“In the past, I’ve anxiously listened to my records before they come out a lot, searching for mistakes — and then of course finding them because I’m searching for them,” she says
“When I was young, everything was so turned up to 10, there was so much chaos and drama,” she says. “Where I fell on the emotional spectrum was so black and white. In my thirties, I exist in this gray area all the time. You get sturdier. Maybe that’s the thing. And that doesn’t mean that you don’t have tons of problems.” She lets out a laugh, before continuing: “But the way that you approach them is just different.
I love all sports and can get sucked into anything as long as somebody is there to explain to me exactly what’s going on, feed me the storylines — this person came to this team for this reason, but he used to be on that team — and give me a quick rundown of the rules. I will get sucked in, 100 percent.I think that it was a time and place. Right when I got sober, I got really into basketball because the playoffs were happening.
I did one of years ago and remember a bunch of his teammates, a bunch of Philly Eagles helped me load my gear and stuff songs and rework them. Whatever my band is for any particular album cycle, and the sound of that album, I do like to try and make the older songs work in that context. I’m gonna have dobro, banjo, pedal steel — all these characters that weren’t there for those records.It was so fun. That was right when the pandemic started.
Different people have different skill sets in music. I surround myself with people who are so highly trained that they can come to my rescue at any moment, which is really great. But I do think that there are people, like me, who it’s more about a top line melody and less about trying to write something that feels instrumentally exciting.
On “365” and “3 Sisters” you’re writing about your relationships with people in your life who are addicts. Are there particular challenges that come with writing those songs?
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