San Francisco Frontiers - LP on 'Lost on You' Journey: From Label Rejection to Global Phenomenon

Ahead of a scheduled performance at den Atelier in Luxembourg, musician LP sat down with RTL Today Radio’s Stephen Steps Lowe to discuss the complex history of their most famous work. The conversation centered on "Lost on You," a track that defied conventional industry trajectories to become an international phenomenon more than a decade after its initial release. LP described the song’s journey as one defined by rejection, resilience, and the unpredictable nature of musical success.

The path to global recognition for "Lost on You" was neither linear nor guaranteed. In fact, the track’s eventual status as a defining moment in LP’s career stands in stark contrast to its initial reception within the music industry. LP revealed that the song was so poorly received by their then-record label that it resulted in their termination from the company.

"I was dropped from my label for that," LP explained during the interview. Following this dismissal, the musician moved to an independent label before a small record company in Greece expressed interest in licensing the album. This decision triggered an unlikely chain reaction. The song began to gain traction in Greece during the summer holiday season, gradually spreading to other territories and building the audience that would ultimately transform LP’s professional standing.

The track’s potential was recognized by major industry figures at various stages of its development. LP noted that there had been discussions about the possibility of Rihanna recording "Lost on You." Despite such high-profile interest and the song’s eventual massive success, LP remains focused on the present rather than dwelling on alternative outcomes or missed opportunities.

LP compared the life cycle of a hit song to the mechanics of a fan, describing the process as one where industry executives might "lob the sh*t at it" in an attempt to control its trajectory. Instead, songs often travel independently, finding audiences in unexpected places long after their original backers have lost interest. LP pointed to Kate Bush’s resurgence through the television series "Stranger Things" as a parallel example of how older recordings can suddenly find enormous new audiences.

"The journey of a song can be fascinating," LP said. "We don't know where things land." This perspective was reinforced by an Italian A&R executive who had previously suggested that "Lost on You" might not have succeeded if released in the current market climate. LP’s response to this assessment was characteristically pragmatic: "Who knows?"

The discussion shifted from the specific history of one song to the broader realities of working in the music industry. LP highlighted the distinct challenges faced by both songwriters and performers, noting that neither role offers significant job security. For songwriters, the process involves enduring unanswered messages and the disappointment of seeing projects delayed, repositioned, or abandoned. LP stated they do not consider a project successful until it is available on streaming platforms such as Spotify or Apple Music.

For performers, the challenges involve selling tickets, building an audience, and maintaining consistent performance quality. LP emphasized that there is no guarantee in live music, where audiences have numerous other entertainment options. Consequently, LP places a high value on resilience and technical proficiency.

"It's work, and nothing's guaranteed," LP argued. "I wanna be technically top of my game. I don't take it lightly. I'm very hard on myself about this. I really want it to be something to see, because I'm not going to fake it through stuff."

When asked how they maintain trust in their own instincts amidst industry expectations, LP referenced a recent online discussion suggesting that success in music is less about talent and more about the capacity to endure rejection and uncertainty. While LP did not fully endorse this sentiment, they acknowledged the necessity of believing in one’s work even when external validation is absent.

"You have to believe that what you're creating matters," LP said. "Even when there's little immediate evidence that anybody else agrees. Then you put it into the world and accept whatever happens next." LP added a touch of humor to this philosophy, noting, "Life is hard, get a helmet."

LP also addressed the industry’s tendency to focus on artists who have not yet achieved expected levels of success. They questioned why musicians are frequently asked to justify their continued creation simply because success has not arrived in the anticipated form or timeframe. Their answer was straightforward: "Keep writing songs, keep creating, and find your people."

The current tour provides LP with an opportunity to revisit material from "Lost on You," including tracks that have not been regularly performed in recent years. Revisiting these songs after a decade has revealed new layers of meaning and technical challenge. LP highlighted two specific tracks: "You Want It All" and "Long Way to Go to Die."

LP described "You Want It All" as an enormous vocal challenge, particularly toward the end of a show that can last more than two hours, compounded by soundchecks and VIP sessions. However, LP believes they are handling the song better now than when it was first released.

"I'm loving singing the shit out of it now," LP said. "Long Way to Go to Die" has provided a different kind of revelation. With its country and Americana influences, the song reflects LP’s reluctance to remain within a single genre. LP believes this versatility may have contributed to earlier false starts in their career. However, returning to the song has given it new emotional weight.

"It feels as though I've lived a little more of it," LP said. "That's one of the pleasures of revisiting older material. The recording remains the same, but the person singing it has changed."

With eight records in their catalogue, balancing setlists has become increasingly complex. LP acknowledged the challenge of persuading audiences to embrace new material when they have a strong attachment to older hits. They compared this dynamic to attending a Radiohead concert and hearing newer material before classic tracks from "The Bends," noting that fans often react emotionally to familiar songs.

Despite this, LP expressed satisfaction with the response to their latest album, "Room 12." The fact that audiences are already singing new material back to them demonstrates that the relationship between artist and audience is evolving rather than stagnating in nostalgia. Songs from previous albums such as "Heart to Mouth" and "Churches" are also receiving enthusiastic responses, allowing LP to build a show that reflects the breadth of their career.

LP’s upcoming performance in Luxembourg will feature a slightly different band configuration and a mix of familiar favorites and newer songs. However, LP cautioned against expectations of elaborate production. There will be no pyrotechnics or extravagant lighting tricks. Instead, the focus will be on great musicianship, a powerful voice, and an audience willing to participate.

"I don't do big light shows," LP said. "There's no pyrotechnics… but I will be singing the crap out of new and old. Bring your voices."

This invitation reflects LP’s dedication to the core act of singing. Despite the uncertainty, rejection, and unpredictable success that have characterized their career, LP remains happiest doing what they started with: performing. And if the audience sings back, LP considers it all the better.

Z.Sanchez--SFF