Chloe Bailey

what that is. How does it go? It goes, Yeah, like an old fashioned card, And I love like always feeling my stomach jump and move with it, and I feel like I'm getting an app exercise at the same time. This is Backstage Pass with Eric Vitro, and I'm Eric Vitro. On this show, I talked to some of the most talented and famous singers working today about their lives, their craft, and what it takes to make it really big. I happen to be their voice teacher and their vocal coach,

so our conversations are uniquely different from their usual interviews. Okay, let's get back to talking about warming up. I love that you mentioned singing a minor scale because most of the time people only sing major scales, right, Yes, and I notice like even sometimes when you'll be like, Okay, speed it up here, it'll help me with my riffing and the accuracy and hitting the notes. And I think that's why I love those so much, because it's like

confusing my brain. It's like what's going on here, and it's like a puzzle piece, But then it really helps when it comes to riffing and like doing all the fun vocal acrobats you want to do. You may know Chloe as one half of the duo Chloe and Hallie and their songs do It Happy Without Me or on Godly Hour, or you might have seen Chloe on the TV show Grownish, which her sister Hallie was also on, or you might know her from her blossoming solo career.

I met Chloe when I was working with her sister, Hallie. I definitely remember how he first met. It was at your house and my sister was with you, and she was working on a Little Mermaid right when she got the role, and I was there at my whole family and I remember meeting you and your beautiful dog. You were so effervested in, so outgoing. I felt like I had an instant connection with you. I felt the same. Eric, I felt the same, and I was like, Wow, Eric

is such a sweet, sweet spirit. I can't wait to work with him. One day, we were rehearsing in my living room, but then you and I went in the studio for a little while ami talking, and then I felt like I already knew you. So I was really excited. And then you didn't call for a couple months. I was like, oh, yeah, well, because for me it was like you were training Hallie and I wanted her to feel completely confident and comfortable before she went out to Europe,

and I didn't want to overstep that. I think it's like the big sis, little sis thing. I'm so proud of Hallie and I want her to feel like she can stand on her own and be just as great and don't really have me interfere sometimes. So I was like, once I knew she kind of found her footing in Europe, I was like, okay, I can hit up Eric. Wow. I would have never thought that, but that's so sweet

of you. You're amazing things. Wow. When I felt it was time to start really improving my vocals, I was like Eric, Eric, Eric, Eric, And then that's when I hit you up and I was like, I have to, I have to, and I was so happy that we finally got to work together. Well did all that. I was thrilled. And the bonus was that I discovered Chloe is a blast to work with moments, like a hyper

bubbly person. And it's really funny because people don't really know that unless they know me personally, because the way I kind of perform and the way I like pose or whatever, I seem like this ultra confident, like boss batty girl, but like inside, I'm such a nerd and I'm like so goofy and clumsy and like hyper and energetic. So it's really funny how I have different layers to myself. Now it turns out Chloe's been singing basically her entire life.

I started singing right when I came out of my mom and I remember my untie Mail tells the story all the time, how I was two years old in the back of her car and Alicia keys Fallen was on and I was singing my heart out in the back and she wasn't used to that like my parents were, and she ran home and she was like, do you know your daughter can sing? And I had vibrata in my voice while I was singing Fallen. I wish I could go back in time and just kind of look

at myself then. But I've always always loved music, something about it, and I grew up loving Tony Braxon and Beyonce and Destiny's Child. And when I turned around eight or nine, my dream was to be a Broadway star. Honestly, I wanted to be young Nylon Lyon King so bad and I finally got it, but it was for Broadway and not the tour and my family. We just ended up staying in Atlanta and I did a bunch of plays in theater and I was like, I'm gonna win Tony's one day. My dream is to be a Broadway star.

And I think it's because I love to dance and perform while I was singing, because even when I was younger, I've always been such an expressive person with my face and my body, like my whole soul. So I think that's why I was so drawn to Broadway at the time. And then it kind of moved to just wanting to be a huge mainstream performer and artist and entertainer because I can bring that Broadway performing Since to that, and

then my beautiful sister came along. So as I was singing and performing, we were always together like this, like attached at the hip. So when she saw me doing what I was doing, She's like, Chloe, I want to join. And it kind of became a bonding thing for us to sing and do everything together. And they do work together so well, so naturally, when Chloe told me that she wanted to wait for us to work together until Hallie felt ready for The Little Mermaid, I shouldn't have

been surprised. It speaks to how much they truly support each other. Maybe that's why they've been performing together for

so long. We went to this summer camp at Spellman University in Atlanta and they had a talent show and Hallie and I decided to sing summertime, and we had our matching like green tank tops and striped skirts and these big flowers in our hair like Billy Holliday, and we were up there singing, and that was the very first time we really truly performed together in front of an audience, and we won first place some time, and the Livings Easy fisha Jumping and the Cottonisa and after

that we kind of just kept it going, and I even remember we would go to clubs in our church dresses and sing. When Chloe was around ten, she and Hallie wanted to start creating their own original music and lyrics. At that time, we were meeting producers and we'd bust out singing for them in Atlanta. But it's like, really, what can you write and produce for ten and eight year olds? Like that's a little hard and it's a challenge. But for us, we don't realize how young we truly are, right,

so no one was really biting because of that. Our dad was like, Okay, you guys have to learn how to do it on your own. I remember we all sat at the table and we learned about songwriting structure and how to apply figurative language into songwriting. And I still remember that day clear as can be. And that was the moment where we first started writing our music. What was the first song that you actually wrote and got recorded and release? The very first song that I

wrote with Hallie. It was called what makes You Sad? And there was a long list of things that what made us sad and it kind of sucked, but you both sat together and yea, we sat at the table with our dad and my sister and we made a list of everything that made us sad, and we came up and added the melody to it that never made any records. How was the chorus? Can you sing a little of the course it went well? She said, losing your ones? What makes you said the invitrate like a

cost fan? Oh wow? That I could see a lot of people relating to. Yeah, it was like it was a bit depressing. I can't lie, but you know, it was the foundation of everything and it just kind of went up from there. Everyone around Atlanta would be like, oh, you should start doing covers like it's a new thing, because they would say Justin Bieber got discovered off of YouTube cover such such got discovered. We were like, you know, I don't know about that, and you know, I'm the

biggest Beyonce fan. One day, you know, we heard best thing I ever had, and we loved that song, and we found the piano instrumental and we were like, you know what, we don't have anything to do today, let's do a cover. This is when you got to burn CDs. So we burned the instrumental on the CD. I'm Chloe and I'm happy. I'm thirteen years old, num eleven. It's glow. We seeing best Thing I Never Had? And I remember

our older sister Sky. She sat by the try pod with the camera and would press play on her toe and we were sitting in front of the wall singing, and we sing our hearts out for maybe like twenty takes.

Baby Colver called corn heyy Mo Baby Gold. They had posted some videos before the two of them performed it a talent show or a church or charity concert, but their cover of Best Thing I Never Had that was the first cover they recorded in their basement for their YouTube channel, and they recorded even more cover songs by Adele Rihanna, Katy Perry and Alicia Keys. She's just a gull and She's on fire, kinda than a fantasy, higher

than high. We went on Ellen Show after we were doing the covers, and I think that was the moment we were like, Okay, I guess these covers are kind of doing something for us. YEA, all right, who's who? Well Shoe, I'm Hallie Chloe and Hally Yes, and you are how old? I'm thirteen eleven? Okay? And you have sung together for how long? Since Hallie was old enough, Yes,

I was. Fourn Halley was two, and we started singing together and after that we just kept going and that was kind of our segue and the door leading us into greater opportunities with music. Not too long later, Chloe and Hallie recorded a cover of Beyonce's Pretty Hurts stage paget the Pain So I'm Gonna take the chrown not falling down die. There was so much emotion and intensity in that performance, especially for someone so young. Beyonce saw it and shared it and the video went viral and

the rest is history. Shortly after seeing their cover video Pretty Hurts, Beyonce actually signed Chloe and Hallie to her label. How about that. I was the biggest Beyonce fan. The very first role I went for and got was the younger version of Beyonce and fighting temptations. So being able to meet her and knowing that I loved her so much, I was like, Wow, so this is what a star is supposed to look and be like. And I think I got introduced to that at such a young and

early age. And I knew about Parkwood and I was like, we're going to be the first group sign. I always said that. I always put that out. I'm a proud member of the Bee Hive. So when the email came through, I immediately knew the Parkwood seal and I was like, oh, it's real, Like I knew it. And so the family kind of always laughed at me because they're like, you kind of manifested it. You did, you did, and you keep manifesting things. I'm a firm believer in knowing that

there's no coincidences in life. I feel like everything is planned, and I feel like in a way, that was God playing a funny joke on me, Like, Okay, you're going to do this now, and then years later you're going to meet her, be signed to her, and she's going to guide you along your career and your path. And so it's really funny how if you look back at your life, you can see how things kind of how

they correlate and how they come together and connect. Hey, don't go away, we'll be right back with backstage pass with me, Eric Vitro and my guest Chloe Bailey. Okay, we're back talking with Chloe. Now. I've always been impressed with how her brain works when it comes to production, so I wanted to talk to her about how that developed. I love like legos, I love building things and piecing

things together, and I love math and science. Like before I got homeschooled, I really loved school, and I think that's why I got into production. And it's my favorite thing. And people don't really know that until they like talk to me and I'm posting more like making the beats and everything. But yeah, it's kind of like my little hidden secret. Sometimes I don't really know how to verbally explain what I want, but I can play it and I could piece it together, and I'm like, here, you

know what this is? It? You know, it's funny you're saying that how much you love it, because I notice when you talk about producing, Yeah, just totally light up. So I get that. I think it is so strong and incredible seeing a woman produce. And it's such a male dominated industry, and there are great female producers, but a lot of them aren't getting the shine and the

recognition that they deserve. And like, I've grown up loving Missy Elliott and Imogene Heap and Grimes and Merrill garbage of tune yards and buyork and seeing how these women literally create masterpieces out of nothing has been so inspiring to me, and it gets like my heart and fire

lights in my belly. So let me ask you this because a lot of times when I hear interviews with people, they'll say who inspired you, And sometimes it's a similar group of people, the greats, But I always want to know, well why, Like, for example, you mentioned like three or four women right there, like maybe Missy Elliott, Like what was it about her, her persona, the tone of her voice,

how she delivered the performance, like what was it? Honestly, it was knowing how she held her own when it came to production, and how she made a name for herself when it came to originality. Like I'm the biggest Imagine fan, and just even listening to the instrumentals that Imagine would put out with her albums, because she would put a separate thing out and I would just listen to it. I'm like, wow, how does she piece this together?

How does she piece that together? And I think just seeing how these women were incredible artists and stars, but they were also involved in every piece behind the scenes. And no one can tell your story as great as you can. And I admire great performers and artists who do have a huge team behind them, because that's beautiful and you still have to have that it factor to be successful. But something about an artist who can do it all has excited me and that's what I have

wanted to become. Now, what about those women that you were mentioned, what about any of their voices? Is there something that triggered you? Yeah, Merrill Garbas has like the coolest, quirkiest tone, and she belts all the time that I lose. She kind of got me into wanting to do like the weird clashing harmonies, the one that's like going against the grain and really feeling left of sinner. So she

really inspired me. And how she lay at her vocals and same with Imagine heap and how she did the harmonizer, and like I would just stare at her live performances, even when she did the gloves. And I was so happy when Ariana Grande kind of commercialized it more in a way and put more light on it because not too many people know about Imagine and the star that she is, so Ariana loved her. Yeah, I was like, Ari's the coolest for doing that. It am me so

freaking happy. I love the layers and that really opened up my mind to vocal production and how I layer my vocals and you know, with Hallie and I and how will like piece things together. Well, speaking of strong powerful women, you recently did a song by another iconic, strong powerful artist, Yes, Nina Simone. Yes. So it was a part of this project that I did, and it was all of these other incredible black artists and they

did their own interpretation of other songs. The song was Feeling Good, which was recorded for Music for the Movement Volume three, an album released to celebrate Juneteenth. I've always been the biggest Nina Simone fan. She is so unapologetically herself and so strong, and now she owns herself and who she is, and you know, she really doesn't give

a crap about what anyone has to say. And so I felt that that song really resonated with me, even now more than ever, because I'm coming into my own I'm finding who i am, I'm learning to feel comfortable in that, and I'm feeling freaking good. And that's why I chose that song. And I was in my room

and I came up with that arrangement. I started it and it was really just my harmonies and claps, and then I started adding the drums and the instrumentation to it like the next day, Like I specifically followed the strings that was in her version and did that with my voice. So that was really fun to do. It felt like another puzzle piece, and I was honestly really happy with how it turned out. It feels like alternative

and like dark and really fun. When she performed the song for ABC's juneteenth celebration, Chloe sang completely alone on stage. She was silhouetted against a bright full moon. It's just her singing and dancing with the music. I love performing that song and I love miss Nina Simone so much, and I was just more than honored to do it. Yeah, I think she would absolutely be thrilled with that performance. I mean, first of all, I think a lot of people really came away from is your range is so

incredibly wide. They I mean, you go so low and then you go so high that I mean, you really we get everything and that Eric, I'm really grateful for you because you've kind of removed those blocks that I've had on myself mentally when it comes to my voice, and it makes me happen when people think I'm a great singer. I'm like, what, It's honestly still surprising to me. I don't know why she would find that so surprising, but anyway, another great quality Chloe has is she really

listens to advice. And right here, I'm kind of talking about my advice. All of the vocal products you told me to get, I was like taking them days before. And remember the humidifier you told me about, because it gets so dry in LA. When I don't have that humidifier on, I can't really sing the best right. And so all of the tips and tricks you told me about I applied and I think that really helped me.

And even when we were working on it and how to connect with the certain words and just make it feel and not really be in my head about how I sound, just more about hot feels. That really helped me. When we did that together, we get that listening to you, like we feel what you're feeling, which is so extraordinary about it. And I love that you kind of take us on such a journey because it does go so low,

like feeling good. You kind of think of that expression that someone would say, I'm feeling really good, yeah high yeah, but you took it so low that was like, oh, I'm feeling this expression in this thought in such a different way. Don't And then it did just climactically get higher and higher. I think it really came when I was producing the song and I just wanted to feel

like there was a constant build. I wanted to feel like a roller coaster and I'm learning that I do have a deep tone and I'm like, I should use it more. Why not? It wasn't really strategic in my mind when I did. I was just like, let's start really low and then as it builds, we'll just like ramp it up, ramp it up, wrap it up, because I love roller coasters and that's how I wanted it to feel. That's great. I love that. Well you achieved it.

Thank you, you achieved it. The fact that Chloe performed Feeling Good without any backup dances or any special lighting or added effects was amazing to me. It was a conscious, specific decision to do that because I feel like the best person to perform with for me is my sister, and I think for the first time, no one could really live up to the best person I could perform with. And I was like, you know what, let me just be out there and be me. Yeah, I don't need dancers,

I don't need a band behind me. Let me just keep it simple, let me be completely and unapologetically myself. And that's what I wanted to do. Yeah, I wouldn't call it simple. Yes, I don't know many people who could do that. I still have scars on my knees from that, yes, because it was sequence and usually in rehearsal, I had my knee pads, but there were sequence all on my knees and so I was bleeding after that.

Oh my god, you're kidding. Yep. They were like these nasty scabs on my knees, but now it's just like lighter scars on my knees. Now, when you were doing it, did you know that was happening or were you selling them all pain? All the pain? Because I rehearsed before I started filming it, and I felt the pain. I knew shoot, and it was like okay, But when my adrenaline kicks in, I kind of forget about everything else

and I just get lost in the music. So after it, when I saw how red and purple my knees were, I went, oh boy. Note to aspiring performers sometimes you have to suffer for your art. I didn't see any of it on your face, so thank you. That's why I was wondering about that. Yeah. Wow, just watching you do that was incredible. I remember it like I wanted

to hear it again. I got so focused on watching you moved that I was like, Oh, I have to hear the voice again, Like I have to go back and listen again because I really want to pay all attention to the voice this time. Yes, thank you. So you are working on a solo album, which I'm so excited about. Thank you. So let's talk about that. Does that feel very different from everything you've done with Hallie or is it just like another part of you, an extension. Oh,

it's a little bit of both. So my sister was in London killing it be an Ariel and Little Mermaid, and you know me, I have all this music still bubbling inside of me. So I didn't feel right really halting my creativity. And you know, I was creating songs from my album, even some that will be on my sister and I's next album. And this is the most inspired and excited I have felt. And I really love to perform and dance, and I wanted to make music

that I can really fully perform and dance too. And I'm talking a lot of ish on the record, and I'm really expressing myself and it feels really fun and I can't wait for everyone to hear it. I'm really really proud of it. Wow, I can't wait. Would you say the style is different from what you and Hallie do? It definitely is different. As much as we are the same, we are completely different. We have different music taste. My sister's a jazz head. Me I love like alternative. I've

been such a huge down a summer fan. I've been doing a lot more pop and like different things that kind of really make me want to dance and move and just jump out of my chest. And what I love about my sister and I is how strong we are together but also as individuals, like she is such a powerhouse on her own as well as I am. So it's been it's me. The project is me. It's everything that I feel, all of my thoughts. It's just me completely, So I feel really free creating and I'm

really happy with it. Stay right there. Right after this, we'll have our vocal Tip of the Week and more from Chloe Bailey, let's do our vocal tip of the week. In this episode, we also talked about the car engine starting up exercise. It's a great exercise to strengthen your breathing muscles, strengthen your voice, and also to loosen you up and release those notes. Basically, you're making a sound like an old card that is having trouble getting started.

Try it, making sure you use your breathing muscles to create the sound. Also make sure the sound is being created up front in your mouth, not in the back of your throat. If you're having trouble getting it out of the back of your throat, try adding in a M before you start, like this M. It should feel good. If it doesn't, you're doing it incorrectly. Then try it on a simple melody like this bases baritones in tenners.

Start on a sea below middle c. Then stretch your range by transposing down and then back up by half steps like this. Eltos and sopranos. You could start right here on a middle cea keep going higher by half steps until you reach the highest note you can comfortably. Don't overdo it or make it too louder, too heavy, just a little bit goes a long way. If you want to share yourself doing the car engine exercise, I'd

love to hear you. Use the hashtag Backstage Pass pod on Twitter, Instagram, TikTok or wherever you like to post. I can't wait to see your videos. I'll see you next week. Maybe maybe maybe maybe. Backstage Pass with Eric Vitro is written and hosted by me Eric Vitro and produced by Mortgage. Daffy. Katherine Girardou is our showrunner, Emily Rostek as our associate producer. The show is mixed and mastered by Ben Tolliday. Additional engineering help is from Jacob

Gorski Mia Lobell as our executive producer. Our development team LEETL. Mullad and Justine Lange helped create the show, thanks also to Jacob Weisberg, Heather Fame, John Schnarz, Carl Migliori, Christina Sullivan, Eric Sandler, Maggie Taylor, Nicole Morano, Daniel o'lakan, and Royston Basserve. The original theme music is by Jacob and Cita Steele for Premier Music Group. We record at Resonates Studios. Fred Talson does our videography and the photography is by Ken Sawyer.

A very special thanks to Michael Lewis for his inspiration and the best guidance anyone could ask for. Backstage passed with Eric Vitro as a production of Pushkin Industries. If you like the show, please remember to share, rate and review it. I mean that really share, ry, review it, and if you love the show and others from Pushkin Industries, consider subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription that offers bonus content and uninterrupted listening for four

ninety nine a month. Look for Pushkin Plus on Apple Podcasts subscriptions. To find more Pushkin podcasts, listen on the iHeartRadio app, Apple Podcasts, or wherever you listen to podcasts. Do you have any rituals that you do before you get on stage? I pray, oh, I drink lots of tea, I'll yes, throatcoat, I'll warm not hot. Yes, yes, you taught me. And I used to burn my tongue no, no, not good. Yeah you told me about that and I was like, oh wow, warm nah. And I'll take a

spoonful of honey. And now I have my Manuka honey packets and those have been amazing. But yeah, I pray, I stretch, and I calm down because I'm like, I rehearse my butt off. There's nothing much I can do or change right now. Just breathe and let the music take control, and you'll be fine.