On any given weekday, you can hear Tiphanie Doucet's voice echoing over the Hudson and East rivers. Equipped with only an acoustic guitar, a microphone and a tiny mixer, the French songstress delivers hushed and intimate performances for passengers aboard Spirit Cruises, set against the backdrop of an idyllic Manhattan skyline. Doucet's set list meanders seamlessly between Top 40 staples like Cindy Lauper and The Weeknd, while discreetly inserting the odd Gallic classic and, of course, a few numbers from her own blooming repertoire. Oddly enough, this sort of eclecticism works, as Doucet's own style has been informed by her superior command of the pop form. Her most recent single, “Lucky guy” is a perfect example of this, delivering an intimate folk number that is at once familiar and fresh, it catches the listener off guard with its moments of bursting emotion, accentuated by swelling string arrangements courtesy of Grammy-nominated producer Jason Agel, whose work can be heard in productions by everyone from Kanye West to Björk to Beyonce.
Doucet got her start early on in the music and entertainment world. She was a child star in the popular 90s French show, Le bébé d'Elsa (as Elsa herself) and eventually landed another role in the Glee-like show Chante!. This gave her popularity in her native France, and the unlikely foundations for what would be a very eclectic musical trajectory. After a brief stint in the country-esque outfit Milk, she branched out to form her own musical style and sensibility, nourished over the years by a wealth of musical influences. Artists like Norah Jones, Ingrid Michaelson and Feist, served as the pillars upon which her sound was modeled. Yet, despite these clearly delineated influences, her upcoming debut EP, “L'Amoureuse” is a testament to the uniqueness and originality of her voice.
After her career in TV came to a close, Doucet decided to gamble it all and make her way to America and start fresh, landing in sunny LA and, subsequently, the big apple. The 180 degree turn that her life took left her old life in shambles, bringing her plenty of heartbreak and homesickness, which would prove to be a wellspring of musical inspiration. This moment of transition afforded Doucet plenty of material to write her own songs, which she began testing out on street corners, cruises and cafés throughout New York and her newly adopted home in Hoboken, New Jersey. The overwhelmingly positive reception was such that she decided to release her own work. Titled “L'amoureuse,” which translates as “The girl in love,” the work is a bittersweet meditation on love and relationships, echoing the chanteuses of yore that served as Doucet's inspiration. The songs on L'Amoureuse are in large part an autobiographical portrait of the artist, ranging stylistically from indie, folk and pop sensibilities. The sound is amplified by Agel's subdued production, which never feels intrusive, serving as the perfect complement to the singer's overpowering voice, and interjecting only at key moments of emotional revelation.