Patti LaBelle has been an American fixture for more than 60 years. Born Patricia Louise Holte in 1944 in Philadelphia’s Eastwick area, she grew up singing in church and absorbing jazz records her brother played. At a spry 82 years old, she’s still hustling, still touring, still hitting high notes.
Her musical career can be traced back to the 1960s when she led the Ordettes, a girl group with rotating members who eventually rebranded as Patti LaBelle and the Bluebelles. This updated, more refined incarnation scored regional hits and gigged extensively, broadening LaBelle’s glowing reputation, especially with her at the forefront.
A big shift came in the early 1970s when they shed the Bluebelles name altogether and rebranded as—more to the point—simply Labelle. The change was more than cosmetic. With guidance from new managers and producers who championed theatrical presentation and edgier arrangements, Labelle moved towards a space where gospel, rock and funk naturally intersected.
Their resulting 1974 single “Lady Marmalade,” recorded in New Orleans with revered songwriter and producer Allen Toussaint, was a high point that perfectly captured the moment. Its spoken-French refrain, coupled with explosive vocals, turned a song about ladies of the evening into a mainstream smash. It reached number one, making LaBelle not just a regional chanteuse, but a bona fide celebrity. The song’s later revivals (in 1998 and again in 2001) by new artists confirmed its generational staying power; the original, however, feels more powerful and certainly edgier.
When the group disbanded a few years later, LaBelle leaned into a solo career that proved she could adapt with changing times without pandering to industry pressure. Disco dominated the late 1970s, yet she largely stuck with mid-tempo ballads rooted in Philadelphian soul. The early 1980s brought wider commercial success: “If Only You Knew,” “New Attitude,” and notably, her 1986 duet “On My Own” (with Michael McDonald) cemented her status as a pop culture star.
Through it all, she maintained a reputation for live performances that seemed almost athletic—sweating through sequined gowns, hitting notes that seemed physically improbable and connecting with fans from multiple generations. A new group of singers, too, has long treated her as both a peer and mentor. Mary J. Blige, Jennifer Hudson, Beyoncé,and others have publicly acknowledged being indebted to her industry advice early on in their careers.
Outside of music, she moved into film in the early ’80s, then television, and more recently, cookbooks and lifestyle projects, treating each endeavor with the same connection and openness that guided her musical choices.
New recordings are underway after long gaps between albums. And her audience is intact, perhaps even growing, evidenced by a recent slew of sold-out performances. In an industry that often measures success by headlines, LaBelle’s career has been based on consistency; on a voice and presence that never required radical reinvention.
The following is a conversation with LaBelle, a true living legend in a time when that word is carelessly tossed around. She’ll be in San Jose next week, and what a distinct treat it will be. Here, she graciously traces watershed moments in her long, creative journey.
Generations have grown up on your music, but I want to start by knowing which artists you grew up listening to, ones that deeply impacted you early on.
To be honest, I grew up listening to my brother’s jazz records and got my first introduction to so much music through him. Dakota Stanton, James Moody and Nina Simone were my favorites. I was very influenced by their voices and how simple the songs were—they always got right to the point. I was very impressed. That’s all I really listened to. I didn’t listen to R&B too much, or pop or gospel or anything. It was basically jazz.
But you wouldn’t consider yourself just a jazz singer, right?
I’m not a jazz performer. I’m an R&B lady.
You mentioned Nina Simone, so I’m wondering which songs of hers are your favorites and which you’ve perhaps drawn from as an artist?
Oh yes. I’ve done some of her songs at my shows. “Four Women,” “I Loves You (Porgy)” and oh my god, “Wild Is the Wind.” Just everything she sang. I was a Nina Simone fanatic. I listened, and I loved, and I learned.
Speaking of compelling songs, “Lady Marmalade” was an enormous hit in its time and many consider it one of your best, if not the best, in your catalogue. What can you tell us about how that recording came about?
We were on our way to New Orleans to record with Allen Toussaint. We got the call when we were on our way to the airport [laughs]. We got a call from [producer] Bob Crewe, and he said to our manager, Vicki, “I have a hit song. You guys have to stop here at my house before you go to the airport. I have a hit.”
So we went. And once we listened, we all knew it was a hit. Allen produced it, and we recorded it just like it was. The only thing was we didn’t know what “Voulez-vous coucher avec moi ce soir” meant until much later [laughs].
How did you feel when it was remade twice, particularly the version with Pink, Christina Aguilar, Lil’ Kim, Mya? It brought you to a whole new generation by shifting attention back to your original version.
I just love all those girls. I had a chance to work with them at the Grammys on that song, and they did a great job. That was a wonderful moment.
Another artist you have history with, that many might not know about, is Elton John. He played in your band before becoming known; is that true?
Oh yes, I recorded with Elton. He was our piano player for about six or seven months in England. Bluesology, that was his first band. His name was Reginald Dwight, then, but we just called him Reggie. And some time later, I got a call from him saying, “Patti, I want you to come and see me tonight.” I said, “I have a show tonight and am opening for someone. Where are you?” He said, “You’re opening for me tonight! I go by Elton John now.” I said, “You’re a liar!” It was just a wonderful, wonderful moment for me to hear that he had really made it. We’re still great friends.
Your career has had many phases. When disco was having its moment, many of your peers went that route. Yet, besides a few club tracks, you kind of stuck with your Philly soul and R&B side.
The change never changed us. It never made us want to follow anything. We had some dance songs, sure, and I think disco is wonderful, but we never really got on that disco train too much.
Your sound has always had subtle, eclectic touches. What was your mindset when it came to songwriting?
I just never think of combining different things like gospel, R&B, and rock or whatever. We weren’t trying to blend anything or bring different sounds. It just ended up sounding gospel and rock because it ended up sounding that way. We just sang!
Moving forward, I want to talk about “On My Own,” your big duet with Michael McDonald. It’s one of your biggest hits and was a full 12 years after “Lady Marmalade.” What’s the backstory to that?
It was a throwaway song [laughs]. I was recording in LA, and it got to the point where I had gone over it 50 times, and I hated it. I said, “I’m not gonna finish this song.” So, of course, they were upset and called Burt Bacharach and Carole Sager for help. They came to the studio one day and said to me, “Could you try it again?”
I said, “Well, I’m not really crazy about it.” They said, “Would you like to do it as a duet?” I said, “That would be fabulous!” They asked me who I’d like to sing with, and I said, “Michael McDonald.” And that’s how that happened. We did our videos in different places. He was in Malibu, I was in Brooklyn, and we met on the Johnny Carson show for the first time. It was wonderful. We have a great relationship to this day.
I want to quickly touch on your work outside of music, specifically film and television. How did all those opportunities come your way?
It all happened by someone asking questions like: “Would you like to do A Different World? Would you like to do Out All Night?” And of course I said yes! I was just lucky to be asked. And with something like Dancing with the Stars, I said no a million times, and then finally at 73, I said yes! I made it to six episodes, and then they fired me [laughs]. I’ve been asked to do a lot of wonderful things, and I’m always open to ideas. The Masked Singer, American Horror Story, other stuff; there’s been a lot of wonderful things that have come my way, and I just simply said yes to them.
Some of today’s biggest stars have mentioned your guidance and helping navigate the music business. Talk a bit about your place as a mentor for younger artists.
I have a lot of babies. I call them my daughters [laughs]. Like Mary J. Blige, she just called me three days ago just to tell me how much she remembered things I taught her back in the day when she was first starting. Jennifer Hudson is my baby. She just sent me a pair of pumps yesterday. Whenever I compliment her, she takes it like it’s just the greatest thing. It’s because she knows that I think she’s one of the best singers in the world.
Beyoncé and all of these young girls, they really respect what I tell them, and I love that. It makes me feel so proud. Cindy Lauper is my good friend. We talked last week, and we’re gonna get together in a few weeks just to hang out. I have so much respect from the girls in the business. I consider myself very blessed and lucky that they listen to me.
Seems like you’ve been on the road much more recently, which is great to see. But are you actively recording music these days?
I’m recording now. Please let all my fans know. I’ve only recorded one full album and small projects in twenty-something years, and I’ve been working on this new one for about six months. I will have new music for you all very soon.
After all this time, after all your history, what strikes you most when performing live in spaces full of fans spanning different generations?
Oh, it’s just been wonderful. And the crowds are still growing. Whenever I perform, I know there are a few doubters in the audience, but I feel like by the end of the show, they’ve come my way. And that’s a blessing. It’s really a blessing. I’m just lucky to be performing and still standing.
Patti LaBelle will perform on Saturday, Aug. 8 at 8pm at the Jay Paul Company Main Stage. summerfest.sanjosejazz.org
