S
ublime vocalist Jimmie Herrod is wrapping up quite a year. Last October, he joined Grammy-nominated ODESZA for their national television debut on Jimmy Kimmel Live! and followed up by touring with locally beloved international superstars Pink Martini to great acclaim. He also managed to fit in an appearance as the Oregon Symphony’s featured soloist at their 2018 TEDx Portland showcase this past April. These most recent career highlights should come as no surprise. After graduating Cornish with a degree in composition and performance, Herrod pursued a Master of Music in jazz studies from Portland State University and made a name for himself as a theater artist in Seattle. Authoritative Broadway World deemed his 2015, gender-bending performance as Tunny’s Extraordinary Girl in American Idiot by Seattle’s ArtsWest “a performance for the ages.” PSU has currently engaged him as an adjunct professor of voice for their jazz program, which gave Grammy Award-winner Esperanza Spalding her start. Make no mistake: His star is on the rise, and you’d be well advised to catch a spine-tingling live performance as soon as possible.
Jimmie Herrod. Photo by Timothy Nishimoto.
What’s your first memory of a live music performance?
I recall my first concert being the Christian singer Carman. I don’t recall a thing about the concert, except that so many people were there to hear what he had to offer [and realizing with amazement] what music means to so many people.
What role do you think performing arts education plays for young people? What are your thoughts on the current state of performing arts instruction in our public education system?
If I didn’t have teachers that nurtured the dimmest flames, I don’t know if I would be anywhere near where I am today [given that I’m] still someone who is riddled with self-doubt. It took years for my confidence to catch up to my natural talent, but I had great music teachers growing up that really inspired and supported me musically and in developing self-belief. My band and choir teachers were truly inspirational, each of them taking on a parental role that I saw guide many students away from unfortunate futures. In spite of budget cuts or a lack of school support, I think many are seeking out opportunities. For those who can’t afford things like summer camps and after-school programs, I can only hope schools choose to see the validity and impact of the arts.
What is the best lesson or piece of advice you have received with regard to your profession?
In undergrad, I had a wonderful composition instructor named Linda Waterfall, who is both an accomplished musician and artist. I learned from her example to defy templates made before one was even born. She studied visual art, a choice her parents never supported. Years later, as my teacher, she was following her heart [and] doing what made her (and not others) happy. The best advice was to trust one’s self and pursue authenticity, principles Linda nurtured.
What’s been your favorite performance experience to date?
Recently, I performed in Paris with Pink Martini. Paris is so highly romanticized that, as much as I wanted to downplay the city’s charm, I found myself humming April in Paris. When we performed at Le Grand Rex, there was no denying how glorious it was and how thankful I was for such an experience. I sang my two songs, then listened to China Forbes sing U Plavu Zoru and just cried at the back of the stage. It was one of those “How did this even happen?” moments.
Jimmie Herrod. Photo by Ernie Sapiro.
How did you come to perform with Pink Martini?
I met Thomas Lauderdale through a dear friend who insisted on us meeting. Months later, I found myself at Thomas’ loft, casually chatting and eventually playing through a number of songs. That day, Thomas asked me if I’d be interested in going on tour, and it’s been such an honor since.
What are the positives and negatives in your experience of acting in traditionally female roles? Do you approach female characters differently?
Playing women in an art form where often women are tragically minimized to narratives surrounded by a woman’s bewildered fawning over a man can be quite an uncomfortable scenario, but I have played roles of women of strength and perseverance. Aside from the Queen of the Underworld [in the opera The Ballad of Ishtar] and Extraordinary Girl [in American Idiot], I played the Beggar Woman in Sweeney Todd – my favorite character to date. She isn’t one-dimensional; she’s survived much adversity and has more to sing about than longing for her banished husband. A negative aspect of these opportunities is knowing you are, as a male, taking an opportunity from a woman, which is especially hard when playing characters that defy the norm. For me, there are insecurities about not “passing” or not being believable for the audience, making the whole story unbelievable. Despite some discomforts with others’ perception, playing women are some of the only times I’ve been able to publicly sing as a gay male (playing a woman) about a man – the love of a man, the feelings of longing – in the vocal range where my voice naturally sits. I’ve discovered I much prefer playing women to men [and] have been taking a break from theater because it is so hard for me to feel comfortable in my skin playing male roles.
What do you find the most challenging about your profession?
Inconsistent work is a frightening lifestyle for many, but for me, a life that feels stagnant stirs my anxiety. All the same, having a month with a sparse calendar still worries me – that I’m not elevating in my career.