Catherine Graindorge is a violinist, composer, and stage artist who has long navigated the worlds of music, theater, and performance art. Her solo compositions balance experimental sounds, post-rock, and illustrative music, often created for plays and films. She has collaborated with artists such as John Parish, Hugo Race, Simon Huw Jones, and Iggy Pop — who, after hearing her music on the radio, invited her to record an EP together titled The Dictator. Her music is deeply emotional and instinctive; as she puts it, “performing is storytelling,” and sound is about breath, the body, and constant transformation. Catherine searches in music for what is ephemeral, fleeting, and emotionally resonant — something that is “always evolving.” In this interview, she talks about her approach to improvisation, shaping sound, and the spiritual closeness that exists between the stage and the audience.
Artur Mieczkowski
Artur Mieczkowski: Your first encounter with music and theater happened in childhood. Which memory from that time has stayed with you the most, and how did it shape your subsequent artistic journey?
Catherine Graindorge: I remember my first public violin exam. I must have been 9 or 10 years old. I can still see the scene—the wooden floor, I feel the warmth of the stage lights. I feel at home, playing in that square of light, and I know my father is there, even though he’s always away. I feel immense joy while playing; I’m both with the audience and outside of time.
A.M.: You create simultaneously as an actress, lyricist, and composer. How do you balance these roles, and which one gives you the greatest satisfaction?
C.G.: Today, it’s music that brings me the most satisfaction. I can play the violin and the viola at home and create at any moment. But my relationship with music and the stage is deeply connected to theater. Performing means telling a story, expressing emotions. That’s what I seek in music as well, but in a much more instinctive way.
A.M.: You’re a member of the post-rock trio Nile On waX. What has working with Nox taught you that you now bring into your solo work?
C.G.: Actually, I didn’t leave one for the other. Ever since I started my solo projects, I’ve always continued to be involved in various projects and collaborations—music, dance, film, theater—at the same time.
A.M.: You’ve worked with artists such as Iggy Pop, John Parish, Hugo Race, Pascal Humbert… Which collaboration—on stage or in the studio—do you recall as the most groundbreaking, and why?
C.G.: I wouldn’t say that one particular collaboration was groundbreaking. It’s more the sum of all of them. Each one has been enriching. Of course, meeting Iggy Pop and finding myself with him in a studio—relaxed, laughing and chatting—for the shooting of the ‘The Dictator’ music video will forever be etched in my memory.
A.M.: You recorded violin parts for the Jeffrey Lee Pierce Sessions Project’s Axels & Sockets. What was it like working with legends such as Nick Cave and Warren Ellis, and what emotions did that experience evoke?
C.G.: I recorded my violin parts over the voices of Nick Cave and Debbie Harry at home in Brussels. It was an incredible, surreal feeling. But I didn’t meet them…
A.M.: Your film score for Le Chant des Hommes earned you a Magritte du Cinéma nomination. When composing a soundtrack, do you focus more on the visuals or on the music’s own autonomy?
C.G.: I immerse myself in the film—the images, the atmosphere, the emotions—and then I compose. Actually, I always start by improvising, and then I rewrite.
A.M.: In 2017, you released two albums—Long Distance Operators with Hugo Race and Bell Dogs with Nile On waX. How did your creative processes differ between these two records?
C.G.: The dynamic was completely different. With the trio, we rehearsed and recorded together in Brussels. With Hugo Race, the album was initially built at a distance—he was in Australia, and I was in Belgium. I would send him demos, and he would continue writing the songs. We had a few meeting points for the recordings—in Brussels and Turin—and in the Czech Republic for the mixing.
A.M.: Your theatrical productions, including Avant la fin, have been showcased at international festivals. What role does the performance space play for you when crafting sound?
C.G.: The stage is that moment when you meet the audience—it’s a very unique state. It’s a kind of journey, different every time. There’s always an element of improvisation in what I do, and that part is closely tied to the venue, to my own state of mind, and to what I feel coming back from the audience.
A.M.: You’ve been releasing solo albums on Glitterbeat Records since 2021: Eldorado, The Dictator, and Songs for the Dead. How has your approach to recording evolved from Eldorado through The Dictator to Songs for the Dead?
C.G.: I think my approach to music has always been the same. I follow my emotions, my instinct.
A.M.: On Songs for the Dead you quoted Greek mythology and the poetry of Ginsberg. In your view, how does the ancient tradition connect with Beat poetic style, and what drew you specifically to the poem A Dream Record?
C.G.: Death and loss are universal themes. Greek myths are timeless; they connect us to our anxieties, our dreams, and our desire to be eternal.
A.M.: Songs for the Dead features guest vocals by Simon Huw Jones. How did his voice shape the album’s overall character, and what was the experience of recording his parts like?
C.G.: Actually, it was Simon who came to lay his voice over my music. I sent him demos, and he wrote the lyrics and melodies on top of them. Then we went to the studio to record the album. He brings a lot of soul to it—I think he blended beautifully into my world.
A.M.: Your sound is always set around the violin. How do you manage to constantly invent new timbres for this instrument that surprise even yourself?
C.G.: Over time, I’ve refined my sound. I know which delays, which distortion, which reverbs to use. But sound is, above all, breath, emotion, a way of positioning the body when playing… I think, since our psyche and emotions are constantly shifting, the sound evolves always…
A.M.: Looking at your multifaceted career—encompassing theater, film, solo albums, and bands—what challenges and dreams still lie ahead of you, and what would you like to achieve in the coming years?
C.G.: I’ve never made a career plan. All the people I’ve worked with have come along naturally. So the next ones will be a surprise… On the other hand, doing more concerts in countries I haven’t been to yet, that’s a dream. I love meeting people and discovering other cultures through my work.
A.M.: In 2022, you released the EP The Dictator in collaboration with Iggy Pop. What stands out most in your memory from this unexpected session, and how did the idea to invite Iggy to your project come about?
C.G.: Iggy had played two of my tracks on his show Iggy Confidential on BBC 6 Music. When the press officer from my label emailed me to let me know, I asked if she could pass along a message saying I was honored and that if he ever wanted to record violin on one of his tracks, it would be a real pleasure for me. Two days later, I got an email from Iggy: ‘OK, let’s do something together—send me your ideas!’ And that was it… Beyond meeting him for the music video shoot, what will stay with me forever is that first phone call he made to me from his home in Florida.
A.M.: You are about to perform at Music Week Poland. What does performing live mean to you, and how do you prepare for concerts to best connect with the audience?
C.G.: I love playing live. It’s different every time. Of course, there are performances that don’t go so well—technical issues, lack of self-confidence, an unwelcoming audience—but that’s also part of the job. I’m always learning, and I enjoy the challenge.
A.M.: Thank you very much for the interview. I wish you the best of luck with your plans.
C.G.: Thank you!