Luke Steele on Yoko Ono, The Decline of Western Culture and Why Music Needs its Name Cleared

Personality is the perfect name for The Sleepy Jackson’s second album. From the hubris displayed in a bare-chested Luke Steele (front-man and driving force behind the band), cradling himself on the album cover, to dressing in a wig and being his own support act, Steele is a character that instantly polarises people. Regarded by some as a Brian Wilson-cum-George Harrison love child and dismissed by others as a conceited, megalomaniacal and over-rated clone of the aforementioned sixties stars, there seems to be no-middle ground – you are either a fan or a foe of Luke Steele.

Sitting down to talk with Steele, he presents far more personably and less reserved than expected. Relaxed and honest, we chat about the successes of Personality and why music needs its name cleared.

“It’s gone really well, you know. People have really had an open mind and that’s great because we were trying to extend ourselves. We don’t want music just to be about bringing up crap.” Is this the direction music should be headed? “It needs to be more like The Beatles – bring back real love, bring back the music, get rid of the trash.”

Steele is no sceptic, he believes that music has a future and speaks with a genuine passion for his craft. Swept away in an Almost Famous-esque moment, I ask Steele how much music means to him: “It is everything. The emotional state that people get from it sometimes, it’s the biggest thing I think … I want to make ‘perfect’ pop records, but then when I say ‘perfect’, I get a year of people saying (Steele adopts faux American accent) ‘define perfect’”.

Steering away from the idea of perfect, what makes an essential album? “(It should) make people listen and reach them – provide inspiration. Like when I see Carole King, I get blown away, and I like that fans have the same experience when they go to see us, although it’s a smaller scale.” Steele takes a few seconds before continuing in his usual delayed manner: “(Or) how they affect relationships. Like with Yoko’s 1982 record after John died – she said, ‘I just hope we can survive, survive … survive – together’”.

As talk turns to Yoko Ono, I ask Steele whether he will be appearing on the Yoko Ono tribute album scheduled for release next year: “Yeah, it’s been recorded.” Were you happy with the results? “Yeah, it’s amazing I couldn’t believe how it came out.” Being a massive post-Beatles Lennon fan it must have been a thrill to meet her? “I didn’t get to meet her this time, but hopefully I will next year at the launch.”

With the turmoil of past line-up changes, the delayed and pressure-filled recording of Personality and his obvious high regard for the role of music, does Steele ever doubt his abilities?: “No, not really. Apart from those small doubts, but that is just human nature I guess… You cannot take everything too seriously.”

While many would expect nothing less from Steele’s notorious self-confidence, it is his relaxed sentiment about not taking everything too seriously that seems most at odds with the driven and ego-maniacal Lovers-era Steele. Steele credits these changes to having added time to spend with his family, his new fiancée and “getting into surfing, yoga and just trying to follow a healthy path”. So much for sex, drugs and rock’n’roll: “I’m just realising the value of good food.”

The healthy baptism that Steele has undertaken has not simply resulted in better eating; recent reviews from the Personality tour have been glowing and mark a distinctive improvement from the mixed analysis of the Lovers shows. Artists do not generally agree with criticism of their performances but Steele feels that these past judgements were justified: “Well, that’s true, you know. We went through a lot of shit for a number of years and this is the most relaxed and together we have been on-stage. It’s different now – I’m not out to prove something.”

While Steele may have less need to prove his worth, there is no doubting his ambition. Steele reveals that The Sleepy Jackson is already in the studio recording the next album. “We’ve still got a lot left to say and I’m looking forward to the future … the time for us is now.”

When speaking of the future of The Sleepy Jackson it is clear that Steele believes that artistic musical statements are a folly for the individualistic trend that seems to be defiling the credibility of popular music in the naughties. The strong social messages of Steele’s heroes from the 1960s and 1970s seemed to promote a more egalitarian society. Does Steele feel this has gone the other way? “Yeah, it’s bizarre. Every week there is a new one of those texting things on TV – ‘Text for a hot girl and your chance to meet her’, they are just using technology to turn everyone into robots.” Do you think that this type of commercialism preys on the lonely?: “Man, it’s happening right in front of our faces, hey? We have to keep strong. Take down the machine, man”.

Personifying the ideals of Steele’s golden-era idols, it is obvious that he clamours for a return of this not-so-distant epoch when music seemed to resonate through people, empowering social change with it. While Steele is fighting an uphill battle against the cogs of an ingrained ‘machine’, it is the passion for his art and his belief in the vitality of music that many cannot see in Luke Steele, the showman. But after having the chance to interview Steele, it is clear that, just like his album, there are two sides to his personality.

The Sleepy Jackson play the 2007 St Jeromes Laneway Festival in Melbourne (24/25th Feb), Brisbane (3rd March) and Sydney (4th March) along with Peter Bjorn and John, Yo La Tengo and loads more. Head to www.lanewayfestival.com.au for the full line-up and all the details.

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