as that can be for people I’ve known for a bit over a year. I can start an idea and leave it with them. They can drop an idea and leave it with me. There’s complete trust and joy in hearing what’s been decided or added…You can tell, I really don’t like these people.

WSN: Your sound throughout the years has varied dramatically. What tends to influence your musical style the most? Was there a particular mindset or happening in your life that shaped the sound of “So There?”

Folds: Generally I feel I write in a similar voice. I’m not sure my writing has changed any more than I have, which is to say, its ears and nose keep growing. The presentation changes mostly from album to album.  This one is different and I don’t know why or how yet — it’s too early.  But it started with my composing a piano concerto which is going to set an album off on a whole other course.  

I started with the assumption I would fill out an album to complement the concerto, which was twenty-one minutes. It needed another twenty minutes of music to be an album.  So the first logical direction was to make more instrumental pieces. But somehow, especially after meeting yMusic, I realized that my lyrical voice was something I wanted to speak with.  Before, I think, the lyrical voice has been something I’ve felt obligated to do in a way. This one made me appreciate the freedom of just saying what you want, after having interpretive danced it through an instrumental symphonic piece. Both speak to me in different ways.

WSN: Can you describe the process of “seriously improving” piano skills for this concerto? In comparison with your rock songs, do you find that there is less freedom or room for improvisation while performing classical?

Folds: I wrote over my ability, so I had to sit with the music and learn to play it. I could only do it a few bars at a time slowly at first — the way it had been composed. Some sections are very idiosyncratic and based around my strengths, like my tendency to drum on a piano. But many parts were just composed in theory—what I wanted to hear, not what I wanted to play. So it was a lot of practicing to get it right.  I like the set program of a piece like this. A cadenza can be improvised if you like. But I’ve chosen to play it to the letter. I prefer that. I can improvise all I want on stage when playing rock music.  

WSN: How do you feel about the use of music during political campaigns and the artist’s control over that use?

Folds: Good question. This might disappoint you, but I kind of don’t care. Kind of. I would prefer that a candidate or cause that I believe in use my music, but that’s just egotistical. It flatters me when someone I dig wants to use my music. But when you write a song, you have to figure it’s going to be misinterpreted and misused. That said, each situation is different. I don’t really assume that the writers and singers of songs used for anything have anything to do with that use or what it means. They wrote it and that’s over and they move on. Sure, if an artist wants to take an opportunity to make his or her opinion known based on the publicity of politicians use, that’s OK too.  Now, if the politician used my image with it, or began to imply some connection that wasn’t true, then I’d speak up for sure.

WSN: If you could give advice to young people hoping to make a career in music, what would that be?

Folds: Like the old VH-1 moniker. Music First. That and stay absolutely true to your feelings about your music. I can’t think of any times that going against my gut resulted in what I went against my gut for. Maybe something good comes, but it’s never a clean trade. Stick with your gut — everyone says it but when you’re in the thick of it, you’ll be glad you heard that over and over.

Email Lara Manbeck at [email protected].