The many faces of bassist Louise van den Heuvel

How are you?

Great! I’ve just recorded a new album. It’s a concept album with eight duos. For each piece, it’s me on bass guitar with another musician. Over the years, I had written compositions specifically for certain instruments or people. At some point, I realised they could all exist within the same sonic world. There’s a Steve Reich-like atmosphere, but also influences from classical music, like Bach.

All these musicians are friends of mine, which made the recording process very fun. I divided each day into four-hour blocks, so we recorded eight people in four days. It was quite a schedule! [laughs]

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Where does your fascination with the bass come from?

I was probably around fourteen and a huge Red Hot Chili Peppers fan. I saw Flea playing and thought: ‘I want to do that too’. It evolved into something completely different later on, but that was the seed. 

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What are you looking for in your music now?

I mostly want to connect with people through music. That’s also the centre of this new album.  I find it interesting to see how different people bring out different sides of me, or add something I wouldn’t have thought of myself. Our producer, for example, brought in the idea of using field recordings to connect the different pieces in the album. With Elisabeth Klinck on violin, it became more about finding something organic. And with Arne Nuyts from Echofarmer, we took turns playing one single note each time. Every collaboration leads somewhere completely different.

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You’re moving between different musical worlds: The Gallands, Kanda, your own ensembles Dishwasher_ and Sonic Hug, and now Brussels Jazz Festival. Do these scenes overlap?

I’m part of a lot of different scenes and bands. Sometimes they mix because the musicians know each other too. It is a community. I think everyone in our generation is dealing with some kind of practical burnout. [laughs] From the beginning of the year until July, for example, I was touring with Selah Sue and The Gallands. It’s a different kind of freedom from what I use in my own music, with improvisation within certain parameters. Also, with Selah Sue I’m a sidewoman, while in another project I’m the one leading. I need that balance. 

If I had to lead every project, I would go crazy. But if I were only a sidewoman, I would also need to make something of my own

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During Brussels Jazz Festival, you’ll show several different sides of your work. What can we expect?

The music of Sonic Hug is more like a narrative, a kind of listening story. At Flagey, I want to explore this further, while giving the music a new colour with Vitja Pauwels on guitar, Lucia Pires on flute and Daniel Jonkers on drums. It’s a fresh start, and a step towards a second album. Then, there’s the international project with Kit Downes, Sun-Mi Hong and Otis Sandsjö - some of my favourite musicians! There, I want to explore improvisation: I will write the music, but I also want to give it some space and see what happens when you put these musicians together.

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You’re also playing the new concept album at the festival with guitarist Bert Cools. How did that collaboration come about?

Bert and I have played together with Zwangere Guy and Lander Gyselinck. I really like his minimalist electronic music. I’m very happy that he wanted to contribute to the album. Obviously, I can’t bring every musician from the album to Brussels. Therefore, I will perform all the songs with Bert. Guitar made sense because it can cover both the bass parts and the more melodic pieces. With two guitars, all those duo pieces will become completely different again.

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You stayed in Brussels after completing your master’s degree. What does the city mean to you?

I love Brussels. There’s so much creativity in the way people find solutions, especially because, bureaucratically, it can be difficult to get things done here. I also like the diversity of people, both culturally and on a more personal level. It adds to the beautiful chaos of the city. Many initiatives in Brussels try to bring all these different layers of the city together. For example, I’ve been involved with the Sound of Brussels Orchestra, which brings together musicians from different backgrounds who have ended up in Brussels. I find that really inspiring.

Everyone is so creative in finding solutions in Brussels because, bureaucratically, it can be difficult to get things done here

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Where do you find inspiration when you’re not making music?

I’m always thinking about music! (laughs) A lot of my inspiration comes from my friends, who are musicians too. My boyfriend, for example, is the founder of Butterfly Effects, which makes effect pedals. I use them as well. Sometimes an effect pedal can even become the starting point for a composition. I also like reading. I recently read Flea’s biography, which was funny because he’s the reason I started playing bass in the first place. But I also have to consciously decide to take a break. This summer I was in Sicily, where I went sailing and hiking on volcanoes. That did me a lot of good. I could finally switch off. Now I’m back in Brussels, and I can’t do that anymore. (laughs) I’m completely immersed in making music again.

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<div class="editorial-banner"> <div class=“editorial-credits”>@bassw00fer<br><br>Brussels Jazz Festival 2027<br>14–23 January 2027<br>flagey.be</div>