TPM 89 | Sacred Artistry


As musicians, we have this burning desire, the need to get out there and showcase our unique artistry. But some people just need that push to show their talent because, already, they are making a good living from another thing and get affirmation from it instead. In this episode, Honey Larochelle, a veteran soul vocalist, discusses the importance of the four pillars of Sacred Artistry. These pillars—the Self, Sell, Skill, and Surf—are all interconnected with one another and are important in helping musicians get through the music industry. She also reminds artists that feeling fear is okay because it can transmute into excitement. To learn more, tune in to this conversation!

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The Working Musician: The 4 Pillars Of Sacred Artistry With Honey Larochelle

I am excited to be here with my friend, Honey Larochelle, from the Sacred Artistry Club. We are running out of time because we talk too much beforehand. We love to talk about music industry stuff and how to help artists. I want to jump right into it. She is on tour. She is in a show that is traveling. She is out on the weekends. She has to make sure she makes her sound check. We are talking with a real working musician here. I want to jump into your journey, Honey. Let us know how did you get into music? How did you start performing singing back up with some well-known artists and all of that stuff? What made you decide to create the Sacred Artistry Club?

If we zoom out, we go to the beginning. My mom is a singer. My mom toured with Little Richard, Marvin Gaye, Bon Jovi and Bryan Adams. She was a single mom so she was on this like, “Can you hold my baby while I go on stage?” She couldn’t even afford babysitters. I was in these clubs as an infant. I remember meeting Little Richard when I was five years old. I cried because he scared me. He said, “Hello, little girl,” right in my face.

My mom provided me with this musical upbringing. I was always in her rehearsal. She was in an acapella quartet. I was in there listening to them create these intricate harmonies as a child. We did a children’s album together when I was seven. She had me in the studio with her and I was singing on most of the records. We also did a John Denver album. I did a lot of chorus work with her. She had me with her because she couldn’t afford a babysitter. That is what it was.

That gave me priceless training. My ear is amazing. That has served me going forward. We can fast forward to my years in New York City. When I first got there, I was like, “I’m going to be a star.” I immediately booked myself a show at The Bitter End. I didn’t have a band. I booked it for 30 days away. I posted an out on Craigslist and said, “New up-and-coming artists are auditioning band members.” I put some of my music up there and auditioned for 11 Piece Band. We rehearsed in my tiny little Brooklyn apartment. I fed them spaghetti as payment for rehearsal. We went and played this Bitter End gig and that was how I began my journey in New York.

A year later, one of my best friends, Maya Azucena, who is an incredible artist, called. She was like, “The Brand New Heavies are auditioning background singers. They invited me but it’s not my dream to be a background singer. I have no interest in that but I would love to refer you. Are you open?” At the time, I thought that background singing was going to be my kickstart into being a superstar. That was where my mentality was. What I have learned over the years is background singing puts you in the room with the right people and built relationships with celebrities but I feel like, for many years, I was seen and even introduced as a background singer. Therefore, I became a well-known working musician.

I had Judith Hill on my show and the same thing I asked her that. I was like, “You could probably get gigs forever as a background singer but did you have to give up all those lucrative gigs to ever break out?” She was like, “Yes. I was never going to be my own artist if I kept taking these gigs.”

I’m in the middle of creating my newest and latest record. I’m like, “It has been several years since I have done a Honey Larochelle album because you are working all the time.” I’m thankful for the work. I am in that conversation. I believe I can create both-end scenarios. I don’t feel like I have to give something up to get something. I believe it is possible to create it both-end 100%. It doesn’t mean it is going to be easy and pain-free but I love my job. I love the people that I work with. I consider them family and they will help me with my record if I’m like, “I’m ready to produce my stuff.” I know I have family who will be like, “Honey gets to have a project and she deserves it too.”

It is nice to have that support because they get it, especially if they are musicians and background singers. They get that we have this burning desire in us for our unique artistry that we need to get out there.

My boss called me right after our gig. We were all in the same hotel and he rang my room. He was like, “You are bad. There is only one Jill Scott. There is one Erykah Badu. “We got to create the Honey. She is not to be messed with.” He gave me this beautiful, empowering call that he didn’t need to do. I know a lot of these bigger artists, especially in the jazz-soul R&B world, will let people go. Marcus Miller, for instance, let Louis Cato go. It was like, “Go get something else because you are not going to work here.” It was a gesture of love. It is like a way to say, “I believe in you and you can’t continue to use me as a crutch.”

I have seen that too with other musicians that get good at something else. Maybe it’s teaching. What they need to do is go out there and promote their artistry. It is hard because when you are in something that is making you a good living and you get a lot of affirmation from it because you’re good at it, it is hard to jump into the artist thing full-time but sometimes you need that push. You live in Hollywood. Did you move there from New York because of music?

Yes. In 2010, I got signed to Macy Gray’s record label. She moved me to LA. She put me in the studios with everybody. For several years, we were cutting records. We turned in ‘89 songs and after several years, we released one of those singles. When you are an artist trying to put out another artist, there are many other factors involved and you are still being an artist. She is a mother of three. It wasn’t an official label with a huge team. That is how it went.

She made it possible for me to make my entrance into LA powerful. I have relationships that are super valuable still. You asked how Sacred Artistry was born. From 2010 to 2020, I was touring with all kinds of people. I was with Roberta Flack for many years and Joss Stone. I even got to do Coachella with Lorde. I had a great time and lots of other artists in between. When the pandemic hit, everybody got to face themselves in a new way and create a pivot.

TPM 89 | Sacred Artistry

Sacred Artistry: When the pandemic hit, everybody got to face themselves in a new way and create a pivot.


For me, I fell into a deep depression at the start of it, when the rug was pulled and all the rest of my gigs for the year were suddenly dissolved. I had zero income. I had never prepared or imagined that I wouldn’t have some income. I didn’t have enough savings even like I wasn’t there. I went through this identity crisis where I was like, “If I’m not a singer, who am I? If I am a singer, am I non-essential?” I started hearing essential worker, a term I had never heard of before.

Thanks for calling so many of us non-essential. That is what the pandemic taught us. Art is essential, in my opinion.

It is so important because while I was in my deep depression, what got me through? It is music. When I crawled out of that hole, I used Reiki, which was a big tool for me to find self-love practice again to deepen my healing but ultimately with Reiki, it is music. Music is what is fueling all of it. I had this epiphany, not only am I finally worthy, I’m sacred. When you look at what the word sacred means, it means worthy of worship and extremely important, worthy of respect.

When I was in my depression, I felt for a second there, “I’m nothing. I have no value. I can’t save anybody’s life. I’m over here making music. What is this? I’m not a doctor or a nurse. I’m not making anybody food. Those were the essential workers.” At that moment, I knew I was not the only artist suffering with this complete veil over our eyes, unsure of where we stood and belonged. That is how Sacred Artistry was born.

We must have met in 2020.

I knew about you a lot sooner than that. I have been following you for some time but in 2020, when I created Sacred Artistry was when I had the courage to reach out and say, “Hello, this is what I’m doing.”

You started doing summits to help artists around very particular subject matters. What was the first one you did?

The first one I did was called the Art and Heart Singers Conference. That was me saying, “Welcome, world. Art and heart live here. Here is Honey Larochelle. She is hosting Art and Heart.” It was my first summit so I was a little confused. It was like we had sync, PR and production and how to produce at home.

To be fair is what my summits were like because mine were Profitable Musician Summit. It is all the ways you can make money. It was a lot of things like you did. There is nothing wrong with that.

That was one of my best summits, honestly, because I was raw. I didn’t have any expectations. There was that scared-excitement energy. I stood for fourteen hours in front of that ring light. I had the worst headache at the end. I was like, “I did it. I went all the way.” I didn’t even eat. It was like adrenaline raising. It was such a beautiful experience and the people that I brought on were so incredible. I do believe we help a lot of people.

One thing that came out of the pandemic is that there were a lot of summits that happened. I was on a lot of them. We did a binge weekend of our previous summits too. I’m helping artists by offering this free content of things that could help them make money that wasn’t in the performing realm, which we couldn’t do right then. Our binge weekend was like, “Here are all the streams of income that came from our summits that have nothing to do with what you can’t do, which is performing.” It helped a lot. You base your Sacred Artistry around four different pillars. I would love to have you talk about those a little bit.

The four pillars of Sacred Artistry are all equally important but the first pillar is the self. You get to master your relationship with yourself and how you speak to yourself. Most of us don’t even realize that little voice in our head, which I call the ego. You can call it something, that little voice in your head. Everybody has one. While I’m speaking, there is something in your head going, “What is she talking about? Is that a little voice? What little voice? I don’t think there’s a little voice.” That is how it goes.

We start to tune into that little voice and create a synergy. With that little voice, when you look in the mirror, you go, “You are fat and ugly.” It happens all the time. To most humans, there is some, “I hate your nose.” Everybody got some evil thing within us that speaks to us terribly in a way that is not nurturing, sacred and kind. We have grown numb to it. We accept it. We have learned how to live with that bully. We look at it and go, “Excuse you for your opinion. I need you to sit down. You are still welcome here. We’re not going for ego death. You are welcome at the table but you are not driving the train. You can sit down and be here with us but you don’t get to run your mouth.”

TPM 89 | Sacred Artistry

Sacred Artistry: Everybody’s got some evil thing within us that speaks to us terribly in a way that is not nurturing, sacred, or kind, and we have grown numb to it.


It takes a while to build that muscle. We do a lot of self-work, shadow work, ancestral healing, mirror work and notice and celebrate the game, which is my favorite. That was finally noticing when that voice comes up, celebrating that you noticed and creating new neural pathways in your brain. The self pillar is robust and deep.

We get into the second pillar, which is sell. I believe we all get to be earning while we’re learning. I always use Madonna or Mary J. Blige as examples. When Madonna came out, she was confident and clear about her lane. She was edgy. She was causing a ruckus and polarizing. She stood with who she was. We all got to witness her get better over time. She was out here selling it at the beginning, whether or not it was polished or perfect. We want to kill the perfectionist within us and start making offers right away. “I got this song. Do you like it? I got this course. Do you like it? I got this webinar. Do you like it?”

Getting the feedback and then tweaking with the feedback but getting paid to get better. The sell pillar is second. Inside the sell pillar, we go through all the ways you can sell, all the different ways you can get your brand story together, all the different types of offers you can create and how to figure out which offer works best for you and whom you are making offers for.

We get into the third pillar, which is the skill pillar. We got to watch Madonna get better over time. We’re earning a little money so we’re not operating from scarcity. We’re not like doing anything to get a buck but we are confident like, “I know that it’s not perfect but I am making offers. Let me go ahead and start honing my skills. Let’s get a little better at songwriting and singing. Let’s improve our skills in production or communication with producers.

The fourth pillar is the surf. On tour, there is always a day sheet. There is a tour manager who was like, “I need you in the lobby at this time. We have soundcheck at this time.” Somebody is creating an itinerary for me and I feel needed. I get to go perform for a crowd of adoring fans. I get that high of all the applause and the afterward. They were like, “You are so fantastic. Can I get a picture?” I’m like, “Absolutely.”

You are beaming and smiling for hours. There is this high that you get because you are receiving quite a bit. My experience is I come home and most of the time, my phone is not ringing because people expect that I’m gone anyway. It can feel lonely. You could also feel lonely whilst I’m on the road, after the gig and you come back to your empty, quiet hotel room.

Learning to nurture myself in that time instead of feeling like I used to, which was like, “Nobody wants me. Nobody is calling. I missed all the parties. Everybody is having fun. They didn’t invite me.” I would feel FOMO and left out. I wouldn’t take much time to ever do a self-care ritual or some yoga, take a bath, love on me, look in the mirror, talk to me or sleep more. Rest and recovery become equally mandatory.

In the surf pillar, we’re learning to tap into our intuition. Our guided intuition source is asking you to sit down and recover at this moment. Instead of fighting that and feeling resistance around it, you surrender. There are other moments when you are in the middle of a launch and that source is asking you. You better stay up all night and text 600 people with this link while you’re launching. Sometimes you get to give yourself that push, use the energy that is being offered and listen to it. You’re tuned in in a way that’s higher vibrational. You are no longer using your head. You are using your body and heart. You are surrendering to whatever is being offered.

When the source is asking you to sit down and recover, don’t resist. Surrender. Click To Tweet

I want to go back to the sell and skill. I get why sell comes first because I have started doing this. We need to know what your offers are before we start building all the other things around them because you have to start with the end in mind. If you’re in scarcity mode, it is going to be hard for getting anyone to say yes to your offers because they can feel your desperation. That makes a ton of sense to me.

What I was wondering is, when do you know that you have enough skills to sell? We can’t wait until we’re perfect. I help people create courses. They are tweaking and taking an extra year to get it out there because it has to be perfect before I put it out there. I am a big fan of we cannot. Seventy percent perfect is plenty but sometimes people don’t have enough skill at all. People have never performed in front of people and you can’t expect to charge $300 for performance if you have never performed in front of people. How do you know when you’re there?

If you have never performed at all, can you charge $300? Sure. Will you sell those tickets? Probably not. That is the feedback. You could put an offer out going, “Come and see for the first time, the most amazing first-time performance.” You could circus it up. If you create the offer in a compelling enough way, maybe a couple of people will buy. Maybe your family will buy it. I base it all on the feedback. You put the offer out at $300. You sell two tickets to your family. What feedback are you getting? The world isn’t interested in this offer.

What if you do sell? What if you sell twenty tickets? You were like, “I sold twenty tickets and I have never formed in front of people before. I’m going to suck and be terrible.” You go into this shame, spiral and are petrified.

It is feedback. If you sold twenty tickets, it means that whether or not you have done it before, there is something about you that people are interested in. If you can find your confidence, this is why we do the self pillar first. By that time, there is plenty of exercises and tools because if you don’t feel any fear, you are going to suck too. If you get on stage and you are rolling your eyes like, “Hello, everybody. Look at me,” you are also going to suck.

It is wonderful to feel that fear. It can be transmuted into excitement. You can get up there and have the first couple of notes be crap and shaky because you are nervous. People will witness you and open up. I went to a show and this girl was amazing. At the first couple of songs, I was like, “What have we done here? Is this how we’re spending our evening?” She was nervous. She had put much into preparing this show. You could tell. It was like, “Is everything correct? I was going to wear this other dress and that didn’t work. I’m walking out in this other dress. I’m not that comfortable. There is a stool but do I want to sit on it.” She is in her head.

Fear can be transmuted into excitement. Click To Tweet

After about 2 or 3 songs, she finally said, “This is what is going on with my husband and me. This is what is going on in my life and this tour. This is where this song came from.” That song took her a while to warm up. It is possible to allow them to witness the journey. That is one way it can go. The other way is you can be terrible that it is also incredibly entertaining.

I’m sure most artists don’t want that to be their situation.

If that’s the case, capitalize on that thing. Get that money. No matter how the world receives you, you get to love no matter what. Be confident. I remember there was this artist. He put out some YouTube videos where he sang confidently into the camera. There is no pitch, tone, real words or enunciation. It is bad that it is comical. He had millions of followers and views.

He loved himself. You could tell. He was not bothered that it was different. You get to choose what matters. As much as you can love yourself, that is when others will love you. The truth is even if he is terrible and he got all millions of followers, if people saw him in the street, they would want to know him. They are not want to know him. They are still intrigued because he found his swag and he owned it 100%. I’m more interested in somebody being good with themselves.

It is such a hard thing to do. I was talking to some of my students. They are petrified about being on video and people thinking badly of them because they are promoting themselves. Most artists go through all of that. You are lucky if you are an artist that doesn’t care what anyone else thinks.

It is not even that you are lucky. It is that you have a chance. If you are worried about everybody else, you are shooting yourself in the foot. Society’s programs are old. They get to be rewritten. They have been rewritten over and over by the ballsy artists that come out and rewrite. You got to have a little Kanye within you.

When I say lucky, I mean some people are born with that like, “I don’t give an F about anyone else. This is me.” Most people aren’t and we have to work at it. We have to develop tough skin and all that stuff.

I have been a people pleaser. I have been the new kid in school my whole life. I went to 5 different high schools, 3 middle schools and 3 elementary schools. I have been a chameleon to please. I spent years going, “Please like me. Look at me. I like me. I’m cool. I can do it like you. You wear your clothes that way. I wear mine. You do your makeup like that. I can do this makeup.” It took me years until I realized that I myself am enough. If you are not feeling it, you are not for me. There are seven billion people and I’m for some of them.

I wanted to ask about the surf. I agree about self-care and all that stuff. Other than self-care, do you find it’s important for you to have hobbies outside of music that you can do to get yourself out of the music world because you are so immersed in it all the time?

No. This is me personally. I don’t have time for many hobbies. I have always dreamt about painting. I love picking up a brush and putting it on a canvas or a page. When I do that, I may get caught up in, “I want to get better at this because it is not good.” I might start spending more energy, like learning how to paint, which takes away from the probability of me completing my album. I tune out.

I will binge-watch a show or turn into a vegetable for a day. Sometimes it is three days. I will be honest. It’s important to take myself out of society. Yes, a hobby could fuel that but I feel like it wouldn’t give me the turn-off of the brain that I need. I need to lay there, look at something and be entertained or I need to not do it.

It's essential to tune out, to take yourself out of society. Click To Tweet

For me, it is walks, baths, certain exercise routines or watching something like some true crime thing or something. Sometimes I feel guilty because I don’t have hobbies outside of music. I think, “Would my life be more enriched if I did?”

You could ask that question about a million things. If I also was an amazing chef, would my life be more enriched? If I also was a ballerina, would my life be enriched? We could go on and on. The truth is yes, our life could be more enriched and our life is super rich. Instead of going, “Am I missing out,” can we get into the habit of celebrating what it is? Sometimes it’s not even a celebration. Sometimes it is learning to be with what is, which is hard to do.

People like you and I are building multiple things and we have a thing that is your thing, like your personal artist journey and you have this job that you do as a background singer where you are working in a team and all that stuff. You got these two things that balance each other out. You were like, “This is how it is for me where it was like I got my business and I’m doing all this stuff. I work here over for a church and I’m on the team. We are working together to make the best experience for everybody. I’m a volunteer. I’m helping them learn how to sing correctly and all that stuff.” That is fulfilling for me because I have the experience where I’m like, “This is my thing. This is where I get to be part of a team.” Maybe that is why I don’t need a hobby. I don’t need that community experience of a hobby because I’m doing another job that is fulfilling that.

You have your guitar sitting there behind you.

I can play it but I can’t play very fast.

The hobbies get to support the mission. Even learning how to build a funnel for my business is something that I took hours to study. I took courses. I went, tried and things failed. That was a bit of a hobby. I get off on that. I love solving problems and figuring stuff out. I was always into math and science as a little girl. I want to experiment. If I know that this experiment could be worthwhile and might also earn me some passive income in the future, that is a sexy experiment. I’m into that versus doing some experiment that will create something nice. That is less sexy to me.

I have many things that I do in my business. One of them is Women of Substance. I have this platform for women and a part of it relates to a hobby that I had for years, which was making mix tapes. I get to make these awesome playlists around specific themes, bring together all these different styles of music and curate them. That is fun to me. To me, that maybe it is a hobby but I happen to make it part of my business.

All of my hobbies are going to earn me some income and/or establish me in a position that would have someone that would help me to build a relationship or something like that. I don’t even like art in my house that doesn’t have a function. I like functional things. That is my taste. Everyone has their taste. Inside the self pillar, it is finally getting clear.

For many years, my best friend would be like, “No, I only like this chicken” I will be like, “That is the kind of chicken we always get.” I never thought about if I liked it because I liked all the chicken. I wasn’t that picky. This might be the worst example but getting clear on what works for you, what turns you on and what your soul is calling for you because you are worth it and you should have what you want.

TPM 89 | Sacred Artistry

Sacred Artistry: Get clear on what works for you, what turns you on, and what your soul is calling for you because you’re worth it, and you should have what you want.


Sometimes what you want is for others to be happy with you. I think about my mom. Even if she had to have beef and everybody got chicken, she wouldn’t care as long as everybody that wanted chicken got chicken. That makes her happy.

In leadership, there are four quadrants to the personality. The supporter personality is, “As long as everybody else is happy, I’m happy.” They often don’t nurture themselves as much as possible. They can survive that way but they might be uncomfortable with receiving. They might get to work a little harder on practicing flexing that muscle. Receiving is a muscle. It is a skill you learn. It is not just something.

There is the controller who was like, “Give me the chicken and you figure out what you are going to do. I’m having this.” There is the promoter who was like, “There is a sale on this chicken. Let’s get this chicken. This one’s a little cheaper and yummy here. It got more salt.” There is the analyzer. He was like, “How many sodium calories it has?” You have all these different personality types floating around in the world and trying to coexist. You will find, when you are clear about what your personality type is, who is going to work best on your team.

I’m a promoting controller. I know this. A supporting analyzer is perfect. My assistant is a supporting analyzer. I’m like, “I don’t want to make a spreadsheet.” She was like, “I will make the spreadsheet and color code it.” I’m like, “Great, let me know the bottom line. Where is the deal? Where do we get the discount? What is the best? I’m looking for the deals so get me to the bottom line quickly.” That is my personality. Your mom sounds like a supporter.

Yes, for sure. Is there such a thing as a controlling analyzer? That is probably me.

It was like, “Hold on. Don’t make any moves until I have analyzed every possible calculation. Let’s look at all the different options and let me do some research. I’m going to call ahead, see what they have and don’t you dare move.”

I have to have all information. I’m like, “How can you make a decision without all information?”

It is because we have trust. I’m like, “What are we doing? I will do it but let me know, at least on the day. What do I need to prepare? How should I dress?” We showed up and I didn’t know we were doing this. It is fun to be surprised.

Whereas I would be like, “No, I needed to know 24 hours in advance that this was happening.” It’s good to understand yourself, especially if you are working in a team with other people because you think everyone is like you.

You don’t sometimes know why you clash. If I’m in a room with other controllers, we might clash because we both want to run the show and we both don’t know how to work with the other person. Once you are clear on yourself, you can go, “These are my boundaries. This is where I stand. What works for you?” We can find the place.

I have learned to work on a team because I want all information and need it. If I don’t get it, I’m asking for it. If it is another personality type, they think I’m questioning them or I don’t agree with their decision. They get offended by me wanting the information. It is good to know.

You can give them whatever they need to feel good but you will know your value. Sometimes they don’t need an explanation and also sometimes, it is okay to offend somebody. We are in this society that we have decided we want to fit into and have everyone leave with a good feeling. If you can get a little bit more comfortable, this might not be your bag but this is exactly what it is. It is not going to get massaged to fit you.

This is me and if you are into it, get on board and we are going to have a great time. If you are not into it, get off. It is great for me to learn that right away. I’m putting it all out there and polarizing like Madonna. You are into it or not. That is great because you find your tribe so much faster. Once you are there, it is your tribe because you have already shown them your underwear. Here is all the dirty laundry. If you are still into it, I know you are my people.

This conversation we had about different leadership styles or personality styles is helpful for anyone that is in a band. Understanding those dynamics without letting things get out of hand and blowing up when it’s that you process things differently.

I believe that every adult living in America, especially anywhere in the world in our society, should be doing some personal development leadership and/or therapeutic program. None of us are equipped with the way that society raised us and problem-solve intelligently. Many marriages are ending, relationships ending and fights in the street, all because people want to be right more than they want to learn what is real. We are in a country where there is more than a 50% divorce rate. If you ask any divorced couple what happened, they will point the finger and go, “He did it. It is because he wouldn’t.” I’m guilty of it too. That’s what it is. It is our desire to be right.

Every adult in today's society should be doing some personal development leadership and therapeutic programs because none of us are equipped with how society raised us. Click To Tweet

This has been a great conversation and I love it when I’m having a conversation that goes in places that I hadn’t thought of or didn’t expect. That is the most fun thing about this show. Is there anything that you want to make sure to get across before we finish the interview that you wanted to tell our readers about Sacred Artistry, being an artist, a touring artist or anything like that?

There is so much more that I would love to say but if you are an artist, you are sacred. Sacred means worthy of worship. When you try that word on, if it makes you the least bit uncomfortable, which it probably will, come to see me and let’s work on that. The faster you get it into your core, DNA and knowingness, that you are worthy of an abundance of time, money and joy, we get to dissolve the starving artist’s narrative together. None of us were meant to be starving. Still, my number one complaint from every artist that comes into my ether is a scarcity of money issue. It’s like, “If I had enough money, I would be doing and living my dream.”

TPM 89 | Sacred Artistry

Sacred Artistry: We get to dissolve the starving artist’s narrative together. None of us are meant to be starving.


Let’s get you out of the scarcity and into the abundance that is your birth. It starts with knowing that you are already sacred. You are as important as Obama, Oprah or Beyonce. They all wake up the same way every morning, like us. That is it. I would love to share everything I got. My whole mission is uplifting artists. Let me know.

I love how you confidently say, “We all deserve worship.” Most people are not gutsy enough to say that.

It made me uncomfortable at the beginning too but when I got that breakthrough and found my way to the other side of that, it was like, “I am super powerful and impactful. I make waves.” When I walk into a room, if I’m being my full self and not shrinking into a corner because I’m feeling whatever insecurity or anyway, I am magic and I have a lot to offer. Even if I hadn’t had all the years of experience I had, I still am magic and have a lot to offer.

Once I like got that, I could make somebody laugh, make somebody’s day, say something to somebody that will be impactful for the rest of their life, make memories or help somebody not remember something horrible for people. I am valuable and the value shows up in different ways as long as we know that there is value here.

For me, I feel like I’ve come into way more of my personal power and some of it has to do with turning 50. I’m like, “What the hell I’m going for it?” Somehow, it was empowering to me to hit that number. Somehow, I have permission to do whatever I want. I don’t know why I didn’t feel like I had that before. I had some of it but not as much as I have now. It is freeing.

I hope you guys can all, those of you that are reading, experience that increase in personal power. Not only does it free you up to do many more things that you want to do and have much more of an impact but it is intoxicating. It is magnetic. People want to be in your world because they see that you have this much confidence. If they want to stay more connected with you on social media, what is the best place for them to connect with you?

On Instagram, it is @HoneyLarochelle. On Facebook, it is If you can remember my name, it’s You can always also send me a message at If you can remember my name, I’m very easy to find.

Thank you so much for taking some time out before your sound check while you’re on tour to have this conversation. I’m so glad we made it happen.

Thanks so much for having me. What a treat to get this time with you, Bree.


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About Honey Larochelle

TPM 89 | Sacred ArtistryA veteran soul vocalist, Honey Larochelle has spent over a decade touring the world with, writing songs for, and singing backgrounds for legendary artists we all know and love, including Roberta Flack, Macy Gray, Joss Stone, Lorde and many others. She spent years touring as the lead singer of The Brand New Heavies after a stint supporting N’dea Davenport, the original lead. She’s also a lead member of the psychedelic hip hop puppet music group called’ The Fungineers’ and uses Reiki, strategy and leadership to transform the lives of the artists in her Sacred Artistry program.

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