Backing Vocals: In the Back But Indispensable

Are backing vocalists simply failed lead singers? That’s a hard no for Marjolein Spijkers, who’s one of the most requested backing singers in the Netherlands. For thirteen seasons, she sang on the popular Dutch TV show ‘Ik Hou Van Holland’, and she was one of the original Frogettes (backing vocalists for big-name Dutch singer, René Froger). She has also performed at big venues, including the Amsterdam Arena, and knows exactly what is asked of a professional backing vocalist. Comparing the job to being part of the brass section,, Marjolein believes that “backing vocals are an integral part of any live show.”

Backing Vocals

There’s often a bit of a degrading undertone when people talk about backing vocals. Some people feel that backing singers are second-rate vocalists who simply never made it as lead singers. “That couldn’t be further from the truth,” says Marjolein Spijkers. Having sang the backing vocals for countless artists, she knows what she’s talking about. “I like to compare backing vocals to the brass section. They’re both made up of musicians that are an integral part of the show, even if they’re usually at the back.”

Marjolein knew she wanted to become a singer from an early age. “My mom would always tell me that I started singing before I could even walk. She was a musician herself and believed that learning to play an instrument needed to be part of my upbringing, so as a kid, I took piano lessons for several years. For a while, I also wanted to become a dancer.” After her A-levels, Marjolein thought about enrolling in a conservatory. “But the music major I wanted to enrol in wasn’t available until the year after, and I didn’t feel like going back to school because I already had a job and was playing in various bands.”

Dancing and Singing

Marjolein’s first real gig came in her early twenties. “I really wanted to work in the theatre at the time and then one day, I read in the newspaper that they were hiring. I thought, “what have I got to lose” and ended up getting hired for the ensemble. The wages were ridiculously low but at least I got my career off the ground. I sang and danced, and even got to do my own song with a great pianist whom I’ve actually learned a lot from. I saw the inside of virtually every theatre in the Netherlands while working on that first show, after which I toured with a band for several years and eventually started working as a freelance singer.” Marjolein is no stranger to the musical scene either. She spent a year and a half as part of the chorus for Les Misérables and was an understudy for Eponine. “It was a great role, even though playing seven shows a week for eighteen months straight eventually started taking its toll,” she says.

Backing Vocals: In the Back But Indispensable Marjolein Spijkers (photo by Gerard Burgers)

Playing at the Eurovision Song Contest

After joining the all-female vocal group Mrs. Einstein in 1997, Marjolein’s career gained serious momentum as she went from one extreme to the other when the group represented the Netherlands at the 1997 Eurovision Song Contest in Dublin, where she had the time of her life. “Initially, I was the only one who voted against going there, but it was a four-to-one vote so I really had no choice. In the end though, we had a ball. It was so much fun.” Having gone from a backing vocalist to a lead singer who gets a whole lot of attention from the press, Marjolein knows all too well what the biggest difference between the two roles is: “It’s the interaction with the audience. When you’re in the back, you feel more like you’re a part of the band, which means you’re more focussed on the artist at the front of the stage. As a solo artist, you bear a much bigger burden of responsibility. You feel the pressure of having to deliver a solid performance every time.”

With Integrity

The fact that a backing vocalist is sometimes a better singer than the main artist doesn’t create any tension for Marjolein. “As well as a good singer, the solo artist is often a good entertainer, which explains why they’re at the front. That doesn’t bother me at all. Everyone has their own skill set, and if people buy tickets to see them perform, they’re clearly doing something right. Since I’m in theatre too, I sometimes feel the need to be involved with directing, but other than that, you have to know your place as part of the whole. Look, if I’m asked to work for someone that I don’t find interesting or respect even, I won’t do it. I’m also not going to say that I love every bit of music I sing, but I do feel like I need to be able to do my work with integrity.”

Marjolein is no stranger to studio sessions either. She has spent years singing the jingles for Sky Radio and countless other radio stations. “That really gets down to the nitty gritty and requires extreme attention to detail. Tinkering in the studio and finding exactly the right sound is definitely something I love doing, especially when I get to back up the orchestra playing the Amsterdam Arena the day after, and then work on a film or TV series the day after that. Working with my vocals in various ways is just great.” For live performances, Marjolein always opts for in-ear monitoring. “Preferably in combination with Aviom mixers, which have sixteen channels for individually dialling in the drums, the bass, the keyboards and all of the backing vocalists. This setup is essential if you want to preserve your voice and sets you up with a personalised mix so you never have to worry about coming out on top of the band. You’re also much more in control. The only downside is that wearing in-ears can thwart communication, so we’ve come up with our own sign language of sorts which works just fine.”

Backing Vocals: In the Back But Indispensable
(photo: Gerard Burgers)

Sitting and Waiting

Singing is a profession, whether you’re a solo artist or part of a choir or the backing vocals. As such, there are qualifications that you need if you want to be able to do your job well. “A good set of ears. Not just in terms of detecting pitch, but in terms of being able to to listen to yourself and especially other people. As a backing vocalist, you also need to remember that you’re serving someone else. Not everyone wants to do that. The same goes for working long hours. Some days, you might do two sessions in one day, starting at nine in the morning and only wrapping up at eleven at night. Recording sessions can be hectic but also demand incredible patience when you’re singing short phrases and you’re forced to wait for hours between each phrase. All that being said, it’s still a lot of fun.”

The world of backing vocals is known to be small and exclusive. How so exactly? Marjolein: “Studio time is costly, so most producers aren’t keen on working with vocalists they don’t already know. If a certain group of singers works well, they’re likely to be requested a lot. At the same time, there are more training programmes and courses available these days, and there’s a new generation on the rise. If you’re determined to get into this line of work and put yourself out there, it’s just a matter of time before you get your shot at proving yourself.”