How did you apply the theoretical framework you got from your studies to your own lived experiences and observations in that song?Įven though "If You Were Someone I Loved" directly talks about the opioid crisis, the overall question that me, as the writer, would hope would come up around it is, what is it that makes us extend our love to our neighbors? Why are we more compelled to act on behalf of someone else if love is present? And what does it say about us that we, most of the time, will not if love isn't present?Ī lot of our medical facilities, our medical schools, were founded when an affluent family lost a child to some kind of rare illness. You mentioned studying philosophy in college, and in the song "If You Were Someone I Loved," you write about people's motivations for helping, and not helping, others. But for the most part, there are so many pluses to living in a small town. I mean, yeah, there's not as much great food around necessarily, and you might need to learn how to cook for yourself a little bit more if you ever want some Tom Kha soup or something. There's aspects of small, rural life that are just easier. I've never been to a DMV - I don't even know what that is. When I was getting my car registration done this year, I just walked into the courthouse and walked back out. But I do have a really deep appreciation for that way of life. I'm not saying that I'll always live there. I have remained in a very small town, very close to where I was raised. That's always been important for me, because there are talented, competent people from small towns, and I think that people from small towns need to know that that is true of themselves. I've always wanted to "make it," in quotations, where I'm from. How important is that to the position that you are writing and singing and speaking from? You briefly tested the waters of living elsewhere, but decided to stay close to where you grew up. You've staked your claim to the Kentucky town where you've lived for several years. Goodman, Becca Mancari On Expressing Queer Pain, Being Left In The South "Knowing their backgrounds in post-punk and their different musical influences," she says, "I didn't really want them to get it so lodged in their head that, 'Well, people are calling this Americana, so we've got to form this album to fit that.' " As Goodman told me when we spoke, six weeks after that Nashville show, she had nudged her longtime bandmates - guys she'd met right there in her small town in the western part of the state - to join her in actively resisting flattening assumptions before they even began recording. Her singing has the cutting intensity of Appalachian tradition, along with wildly expressive flourishes, crescendos, decrescendos and nervy vibrato. They're refined in a recalcitrant way, and put across with wiry but emotionally present resolve. You won't sense any sort of neat template behind the Kentucky artist's new set of songs. Jokes aside, Goodman isn't one to boil down complexity. Musing out loud during an opening set in Nashville this spring, she deadpanned that perhaps she'd tell every single journalist that Alan Jackson is her sole influence and see how it played. But what she lacked in direct experience with the contrived rituals of promotional cycles, she made up for in canny insight - having seen enough media portrayals of Southerners, rural dwellers and working people to know how frequently they devolve into superficial caricature. She'd done only one round of that before, when she released her debut, Old Time Feeling, during the summer of 2020. Goodman was openly dreading an obligation that she knew lay ahead of her: explaining her music, and by implication, her life, to interviewers. Goodman composed parts of her new album, Teeth Marks, to evoke the feeling of traumatic experiences building up in the body.Įditor's note: This interview includes some discussion of suicidal thoughts.īefore the release of her second album, Teeth Marks, S.G.
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