Jessie Kilguss has lived several creative lives, and all of them flow naturally into the artist she is today. From her early days in theatre and film to nearly two decades of songwriting, she has shaped a voice that feels honest, curious and quietly powerful. In this interview, she opens up about the moments that shaped her path, the artists who inspire her and the experiences that pushed her toward music. We also explore the story behind her new single “St. Teresa in Ecstasy,” her long-time collaboration with producer Charlie Nieland, and the personal growth that continues to guide her work.
by Dimitris Zacharopoulos
photos of Jessie Kilguss by Shervin Lainez
Let’s start at the beginning — when did you first realize that songwriting was what you wanted to do with your life?
I think if you’re lucky, there’s time to do more than one thing in life. I used to be a professional actress (see below) and after a degree of success with that, I burned out. I had always been a singer though and was introduced to producer Charlie Nieland (who produced my most recent record) by some friends. Charlie and his producing partner at the time, Barb Morrison, encouraged me to try writing my own songs. I got hooked on that process immediately. I think that was in 2006, so almost 20 years ago.
Before diving into music, you were also an actress. How did that transition happen, and do you feel your theatrical background still influences the way you write or perform songs today?
Yes, I used to be an actress. I went to college and then graduate school (drama school in London) for acting. I was in one movie, “The Crucible” with Daniel Day Lewis and Winona Ryder. I worked in England in the theater when I got out of drama school including a UK/US tour of As You Like It directed by Sir Peter Hall and The Black Rider which starred Marianne Faithfull and Mary Margaret O’Hara, was written by Tom Waits and William Burroughs and was directed by Robert Wilson. I was only an ensemble member/understudy in this play but it had a big effect on me. At the time, I was a huge fan of all those artists I just listed. It was one of those times when life presents you with a little magic.
I’d always been a singer and this experience got me dreaming about writing my own music one day. It seemed to me that there was more creative agency in songwriting than in being an actor.
That was all a long time ago. I quit acting about 20 years ago and have been writing and performing my own music since then.
My acting background doesn’t necessarily influence the way I write but it does influence the way I perform.
Who were the artists and records that shaped your musical identity in the early days?
Leonard Cohen, Nina Simone, Laurie Anderson, the Pretenders, Tom Waits, Marianne Faithfull, Bob Dylan, Lou Reed, the Velvet Underground and many more.
What I’m listening to now is more at the forefront of my mind. I’ve been listening to Sparks a lot lately. I just saw them live for the third time. Those guys are incredible. They had the whole audience up and dancing for most of the show. I think Ron is 81!
I’ve been listening to David Byrne’s new album, “Who Is the Sky?”, I’ve really been enjoying that. I’ve also been listening to my friend Freddie Stevenson a lot again lately. I went on tour with him in 2015, playing his music and opening for the Waterboys. I’m listening to his albums “The City Is King” and “The Darkening, The Brightening” on repeat right now.
“St. Teresa in Ecstasy”, your latest single, is a stunning piece inspired by Bernini’s sculpture. What drew you to that work of art, and how did it evolve into a song?
Thank you. I went to Rome a couple years ago and two friends recommended I go see that sculpture. I was really moved by the experience and ended up writing a song about it. Songwriting is something I do regularly so it wasn’t really like I sat down and thought ‘I’m going to process this inspiring experience by writing a song about it.’ It’s just something I did.
My friend Rembert Block (a great songwriter and singer) and I have a songwriting club. It’s just the two of us. We meet every three or four weeks and have to share a new song with each other. This has been really helpful for creating new songs. The deadline has forced us both to finish new songs.
There’s a deep sense of spirituality and introspection in your music. Do you see songwriting as a form of meditation or emotional release?
That’s not something I consciously think about, no. I suppose I’m a fairly spiritual person and I’m in touch with my emotions and I’m also a songwriter so those things probably all blur together. Incidentally, I just trained to be a Breathwork Healer which is something that is quite intuitive and centered in emotions – so that’s probably also something that’s been affecting my songwriting.
Can you tell us more about your collaboration with producer Charlie Nieland? What makes your creative chemistry work so well?
I’ve been working with Charlie for almost 20 years. He’s really talented and easy to work with and also a good friend of mine at this point. It’s so easy to work with him because we know each other well.
You’ve been compared to artists like Aimee Mann and Sharon Van Etten — how do you feel about those comparisons, and what do you think makes your own voice distinct?
I think both of those artists are very talented and I’m happy to be compared to them. Any artist of any genre brings their own unique self to their work. Their own background, experiences, feelings, dreams, wishes, etc. There is only one me. I can only write things authentic to myself.
Looking back at your earlier albums, like “The Sky Road” or “Devastate Me”, how do you see your songwriting and sound evolving over the years?
I’m getting weirder, perhaps or maybe just more comfortable being myself. I’m getting more confident as a writer and care less about what people think or how they respond.
Do you usually start a song with lyrics, melody or a specific emotion you want to capture?
I start every song differently. Sometimes with lyrics, sometimes with music and sometimes with movement – – by moving my body and seeing what sounds or words come out. It’s been fun to experiment with creating from movement. It’s good to get out of my head and not overthink stuff.
Are there any musicians or producers you dream of working with in the future?
Dream collaborators: Nick Cave, Sparks, Kate Bush, Lucinda Williams, Sharon Van Etten, Stevie Nicks, Chrissie Hynde, Nick Lowe, Elvis Costello. The list goes on and on.
The New York scene has always been known for its creative diversity. How has living and creating in that environment influenced your art?
I’m part of a talented and kind music community here in NYC. I’m always going to see friends shows and they come to see mine. Most of the new music I listen to is written by my friends. They’re a big influence on me.
I also just did a month-long artist residency in East Iceland at Fish Factory Creative Center in Stodvarfjordur. I wrote a batch of 9 new songs there. The town I was in was so small they didn’t even have a store. It was a beautiful, dramatic landscape with a fjord and mountains and snow in June. It was really inspiring.
What’s the most memorable live show or tour experience you’ve had so far?
Ten years ago I toured as part of my friend Freddie Stevenson’s band. We opened for the Waterboys all over Europe. I think we went to 12 countries or something like that. It was an incredible experience. We saw all of Europe and played for big, enthusiastic audiences. I’d love to do that again.
If you could pick one song from your catalogue that best represents who you are right now, which would it be and why?
That’s a tough question. I think we’re all constantly changing. In terms of my songs, after I release a record, I’m usually more focused on the newer songs I’m writing or what comes next. I’ve forgotten about some of the songs I’ve written. With that said, I think “St. Teresa in Ecstasy” is one of the best songs I’ve written and it’s one of my favorites.
Looking ahead, what can fans expect from you next — new singles, an album or maybe a tour?
I’m going to record some of the songs I wrote in Iceland with my guitarist/collaborator John Kengla. I wrote most of these songs on tiny synths: the Pocket Piano and the Organelle – – so they sound pretty different from the music I’ve created in the past.
And finally — what does success mean to you today as an artist? Is it about reach, connection or simply the act of creating something true?
To me, it’s continuously growing, getting better as a writer and performer, playing bigger venues to more people and having more opportunities to collaborate with people I admire.
