‘I can’t remember when I did not love music’: Out Chicago singer Lucy Smith discusses her artistry and passions
At the intersection of jazz, blues, gospel, soul and other forms of music, listeners will find local entertainer/producer Lucy Smith.
A member of the LGBTQ+ community, Smith is an award-winning singer whose quartet/quintet is a dynamic part of Chicago’s music scene. In addition, Smith works collaboratively with Chicago media personality Cheryl Corley on projects that combine music, history and spoken word; they include Chicago Bound: The Great Migration of the Blues; Chicago’s Soul: The Words and Music of Gwendolyn Brooksand Curtis Mayfield and Shout OUT: A Tribute to Gays in Gospel Music.
Recently, Smith talked withWindy City Timesabout her music and embracing oneself—making a personal revelation in the process.
Note: This conversation was edited for clarity and length.
Windy City Times: Congratulations on all of your accomplishments. How were the Black Excellence Awards? [Note: Smith won an award at this recent event.]
Lucy Smith: It was awesome, man! I sent a note to folks on my mailing list that I had to keep it cool because I’m just a fan. There were Chuck Smith, Cheryl Lynn Bruce and so many other people. When I was little, my mom would take us to Chuck Smith’s first theater, in Woodlawn; I sawSizwe Banzi Is Deadthere, and my mom was such a fan of the arts.
Most of these people I don’t know personally but just to be in the same room as them! Plus, some family and friends were there, and I didn’t know that some of them would be there. And to win—it was the highest honor for me.
WCT: How would you describe your music?
LS: I am a trained jazz singer but I sing music. I sing, research, present and try to get it right. [I sing] Black music, which means jazz, blues, gospel, folk, funk, soul—and sometimes all of that mushed together. I also sing fine-art music but that’s also Black music. I feel really blessed to be able to present all of that. It’s really important that I pay tribute to the music that I present.
WCT: When did you start feeling this passion for music?
LS: I can’t remember when I did not love music. We had one of those old console stereos in our house, in our living room. It was predominantly used to play my mom’s music so we grew up listening to Mahalia Jackson, Blind Lemon Jefferson, Trini Lopez, Miriam Makeba, Nina Simone, James Brown, Aretha Franklin—and I could keep going. But it was music that I simply revered. I sang in a gospel choir when I was in high school and when I was in college the first time.
My mother was from Augusta, Georgia, so she really loved blues. I was drawn to the music of Josh White; he would combine folk-ish blues and more acoustic blues. I don’t know what draws people to certain sounds but I’m still fascinated when I listen to music today.
WCT: Reaction videos are all over the internet, when younger people listen to old-school music—from Curtis Mayfield, Aretha Franklin and even Whitney Houston—for the first time. The vast majority of these people seem to say, “They don’t have music like this today.” What are your thoughts about that?
LS: I appreciate the fact that young people have so much access to musical information; that’s the wonderful thing about the internet. As for the reactions, I’m fascinated by them. I think I’m just trying to let that soak in.
Andrew, I don’t know what to tell you without getting in trouble. I haven’t listened to much of [today’s] music but when I do, it’s not what I want to hear. Sometimes, there seems to be a pattern.
The talent has always been present but you may have to seek it out.
WCT: Can we talk about your collaborations with Cheryl Corley? How did you two come together? Also, withChicago’s Soul, how did you two pick Gwendolyn Brooks and Curtis Mayfield out of all the icons in this city?
LS: Yes! She is my partner in art—and she is my spouse; we’re at a point where it’s okay to say that. We’ve done four projects together; she’s the historian, journalist, emcee and DJ, and I weave music around the narration and poetry.
The first project we did together wasChicago Bound: The Great Migration of the Blues, and that goes back to 2015 as part of Chicago’s Night Out at the Park; Willa Taylor, when she was director of education at the Goodman, contracted with me to do a musical adjunct toPullman Porter Blues, and then I modified it. And, of course, we’ve also doneShout OUT: A Tribute to Gays in Gospel Music[performed with the Lucy Smith Quintet].
As for Gwendolyn Brooks and Curtis Mayfield, in 2017—when Chicago was celebrating Gwendolyn’s 100th birthday—I thought it would be an opportunity to celebrate her, too. I was familiar with her poetry but Cheryl was even more familiar because she had interviewed Gwendolyn. Then, I found out that Curtis grew up in Cabrini and that Gwendolyn used to teach in that area. When I was thinking of [how] to respond to an RFP, it just burgeoned; here was an opportunity to present something that combined these off-the-chart local icons who were known nationally and internationally. And Curtis Mayfield’s music is as beautiful and intricate as Gwendolyn Brooks’ poetry, and we wanted to make their works accessible.
WCT: Asking you something I’ve asked other people, what does representation mean to you?
LS: I think it’s huge. I think that we’re in an age where we’re either in a situation where we’re comfortable being all of us or where we have to be really cautious because of what could happen with publicity, through social media or possible backlash. I really want to be represented as someone who is thoughtful—and I work to represent myself that way. I hope that I appear to be genuine.
And I have young people in my life, and it’s important that I continue that old-school tradition of professionalism. I want to be seen as someone who actually listens and who learns from that listening. In some ways, I’m more patient now than when I was younger; but, with other things, I’m not as patient. I don’t know how much more time I have left on this planet so if I get a vibe of stankety-stank, I’m gone.
WCT: And what about queer and/or Black representation—what does that mean to you?
LS: Yes and yes. [Laughs] Unfortunately, we’re in an interesting cyclical stage, and what’s happening is not new. When I walk down the street, I’m a Black queer woman—but I’m also an auntie, a parent and a citizen of the world. The hue of me and who I deeply love are integral parts of me—but not all of me.
The other part of my representation is that I’m abigBlack woman, and sometimes doors are shut because I am fat, even though I’m a healthy fat woman. That’s part of the challenge of being an entertainer; there are expectations of what entertainers are supposed to look like. But I look in the mirror and I smile.
WCT: Is there anything you wanted to add about yourself, your music or anything else?
LS: I love making music and art and collaborations in the city. We just have a wonderful mixture of everything, with so many communications. I’m just looking forward to future collaborations. The more people hear me, the more they want to hear me; the more they see the shows I do with Cheryl, the more they want those.
We met years ago at Bradley University and we were both members of the speech team, although she was the speech goddess on campus. That love of literature and performing it is something that keeps our relationship going and keeps it strong. There’s no high that’s bigger than to have younger generations come up to us and ask for more information.
To find out more about Smith and upcoming performances—such as her Jan. 10 performance with the Jo Ann Daughterty Trio at the Arlington Heights spot Hey Nonny—visither website.