LITTLE BOOTS
The perception that men are the only ones nerding away in the studio is thankfully becoming a thing of the past, and Victoria Hesketh, better known as Little Boots, is the perfect illustration of why. The Lancashire-born synth-pop guru is a self-made musician and trained originally as a classical singer. She tried to climb the ladder the traditional way, and then via the TV talent show route until an off-putting experience on the now-defunct Pop Idol show enlightened her. Having formed the all-girl group Dead Disco in 2005, Hesketh realised that conforming to label expectations was yet another dead end.
With that, Little Boots was born. By networking on social media, Hesketh built a loyal following prior to the release of her acclaimed debut album, Hands. Little Boots’ cross-generational appeal was later exemplified through collaborations with synth pioneers Gary Numan and Phil Oakey. However, with her third album, Working Girl, Hesketh has shown a willingness to shift between electronic pop boundaries, and it’s in the studio where we find the songstress at her most comfortable, speaking enthusiastically about the tools of her trade.
MusicTech: How has your musical background or training influenced the artist you have become?
Little Boots: I was classically trained at school, then did a bit of a crash course in jazz piano and singing, which has been a huge help to my songwriting. There are so many rules that you can’t break unless you learn them first! That being said, sometimes it’s the simplest ideas that are the best, and it’s important not to over-complicate or theorise stuff; I just try and trust my ears.
MT: You had a bad experience when you entered Pop Idol. What happened, and how did that influence your career for better or worse?
It was so long ago I barely think about it, to be honest. It wasn’t that bad; I just got through a few rounds then didn’t make the show. But I was so young and it was obviously
