Marissa Nadler needsto write. It’s a therapeutic necessity: she uses it to process the events in her life. By her account, her best music happens when that need arises. But even if that need disappeared, Nadler would still be able to write because she’s so disciplined. Like most of the songwriters I’ve interviewed, she thinks the muse is a farce: you have to work your craft, she says. “I don’t believe in the idea of the muse because I’m a big proponent of the work ethic. I don’t want people to think that my ideas just arrived on the wings of the muse. I have to work hard,” she told me.
But that doesn’t men writing every day. In fact, Nadler may go months without writing, even though she may have enough material to write about. She likes to fill the well so that when it’s time to write, she doesn’t have to search for inspiration. And when Nadler does write, she is, in her own words, “like a bat”: she needs a cool, quiet, dark room.
Shooter Jennings is not one for rest. While you’re reading this, he’s somewhere creating something. You may know Jennings for his career as a singer/songwriter, and that career alone should keep him busy. But this does not satisfy the man. He also creates video games just for fun: he’s on his third now and has written tens of thousands of lines of code for these science fiction role playing games. He has a great radio show on SiriusXM Outlaw Country. He’s a producer. And he’s dying to write a novel. On top of all this, Jennings still has time for some literary lightweights like Stephen Hawking, Philip K. Dick, Charles Bukowski, Arthur C. Clarke, and his favorite author Stephen King.
Jennings is always on the move. Because of this, he’s not able to sit for long periods and write. So he writes whenever and wherever he can, which is usually on his phone. He wrote one song on his new album at a Waffle House. He’ll often create songs almost entirely in his head before cutting a demo. But Jennings does not feel the need to write every day, as long as he’s thinking about writing
Don't be concerned for Eleanor Friedberger if you see her mouthing words or even mumbling to herself when she's out for a walk. It's her storytime. And it's during these times that song ideas come to her. "I tell very long and elaborate stories on those walks. True stories. As if I'm telling people a story of my relationship with so-and-so or the time that something happened to me."
I spoke to Friedberger a couple of months ago as she strolled her childhood streets of Oak Park, Illinois, where she grew up on the same street as Ernest Hemingway's childhood home. Of course, talking to me meant that she couldn't tell herself stories, but Friedberger gave me some fantastic insight into her creative process. She writes all her songs in her upstate New York home at her grandmother's dining room table, which she inherited in 2007. She types her lyrics, because in her words, "typing is the only skill I have in my life" because she took two semesters of typing in high school. Among her other little known skills: rearranging furniture and cleaning, because she's "good at making things look good." (Friedberger is also the only established musical artist I know who has a CV on their site.) She's also a fantastic songwriter.
That is, she needs complete solitude when she writes. Where other songwriters thrive on a bit of commotion or even chaos around them, not Andrews. She needs solitude because it provides her the best chance for self-reflection and an "uncluttered headspace" in the songwriting process. And she has to know that she's alone too. But she doesn't necessarily need to be at home when she writes: in fact, she often prefers someplace new. "I think it's more that I like to travel and feel out of my element, and I think my best songs come from that space. I lean towards writing songs in unfamiliar places," Andrews told me. Her process also involves what she calls "chunk writing." She doesn't like to write on tour; that's where she collects all of her notes for the later songwriting process. But when she gets off tour, she blocks off a two-week chunk on her calendar and does nothing but write.
Matt Lowell of Lo Moon grew up playing hockey. "I was obsessed with it," he told me. Lowell was at the rink every day, but part of this obsession can be traced to how much he watched the sport. It was a natural extension: the first thing Lowell wanted to do after watching hockey on television was play it.
The same can be said for Lowell's love of reading. When he reads a lot, he writes a lot. And when he's not reading, writing is difficult. It's an easy connection. For the songwriters or writers reading this interview, you won't be a good writer unless you read. It's impossible. Just read the interviews on this site. The songwriters are voracious readers, and Lowell knows this. He knows that his talent as a songwriter depends on his exposure to other people's words. "I’m not really inspired by everyday life," Lowell told me. "I’m not that inspired by the things around me. But when I’m reading something, or if I see an amazing film, or if I’m jamming with my band mates, that’s when the sparks come." By his own admission, the band's schedule has kept him away from his books, and that bothers him. "I'm upset that I haven't been able to read that much," he said.
Towards the end of my conversation with Chris Robinson, we started talking about his reading habits. In my almost 200 interviews for this site, I've learned that songwriters are voracious readers. But I was not at all prepared for the onslaught of titles that Robinson threw at me. He reads so much that I don't know where the man finds time to write. And while most songwriters stick to a genre or two, Robinson sticks to nothing. He wants to be exposed to everything. So he reads some Beat poets, then some Baudelaire. He'll move to Gene Wolfe then Knut Hamsun. Then it might be time for H.P. Lovecraft and Arthur Machen, moving on after that to Israel Regardi's The Golden Dawn or The Dreaming Jewels by Theodore Sturgeon, then some non-fiction in the form or Mary Beard. His current favorite is Brian Calling.
Robinson is the frontman and leader of The Chris Robinson Brotherhood, a band he begin in 2011. They've put out six albums in that time, the latest being 2017's Barefoot in the Head. Of course, from 1989 to 2015, Robinson fronted the Black Crowes. Besides their great music - their debut Shake Your Money Maker has not one bad song - the Black Crowes were an incredible live band. I can attest to that: I first saw them in 1990 at a club in Grand Rapids, Michigan right after Shake Your Money Maker was released. The buzz around the band had just started, and that show still stands as one of the best I've ever seen.