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Speaker 1: Pushkin. Just a quick note here. You can listen to

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Speaker 1: all of the music mentioned in this episode on our playlist,

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Speaker 1: which you can find a link to in the show

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Speaker 1: notes for licensing reasons, each time a song is referenced

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Speaker 1: in this episode, you'll hear this sound effect. All right

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Speaker 1: enjoyed the episode. On her debut album, Old Time Feeling,

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Speaker 1: SG Goodman turns traditional Southern storytelling on its head with

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Speaker 1: songs that present a deeper, more complex look at life

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Speaker 1: below the Mason Dixon Line. That's if it Ain't Me Babe,

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Speaker 1: from s G. Goodman's debut album, which was co produced

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Speaker 1: by My Morning Jackets Jim James. Sgs songs are filled

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Speaker 1: with purpose. As a queer person who lives with mental illness,

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Speaker 1: she often sings about the social and political change she

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Speaker 1: wants to see happen in the South. In this conversation

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Speaker 1: with Bruce Headlam, SG performs a few songs off her

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Speaker 1: debut album from her home in Murray, Kentucky. She also

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Speaker 1: talks about writing a breakup song that just happens to

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Speaker 1: resonate with the ongoing social justice demonstrations happening all over

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Speaker 1: the country today. This is broken record liner notes for

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Speaker 1: the Digital Age. I'm justin Richmond. Here's Bruce Hedlam's conversation

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Speaker 1: with S. G. Goodman. She starts things off with the

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Speaker 1: performance of the song space and Time. That was beautiful.

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Speaker 1: Thank you so much, Thank you. That's the first song

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Speaker 1: on your new album, Yes, which is Old Time Feeling.

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Speaker 1: Can you tell me just a little bit about the

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Speaker 1: writing of that song. Oh yeah, So this song, you

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Speaker 1: know a lot of people think of it is general

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Speaker 1: love song, and and I don't mind that at all.

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Speaker 1: You know, artists really aren't in control of how people

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Speaker 1: interpret their work. But that really wasn't I guess you

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Speaker 1: could say it was a love love song in a

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Speaker 1: particular way, but that was at a written in a

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Speaker 1: particular time in my life where I was struggling with

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Speaker 1: mental health. And you know, I'm not shy about talking

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Speaker 1: about my struggle with suicide. And you know I have

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Speaker 1: a mental condition called obsessive compulsive disorder, which intensifies a

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Speaker 1: lot of those things when they begin to happen. And

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Speaker 1: so that was at a time in my life when

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Speaker 1: I really was in a way writing a good bye letter.

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Speaker 1: But you know, here I am singing it today, so

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Speaker 1: I guess you know, it had a different purpose. Hmm.

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Speaker 1: What was going on at that point in your life.

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Speaker 1: Were there situations that exacerbated your condition or was it

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Speaker 1: just a result of the things you deal with every day. Well,

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Speaker 1: you know, a mixture of both of those. I would say,

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Speaker 1: you know, I feel like there's a lot of statistics

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Speaker 1: against me with obsessive compulsive disorder, but also as a

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Speaker 1: queer person from the South. And you know, in the

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Speaker 1: same way that artists can't control how their work is interpreted,

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Speaker 1: people can't control how other people take certain news about

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Speaker 1: their loved ones or friends or community members. So I

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Speaker 1: would say at that point in my life, I had

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Speaker 1: been out for about six years, but certain people close

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Speaker 1: to me were, you know, not able to really give

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Speaker 1: the kind of love I felt I needed. So that

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Speaker 1: I feel like, even though I've found a lot of

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Speaker 1: peace and healing in those things, is still ways on

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Speaker 1: a person. And unfortunately, that was just a time where

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Speaker 1: that those particular situations were really intense for me and

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Speaker 1: you know, struggling with a sense of abandonment and things

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Speaker 1: like that, which I think is, you know, my story's

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Speaker 1: not like super unique. A lot of people experience that,

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Speaker 1: and I've just decided not to be quiet about it.

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Speaker 1: So when you play that song now the way you

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Speaker 1: just did, what's that like for you? Does it take

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Speaker 1: you back to that time or is it does it

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Speaker 1: help you put that time in the distance. I would

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Speaker 1: say that it's a mixed bag, you know. I feel

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Speaker 1: like when you're performing, you have a lot of things

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Speaker 1: you're trying to control in that moment, one remembering your lyrics,

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Speaker 1: remembering how to play an instrument. But sometimes, yeah, I

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Speaker 1: do think back to the moment when I wrote that,

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Speaker 1: which is really special to me. And you know, no

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Speaker 1: matter who in your life, isn't able to really show

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Speaker 1: up for you the way you need it. I've had

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Speaker 1: a lot of amazing chosen family and friends for a

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Speaker 1: long time now, and I wrote this song or finished

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Speaker 1: it up with my band in the room, and you know,

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Speaker 1: they really helped pull me through that moment. So all

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Speaker 1: in all, it also coincides with some really good and

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Speaker 1: positive memories. So I'm not really afraid to think about

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Speaker 1: the origins of that song because there was so many

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Speaker 1: wonderful things happening and wonderful people showing up for me too.

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Speaker 1: Did that song help change anybody's mind? I don't know.

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Speaker 1: You know, I feel like maybe to the people that

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Speaker 1: it really was directed to, I'm not sure if they

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Speaker 1: were or are in a moment of recognition to where

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Speaker 1: they could feel any sort of responsibility for that. So

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Speaker 1: we'll come back to that. I want to change subjects

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Speaker 1: for a minute though, Just something for the guitar nerds

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Speaker 1: out there, okay, because your guitar sounds so great. What

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Speaker 1: are you playing and how are you getting that great sound? Well?

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Speaker 1: This is a nineteen sixty nine guild Starfire four and

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Speaker 1: I love these guitars. And I've had this guitar for

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Speaker 1: about eleven years now, and I you know, I've been

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Speaker 1: told by many people I shouldn't play it out because

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Speaker 1: of its age and kind of being fragile. But I

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Speaker 1: feel like it still has a lot of playing to

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Speaker 1: do left in it, you know, and I feel like

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Speaker 1: it shouldn't retire. It should go out, you know, in

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Speaker 1: somebody's hands. That's my thoughts on that. It's got some

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Speaker 1: things to say still exactly. You know, I don't know

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Speaker 1: if I do it justice, but it sure feels good

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Speaker 1: to me. Now, there are a lot of sounds on

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Speaker 1: your album. It's a great, great sounding album, and we

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Speaker 1: should talk more about that too, But this particular song

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Speaker 1: just has that fifties dreamy quality to it, which I

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Speaker 1: find really kind of captivating and a little scary that sound.

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Speaker 1: Were you thinking to give a particular album or song

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Speaker 1: in mind for this particular one to get that sound?

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Speaker 1: You know? Really, my band and I pull from so much.

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Speaker 1: But and it just came out that way structurally when

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Speaker 1: my drummer came in and you know, just played that

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Speaker 1: beat in the way I'm playing the guitar, the song

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Speaker 1: kind of did what it wanted to. But when I

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Speaker 1: was thinking of soundscapes for this song and what I wanted,

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Speaker 1: and honestly the guitar solo in there, which really amplifies

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Speaker 1: that feel of an old time song. My bandmate Matt

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Speaker 1: Rowan the first time we ever played it as a band.

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Speaker 1: The day I finished this song. I still have it

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Speaker 1: recorded on my phone. It's the exact same solo. It's

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Speaker 1: never changed. It's what he came up with immediately, and

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Speaker 1: I kind of fought hard to keep that in the

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Speaker 1: song because that really does you know, you never know

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Speaker 1: as a songwriter when you're finished. And a good friend

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Speaker 1: of mine, Aaron Ray, told me one day we'll have

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Speaker 1: you said everything you need to say. And I felt

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Speaker 1: like after I wrote really the only true verse in

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Speaker 1: that song, when Matt came in with that guitar lick,

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Speaker 1: I felt like he said everything I couldn't say. Hmm. Now,

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Speaker 1: most people when they think of Kentucky, I think really

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Speaker 1: think of eastern Kentucky. They think about glacia and coal mining.

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Speaker 1: Tell me a little bit about western Kentucky, Like, what

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Speaker 1: are you seeing when you look out the window? Well,

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Speaker 1: in Murray, in particular, I'm next to land between the lakes,

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Speaker 1: which was a huge man made lake system, so there's

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Speaker 1: protected forest out there. It's a beautiful landscape. But where

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Speaker 1: I'm originally from, I was born in western Tennessee, raised

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Speaker 1: in western Kentucky in a small town called Hickman, which

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Speaker 1: was on the Mississippi River. So that landscape is more

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Speaker 1: reminiscent of the Delta. So a lot of people don't think,

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Speaker 1: but my dad is technically a Delta farmer. You know.

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Speaker 1: So I was raised right on the Mississippi rivers, So

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Speaker 1: what kind of what kind of farmer was he? He

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Speaker 1: still is a farmer. He grows mono crops, so wheat, soybeans, corn.

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Speaker 1: You know, we've got a few horses, I guess because

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Speaker 1: we're Kentucky, but we don't do livestock or anything like that. Right.

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Speaker 1: Was there a lot of music in your house growing up?

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Speaker 1: You know my dad, because I mean I grew up

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Speaker 1: in a town of less than three thousand people, and

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Speaker 1: my dad was a music lover. And when you farm,

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Speaker 1: you spend a lot of time in a vehicle or

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Speaker 1: a tractor, so we always were listening to music. And

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Speaker 1: you know, I have an early memory of my dad

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Speaker 1: and his brothers throwing a party at his shop and

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Speaker 1: having a bluegrass band come in for the fish fry.

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Speaker 1: But as far as like people who were seeking to

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Speaker 1: be involved in music, I mean, my mother put me

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Speaker 1: and my brothers and piano lessons at an early age.

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Speaker 1: I quit. I couldn't handle performing. But you know, singing

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Speaker 1: and music is a pastime. It's not necessarily something everybody

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Speaker 1: takes seriously. It's more of a pastime. So I guess

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Speaker 1: sort of we're a musical family. But did you when

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Speaker 1: did you pick up the guitar? Probably around age fifteen.

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Speaker 1: I started writing lyrics around age like that. I knew

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Speaker 1: I was writing lyrics around age fourteen, and then I

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Speaker 1: decided I wanted to play the guitar. I think I

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Speaker 1: really wanted to play an instrument where I could go

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Speaker 1: and be by myself and not be around anyone when

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Speaker 1: I was trying to learn it. The piano was in

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Speaker 1: the middle of the house, you know, so I could

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Speaker 1: sneak off and lock a door somewhere and be by

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Speaker 1: myself trying to figure it out. And you said you

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Speaker 1: didn't like performing on the piano. Did you always like

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Speaker 1: performing on guitar. No, I've never really liked performing until

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Speaker 1: probably the past five years. It was just I love

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Speaker 1: I love songwriting, and performing is something if you're trying

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Speaker 1: to get your songs out you kind of have to do.

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Speaker 1: But I was more are forced into performing through church

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Speaker 1: growing up, you know, kind of with that threat of

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Speaker 1: if you have a gift from God, if you don't

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Speaker 1: use it, you'll lose it, you know. I was raising

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Speaker 1: a real conservative house, and so performing was something I

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Speaker 1: grew to love. Do you like it now? I do,

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Speaker 1: And I really have found that I really miss it.

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Speaker 1: I guess I suffered from imposter syndrome when it comes

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Speaker 1: to performances. But now I feel like these last several

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Speaker 1: months have made me realize that, well, maybe I am

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Speaker 1: a performer. We'll be right back with Bruce Headlam's conversation

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Speaker 1: with SG. After the break, We're back with SG. Goodman.

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Speaker 1: I'm sure when you thought about putting out your first album,

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Speaker 1: you weren't thinking, you know, I'll put it out in

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Speaker 1: the middle of a pandemic and there's protests all across

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Speaker 1: the country and a very contentious election. You probably weren't

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Speaker 1: thinking that way. Yeah, you know, I wasn't born a

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Speaker 1: fortune teller, so but what can you do. We did

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Speaker 1: the best we could with the circumstances. And I don't

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Speaker 1: have any problem, you know, putting out music while there's

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Speaker 1: protests or when some you know, people need to hear

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Speaker 1: people from the South who are of the progressive persuasion.

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Speaker 1: So I feel like my album has a place in

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Speaker 1: this moment. We should talk a little more about the moment.

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Speaker 1: But would you like to do another song for us? Sure?

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Speaker 1: This one's called Old Time Feeling, the title track from

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Speaker 1: my album Thank You, Thank You. The record version of

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Speaker 1: that is very, very aggressive, a lot of guitar. It's

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Speaker 1: probably the most aggressive song on the album. It's terrific,

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Speaker 1: But I love that version. Thank You You know, not

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Speaker 1: being able to pack my band in my house in

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Speaker 1: the middle of a pandemic is a little bit of

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Speaker 1: a neutering feeling, I'm sure. But you've got some very

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Speaker 1: interesting lyrics in there. You mentioned people who want change

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Speaker 1: then do something strange. They go where I can't read

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Speaker 1: the precise line, but they go where everybody feels the same.

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Speaker 1: So who is that aimed at that line? You know?

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Speaker 1: I feel like there is a pressure put on people

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Speaker 1: in marginalized groups and in the South sometimes that can

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Speaker 1: be progressives, LGBT community, things like that, to leave the

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Speaker 1: South to find more like minded people. And there's a

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Speaker 1: part of me that totally understands that. You know, a

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Speaker 1: lot of people have to leave for either their physical

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Speaker 1: health or mental health. But what happens is there is

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Speaker 1: little to no representation for those groups or those ideals.

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Speaker 1: And I really believe change comes from people seeing you

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Speaker 1: live it out to your neighbors. And so that was

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Speaker 1: more of a called of arms for people who, you know,

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Speaker 1: point a finger back at the South, maybe their home

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Speaker 1: where they came from, and say, well, that place is

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Speaker 1: never going to change. Well it's a lost cause or whatever. Well,

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Speaker 1: believe me, it always will be if everybody who wants

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Speaker 1: to see it change leaves. So that's just problematic for

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Speaker 1: me as a person, as a progressive from the South

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Speaker 1: who knows that they're like minded people like me here,

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Speaker 1: but we sometimes either aren't the story that the coast

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Speaker 1: are telling about where we're from. And I feel like

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Speaker 1: a lot of that is because you know, we have

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Speaker 1: responsibility to provide that narrative for people people, and a

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Speaker 1: lot of folks are not. What is that story that

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Speaker 1: we're missing? Well, I would say, you know that there

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Speaker 1: are a lot of progressive initiatives in the South. There

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Speaker 1: are a lot of people who are not subject or

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Speaker 1: where they are subject, but they're not victim to the

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Speaker 1: conditioning that people from rural places and the South have

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Speaker 1: experienced through politicians and through these narratives from people on

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Speaker 1: the outside. And you know, but because those initiatives do

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Speaker 1: not play into those stereotypes, we don't, you know, get

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Speaker 1: the attention that we deserve because in my opinion, when

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Speaker 1: the South changes, and I'm going to say when what's

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Speaker 1: going to happen is when the coast and when other

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Speaker 1: places in the country don't have a place to just

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Speaker 1: always point a finger at for their aggressive, our regressive

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Speaker 1: policies and different things like that. They're gonna have to

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Speaker 1: start taking responsibility for what's happening in their own backyard.

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Speaker 1: And you know, the South and rural communities a lot

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Speaker 1: of times are a good way to avoid responsibility for

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Speaker 1: other people. You're also speaking right now as a white Southerner,

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Speaker 1: and that's tricky territory right now, because Confederate monuments are

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Speaker 1: being torn down and not you particularly, but but you know,

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Speaker 1: white Southerners are you know, accused of hanging on to

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Speaker 1: these face of old prejudices. Is that fair? Do you think? Well?

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Speaker 1: I would say in a large part, yeah, we're gonna

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Speaker 1: have to take, you know, responsibility for that. But once again,

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Speaker 1: you should know, even in my little town of Murray,

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Speaker 1: we gather around our Confederate monument, are pushing for change

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Speaker 1: every Saturday morning leading marches. You know, there's a lot

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Speaker 1: of folks here who are calling out Grandpa at the

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Speaker 1: table for saying a racial slur. You know, there's a

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Speaker 1: lot of complexity I feel in responsibility on white people

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Speaker 1: who know what's being said behind closed doors in their

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Speaker 1: homes and when they're hanging out with other white friends.

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Speaker 1: You know, white supremacy and racism is a white person's problem.

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Speaker 1: We're we're keeping it alive, and it's our our job to,

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Speaker 1: you know, work on eradicating that, because you know, we're

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Speaker 1: the ones imposing the consequences. So yes, I do feel like, unfortunately,

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Speaker 1: I think there's there's responsibility there that we can't deny

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Speaker 1: in any way, and I wouldn't ever try to. That's

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Speaker 1: a great answer, thank you very much. I joked earlier

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Speaker 1: about you releasing this album in the middle of a pandemic,

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Speaker 1: but there are a lot of songs here that would

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Speaker 1: seem to kind of address the current moment. The song

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Speaker 1: about you know, burning a city down in your name,

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Speaker 1: of course, suddenly has well, you tell me, what were

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Speaker 1: you thinking about when you wrote that song? Nothing about

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Speaker 1: where you're going with it, But you know, I was

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Speaker 1: experiencing a heartbreak, and I think you know, as a

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Speaker 1: person who's been in counseling for many years and you

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Speaker 1: understand how when you're experiencing trauma, sometimes other traumas come

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Speaker 1: up in that experience. And so I have some biblical analogies.

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Speaker 1: I have a reference to a true story about my

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Speaker 1: father who was severely burned while burning off of a

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Speaker 1: wheat field one time, and so you know, I get

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Speaker 1: where you're going at right now, I think, But I'm

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Speaker 1: you know, like I said earlier, I'm not a fortune teller,

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Speaker 1: so there was no way of me knowing that that

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Speaker 1: could be applicable to any current events. Now I realize

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Speaker 1: you haven't been able to play in public, but it's

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Speaker 1: it's hard not to think of the song that way.

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Speaker 1: It's hard not to think of George Floyd to be

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Speaker 1: on a Taylor and you know many of the protests,

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Speaker 1: and of course I should say, I'm not saying that

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Speaker 1: protesters are the ones burning down things, far from it.

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Speaker 1: But does this album it feels political to me? And

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Speaker 1: I know it wasn't written that way, and a lot

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Speaker 1: of great love songs and a lot of great songs

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Speaker 1: can feel political even though they were very personal. Has

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Speaker 1: the meaning of any of this changed for you? Is

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Speaker 1: it a different feeling playing these songs now? Do they

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Speaker 1: feel bigger or more social? I mean, in my opinion,

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Speaker 1: you know, like old time feeling. I think I wrote

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Speaker 1: that in twenty seventeen what you're seeing right now, and

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Speaker 1: everybody should understand I didn't have to have current events

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Speaker 1: to give me inspiration for what's happening right now. This

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Speaker 1: has been happening for a long time. You know, my

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Speaker 1: feelings about the South and the change that needs to happen,

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Speaker 1: Uh didn't come two months ago. I've lived here all

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Speaker 1: my life. You know, I'm just writing on my life experiences.

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Speaker 1: So sure, I mean, you know, like I said, I

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Speaker 1: don't I don't waste any time thinking about how people

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Speaker 1: will interpret a thing. I think that's interesting. You're the

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Speaker 1: first person who's ever brought my attention to the possible

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Speaker 1: relevance of those words. So yeah, these are these are

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Speaker 1: rough times, but I feel like there's a lot more,

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Speaker 1: you know, important voices and messages being said right now,

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Speaker 1: and I'm not going to try to co opt them

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Speaker 1: and make my music fit into that narrative. You mentioned

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Speaker 1: there's some biblical references in some of your songs, including

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Speaker 1: Burned Down the City. Are there other books that have

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Speaker 1: influenced you with your lyrics, because your lyrics are very literary.

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Speaker 1: I don't mean that they're precious, but that they have

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Speaker 1: a certain kind of almost novel like feeling to them. Well, so,

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Speaker 1: one of my writing mentors is a man by the

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Speaker 1: name of del Ray Phillips. He was a Pullet Surprise

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Speaker 1: nominee for his collection of short stories My People as Waltz,

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Speaker 1: which anybody listening I highly recommend when I took classes

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Speaker 1: from him. But we've been friends, you know, really close,

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Speaker 1: ever since I graduated college. And he came to me

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Speaker 1: one day and he said, all right, I need you

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Speaker 1: to do something for me. Never read Flannery O'Connor again.

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Speaker 1: You have figured it out, you understand it, but you

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Speaker 1: need to stop, just quit. You know, there were certain heroes,

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Speaker 1: literary heroes that you know. He started encouraged me to

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Speaker 1: read more contemporary writers like Jennifer Egan, who wrote an

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Speaker 1: amazing short story called Safari and find that in some

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Speaker 1: of the New Yorker archives and things like that. But

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Speaker 1: I don't know, I read a lot of different things,

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Speaker 1: and I love stories. And when you're a Southerner, stories

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Speaker 1: passed the time. And I grew up with amazing storytellers,

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Speaker 1: you know, oral stories. So I'd have to give a

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Speaker 1: lot of credit to people that I grew up around.

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Speaker 1: Was your father one of those? Was he a good storyteller?

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Speaker 1: He is a good storyteller. There's a lot of great storytellers.

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Speaker 1: I grew up across the street from a lady named

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Speaker 1: Miss Betty McMullen, but she was Miss Betty Thomas, and

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Speaker 1: our family was connected because my grandfather used his GI

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Speaker 1: bill to buy out her father, who he worked for

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Speaker 1: as a farm hand. He bought mister Thomas's farm equipment,

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Speaker 1: and that's how my family got into farming. They were sharecroppers,

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Speaker 1: and Miss Betty's husband, mister Sonny, moved her in across

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Speaker 1: from my family when I was a child because he

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Speaker 1: was dying of cancer. And one of my first jobs

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Speaker 1: was to take care of Miss Betty. And she's the

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Speaker 1: one who I can think for turning me onto a

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Speaker 1: lot of my old country heroes like Lefty, Frizelle Hanks,

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Speaker 1: Senior Patsy Klein because her family during the Depression had

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Speaker 1: had money compared to everyone else, so she actually got

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Speaker 1: to go to some of these concerts and would tell

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Speaker 1: me these stories and and you know, she had a

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Speaker 1: lot of them. Would show me a picture of her

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Speaker 1: and her sister with the big frilly boots and things.

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Speaker 1: But I cleaned her house growing up, and I kept

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Speaker 1: her company, so I had a lot of these weird

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Speaker 1: stories about her going and seeing Jerry Lee Lewis taking

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Speaker 1: a train to Union City, which is now just a

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Speaker 1: fifteen minute drive my closest Walmart, and there was a

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Speaker 1: lot of rich storytellers around me growing up. We're going

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Speaker 1: to take a quick break, but we'll be back with

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Speaker 1: su Goodman. We're back with SG Goodman and the performance

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Speaker 1: of her song Redbird Morning. That's beautiful, just to thank you.

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Speaker 1: Heartbreaking song and I'm not even sure why it's so

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Speaker 1: heartbreaking because it's sort of up tempo. But then you're

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Speaker 1: talking at some point about whether you'll be loved and

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Speaker 1: what did that song come out of? Well, I got dumped,

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Speaker 1: my live in left me, and you know, I think

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00:26:04,880 --> 00:26:10,200
Speaker 1: when you are heartbroken and maybe some maybe a relationship ends,

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Speaker 1: you become a detective and you try to figure out

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Speaker 1: at which moments things kind of went south. And I

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Speaker 1: left out of Kentucky on right before my birthday that year,

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Speaker 1: and I went and delivered some goods to Standing Rock

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Speaker 1: with some friends of mine, and I remember that not

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00:26:30,000 --> 00:26:33,000
Speaker 1: going over too well in that relationship. You know, they

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Speaker 1: wanted to celebrate my birthday and you know all that stuff,

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Speaker 1: and I typically do what I want to do in life,

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Speaker 1: so I cut out in the middle of the night

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Speaker 1: and drove a day to Cannonball, And that, of course

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Speaker 1: wasn't the reason why our relationship is off. It's just

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Speaker 1: what I was thinking about in that moment. And also

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Speaker 1: I was putting out a record right after we had

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Speaker 1: broken up, and her grandmother died on the day of

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00:27:05,920 --> 00:27:09,840
Speaker 1: my release, and we were both very close to our

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00:27:10,359 --> 00:27:12,920
Speaker 1: nana's is what we both call it, which is why

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00:27:12,920 --> 00:27:18,240
Speaker 1: our reference our nana or in the song. You know,

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00:27:18,640 --> 00:27:22,480
Speaker 1: when year or when a relationship ends, there's boundaries put

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00:27:22,560 --> 00:27:24,720
Speaker 1: up in place, and you can't be the person who

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00:27:24,760 --> 00:27:28,600
Speaker 1: comforts that person. And there's an old wives tale in

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00:27:28,680 --> 00:27:32,720
Speaker 1: the South that a redbird is sent to you. It's

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00:27:32,800 --> 00:27:37,480
Speaker 1: a person who's passed away coming to give you comfort

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Speaker 1: or to visit you. And I just had a lot

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00:27:42,560 --> 00:27:46,040
Speaker 1: on my mind when I wrote it, It's beautiful. Thank you.

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Speaker 1: When you set out to become a professional musician, where

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Speaker 1: did you think your work was going to fit in

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Speaker 1: in the world. Did you think about that? Were you

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Speaker 1: going to be a country performer, a folk performer, or

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Speaker 1: was it just I'm gonna do what I'm gonna do

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Speaker 1: and we'll see. Well. When I started out chasing music,

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00:28:09,320 --> 00:28:13,760
Speaker 1: I actually wrote pop music and I did some touring

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00:28:13,840 --> 00:28:17,520
Speaker 1: with that, but it felt I love to write any

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00:28:17,600 --> 00:28:19,919
Speaker 1: kind of genre, you know. I would love to write

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Speaker 1: from anybody, from Lizzo, I would love to produce a

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00:28:23,800 --> 00:28:27,400
Speaker 1: rap song. I just loved the craft of writing. But

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Speaker 1: there's something about when you're singing it live, when you're

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00:28:30,800 --> 00:28:34,840
Speaker 1: having to put on the performer hat, that I didn't

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00:28:34,840 --> 00:28:39,360
Speaker 1: really feel authentic in my presentation as a pop musician.

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00:28:40,080 --> 00:28:44,560
Speaker 1: It wasn't very much me. And I was talking to

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Speaker 1: a music executive who had heard some of my earlier

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00:28:47,760 --> 00:28:50,880
Speaker 1: pop music and was chasing me down to see if

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Speaker 1: I was still doing it, and I told him no,

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00:28:53,760 --> 00:28:57,440
Speaker 1: that I was started writing you know kind of what

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00:28:57,560 --> 00:29:01,040
Speaker 1: you're hearing now. This was for another name that I

429
00:29:01,120 --> 00:29:03,800
Speaker 1: went under, the Savage Radley, and I said, no, I've

430
00:29:03,840 --> 00:29:06,400
Speaker 1: started playing with these boys and I'm really excited. And

431
00:29:06,440 --> 00:29:07,960
Speaker 1: he told me, he said, well, I'm gonna tell you

432
00:29:08,000 --> 00:29:12,240
Speaker 1: the honest strength about it. You're gonna work really hard

433
00:29:12,360 --> 00:29:14,920
Speaker 1: for about five or six years, and you'll be lucky

434
00:29:14,960 --> 00:29:20,280
Speaker 1: if anybody ever gives you any attention for that. And

435
00:29:20,400 --> 00:29:23,160
Speaker 1: you know what, he was right, I did. I swear

436
00:29:23,200 --> 00:29:26,360
Speaker 1: it was about six years to that phone call where

437
00:29:26,400 --> 00:29:30,200
Speaker 1: I actually, you know, found a team and started turning

438
00:29:30,240 --> 00:29:32,480
Speaker 1: heads a little bit with what I was doing. I mean,

439
00:29:32,880 --> 00:29:36,560
Speaker 1: when you're thrown into the Americana genre is basically a

440
00:29:36,640 --> 00:29:40,000
Speaker 1: big old umbrella where they don't know where to put you. Right,

441
00:29:40,600 --> 00:29:43,360
Speaker 1: you know one reason I'm asking, and yes, you are

442
00:29:43,400 --> 00:29:50,280
Speaker 1: put into the Americana bucket. But I keep hearing about Nashville,

443
00:29:50,320 --> 00:29:53,880
Speaker 1: which is not too far from you, and how female

444
00:29:53,880 --> 00:29:56,680
Speaker 1: acts just aren't doing anything. It's all I guess it's

445
00:29:56,680 --> 00:29:59,640
Speaker 1: a male acts right now in country music. But all

446
00:29:59,680 --> 00:30:04,320
Speaker 1: I do as I keep interviewing people like you, Margot Price,

447
00:30:05,000 --> 00:30:08,520
Speaker 1: Yola and Lucinda Williams, who obviously as a big track record.

448
00:30:08,520 --> 00:30:10,680
Speaker 1: But I just keep thinking, but all the good songs

449
00:30:10,680 --> 00:30:12,600
Speaker 1: are coming from women. I just sort of don't get.

450
00:30:13,200 --> 00:30:16,120
Speaker 1: I don't get what the problem is. Maybe I'm just

451
00:30:16,160 --> 00:30:20,000
Speaker 1: not thinking read about Nashville I think, I mean, I

452
00:30:20,080 --> 00:30:22,840
Speaker 1: might get in trouble for saying this, but I'm just

453
00:30:22,880 --> 00:30:25,200
Speaker 1: gonna tell it how I see it. I think a

454
00:30:25,240 --> 00:30:27,760
Speaker 1: lot of the men who get a lot of attention

455
00:30:27,840 --> 00:30:31,160
Speaker 1: for their music, they have a strong male fan base,

456
00:30:31,960 --> 00:30:35,360
Speaker 1: and it's because they see them and they're like, oh man,

457
00:30:35,880 --> 00:30:37,880
Speaker 1: he don't give a shit, and I don't give a shit,

458
00:30:37,920 --> 00:30:39,520
Speaker 1: and I love him because he don't give a shit.

459
00:30:39,600 --> 00:30:42,560
Speaker 1: I'm a fan. You know. It's like this thing, and

460
00:30:43,160 --> 00:30:47,080
Speaker 1: you know, I feel like there's a lot of people

461
00:30:47,240 --> 00:30:51,880
Speaker 1: who just kind of identify with the persona of what

462
00:30:51,920 --> 00:30:55,120
Speaker 1: they're seeing instead of great writing. I mean, I have

463
00:30:55,160 --> 00:30:58,880
Speaker 1: a lot of female friends who are amazing writers, and

464
00:30:59,000 --> 00:31:02,400
Speaker 1: I know I won't say whose names or nothing, but

465
00:31:02,480 --> 00:31:04,800
Speaker 1: I'd put them up against any of those boys, and

466
00:31:04,840 --> 00:31:08,360
Speaker 1: I'd say they're making just as good or better records

467
00:31:08,400 --> 00:31:10,840
Speaker 1: in a lot of cases. You know, there's there are

468
00:31:11,160 --> 00:31:15,840
Speaker 1: plenty of amazing male songwriters out there, but one thing

469
00:31:15,880 --> 00:31:21,520
Speaker 1: that a female has hard time doing is to convince

470
00:31:21,560 --> 00:31:24,600
Speaker 1: a man that they want to be like her. So

471
00:31:24,800 --> 00:31:28,120
Speaker 1: I feel like a lot of my ladies are the

472
00:31:28,240 --> 00:31:34,080
Speaker 1: token lady on the ticket, including myself. Sometimes, how we're

473
00:31:34,120 --> 00:31:38,320
Speaker 1: going to bust through that ceiling, I think I don't

474
00:31:38,400 --> 00:31:42,240
Speaker 1: really know, really, I guess just keep doing it. Yeah,

475
00:31:42,280 --> 00:31:45,480
Speaker 1: I'm just walking around thankful that I'm getting to play

476
00:31:45,600 --> 00:31:48,800
Speaker 1: music for a living. I don't want to write albums

477
00:31:48,880 --> 00:31:51,920
Speaker 1: about how hard I've had it. You know, it's just

478
00:31:52,080 --> 00:31:56,680
Speaker 1: like shit, I can be more creative than that well

479
00:31:57,480 --> 00:31:59,680
Speaker 1: you're putting it. You're putting up great music, so there's

480
00:31:59,680 --> 00:32:02,400
Speaker 1: nothing more badass than that. Thank you so much for

481
00:32:02,480 --> 00:32:06,480
Speaker 1: talking and playing. It was wonderful. I appreciate it. Thank you.

482
00:32:09,760 --> 00:32:11,880
Speaker 1: Thanks to ask You Goodman for playing songs off your

483
00:32:11,920 --> 00:32:14,960
Speaker 1: debut album and for sharing some of the inspiration behind

484
00:32:15,000 --> 00:32:18,080
Speaker 1: her music. You can hear sg's album on a playlist

485
00:32:18,120 --> 00:32:21,240
Speaker 1: at broken record podcast dot com, and be sure to

486
00:32:21,320 --> 00:32:24,360
Speaker 1: subscribe to our YouTube channel at YouTube dot com slash

487
00:32:24,440 --> 00:32:27,960
Speaker 1: broken record Podcast. There you can find extended cuts of

488
00:32:28,040 --> 00:32:31,360
Speaker 1: new and old episodes. Broken Record is produced with help

489
00:32:31,400 --> 00:32:35,920
Speaker 1: from Leah Rose, Jason Gambrel, Martin Gonzalez, Eric Sandler and

490
00:32:36,040 --> 00:32:39,240
Speaker 1: his executive Produced by Neil LaBelle. Broken Record is a

491
00:32:39,240 --> 00:32:42,120
Speaker 1: production of Pushkin Industries and if you like Broken Record,

492
00:32:42,440 --> 00:32:45,239
Speaker 1: please remember to share, rate, and review our show on

493
00:32:45,280 --> 00:32:48,640
Speaker 1: your podcast at our theme musics by Kenny Beats. I'm

494
00:32:48,680 --> 00:32:50,000
Speaker 1: justin Richmond Bass