Tag: singer/songwriter

My Line

Posted in An Ongoing Journal...1 Comment

Yesterday I had a show. It was outdoors, a mild and windy fall day, with most of the audience seated many yards away, gathered around fire tables or under umbrellas. Not the best place to share nuanced music without the metronomic assistance and high-end sonic clarity of a guitar. But thankfully, at this point – now two years into my experiences performing as a singer-songwriter – I have come to expect the unexpected, and I’m able to make my thing work in spite of minor challenges and less-than-ideal performance situations.

So I did my job. I made the older women in the front row cry, I sent ripples of laughter through the crowd, and even had a mountain biker take a break from his ride to stop, listen and then wait to say hello afterwards. I also shared a song about my discontent with the nation’s politics, and although I could see the women in front squirming with discomfort as they disengaged from me, checked their phones and avoided eye contact, bless their MAGA hearts, they didn’t get up and leave. In fact, they came up later and told me how much they’d enjoyed my set. A win in my book. Message heard, if not received.

As I wrapped cables and loaded up my car, I was feeling content, and had a smidge of that post-show energy. Not quite ready to go home. I checked the Caffe Lena site and saw there was a singer-songwriter there, starting in just a few minutes. It would mean a chunk out of the money I’d just made, so I hesitated at first. Then, as I did a bit more research on my phone, I learned that this fellow had a congenital eye disorder. Like my son. Actually, just the opposite – this guy’s losing his rod cell function, and my son has no cone cell function. Either way, low vision and the diminishment of it has been a main theme of my son’s life, and at the forefront of my concerns as a mother. Easy decision. Let’s go hear this guy.

Being on a budget, I don’t often go out to hear what’s going on in the musical world. There are world-class musicians at Caffe Lena numerous times each week (I knew Lena Spencer as a child; the room has been a part of my life for as long as I can remember), yet I simply can’t afford to attend. A couple of years ago I took a chance and just decided to go there on one random, unplanned night. I had no idea who was playing, but I had a bit of cash and felt like splurging. I sat in the audience, mesmerized. Was that what a real singer-songwriter sounded like? Could you really tell stories in between your songs like this? People listened? Where the hell had I been all of my life? How was I only just getting this now? Having spent my musical life as a sideman in pop and rock bands, this folk world hadn’t appeared on my radar as an adult. And since I had just written my first handful of songs at that point, Grace Pettis got me thinking… This looked so satisfying, so gratifying. Seems strange that it was all so new to me at the age of 60. Ignorant old newbie.

Once, a year ago or so, an old friend of mine in LA texted and said that a fellow who he’d produced was playing in my town – did I know the venue? – and if I did, he’d get me a comp. It was Caffe Lena. So of course I went. The singer I heard was Chris Pierce. It was the second big step in the expansion of my songwriter’s mind. By that time I’d written over 30 songs, and I’d begun to do solo shows, so I had a different perspective from the year before. Meeting him afterward was also enlightening. Me, I’m often a bit short with folks after I play; I kinda want to get my car loaded and just go home after a show. But that’s no way to build relationships. Honestly, it’s just not being very nice. From Chris I learned the importance of warmth and connection. He was patient and unrushed, listening to folks telling their stories of when they’d heard him before, or how much a song had meant to them. It was a beautiful thing watching him hang afterwards. It was a lesson in humility for me. A huge gift.

And then there was last night. The fellow I went to see was Mark Erelli. I wish I could say that it was inspiring, but actually, it had me feeling like a clodding fool of a writer. I’ve come to be a little jaded about songs; even though I myself employ all the standard conventions and forms, I’ll sometimes think to myself, when hearing a songwriter, “here comes the bridge”, or “here comes the six minor” or some such nod to the next likely move. Last night, as I struggled to convey my feelings about the show, I blurted out that the fellow’s bridges were somehow “bridgier”. Seriously. Every one of this man’s songs was a profoundly beautiful surprise. Though I’ll admit that I still don’t listen to a lot of songwriters even now (most of those who I do listen to have me checking out after the first chorus), last night I was enraptured (as was everyone in the room). Plus, his duo partner James Rohr played not only the most sonically gorgeous piano sound (from a keyboard) I’ve yet heard, but he supported Mark with just the loveliest and most economic comping, fills and solos. The composite sound of the two of them was a warm bath of rich, deep, pure sound. What a lucky thing I decided to go out last night.

This morning, in an attempt to feel a bit less disheartened about my abilities as a songwriter, I turned my attention to the song I’d written most recently. The ideas had been in the back of my mind for a few months already, and I’d just been waiting for the right moment to try and get them all together in the same song. I sat on the couch in the warm morning sunshine last week and scanned through a couple of notebooks, reviewing the lines and ideas I’d written down. Somehow (as it often does for me) the song came together within a couple of hours as I sat down at the piano began to play and sing. And, as with most songs, it wouldn’t leave me alone for the next two days. This earworm of a song on repeat sometimes convinces me that I’ve just written something really good. But then today I had to remind myself that “good” is relative. Yeah, my songs are mostly good, a few are great, but many are (maybe they feel even more so now in the wake of hearing Mark) just placeholders. Experiments, moments in time caught on paper and in my memo app. And while it’s tempting to feel down about my lack of subtlety or ingenuity, I’m going to choose instead to remember that I’m new to this. That I am expressing myself in my own voice. Hell, I suppose it’s a minor success that I’m even writing. I’m not disappointed in my work so much as I am aware of how much room for improvement there is.

I’ll never be Nashville slick. But I have so much more on board than I did at the start of this new chapter. It may well be the main endeavor that sees me to the end of my turn on this plane. When Elihu left home I didn’t know how I’d make it through or what I was even waking up for, but now I think I have a better idea. And after hearing some truly great songs, I am humbled, but not deterred. Writing and playing songs has been a fine use of time. My ending became a beginning.

And I’m happy it turned out this way. (Hey – now there’s a good line for the notebook…)

Passage

Posted in An Ongoing Journal...2 Comments

The longer one waits, the more difficult it gets. It’s been half a year since I’ve written anything here. Since our visit to Scotland and Sweden this past spring, our lives have been dense with activity. Elihu has been immersed in his final year of college, and I have been busy writing music and working with a new band.

Moments of clarity and inspiration have come and gone… In a flash, I’ll know just how to approach an essay; there will be a certain insight, a certain story that calls out to go first, but then I’ll get pulled away by a domestic task or the bell of a notification on my phone, and my attention immediately spins in another direction.

And then there are the larger distractions, too… A tree falls across my driveway. My hot water heater craps out. The zoning board denies my application. My keyboard won’t power on. My tire keeps going flat. I forget passwords and waste an afternoon resetting them yet again. The inboxes of my too-many email accounts are hundreds of messages deep and need tending, and I almost always have music to shed for an upcoming rehearsal or gig. Never mind. If it was such a clever idea, it’ll come back.

Um, not likely. A fickle memory has become my new normal.

These days my ongoing mantra is WRITE IT DOWN – no matter what it is. Interesting thought? Song idea? Lyric? Errand? Write it down. In a mere two seconds it will disappear forever… I don’t really understand how or when this all happened – but something has changed. My logical mind searches for landmarks or easily recognized turning points, single events which might help me quantify the process – but no distinct evidence emerges. It’s taken me the past six months to understand that the me who exists today is not the same woman who existed one year ago. It appears I have undergone a change. I believe I have become old. And if my flimsy short-term memory is not enough to convince me, the crepey skin sure is.

Before you protest, please know I am simply being factual. I wish it were OK in this culture to declare oneself old, and have it be accepted. Euphemistic phrases like “such-and-such years young” and “age is only a number” loudly convey our denial about being legitimately old. And it drives me nuts. I am old. It’s not my favorite thing to say out loud, but the markers are here. As a woman who has derived a good bit of pleasure from looking sharp, put-together and, well, young, this is not an easy admission to make. But who ever said life was easy?

I have really bad osteoarthritis in my hands too, and it’s gotten noticeably worse over the past half year. Over the past two months even. It’s tempting to feel sorry for myself – what a lousy fate for a musician! I was wise to make a little video a few years ago of me playing my tenor uke – cuz I can’t come close to pushing a string down on a neck. I feel ironically fortunate that my instrument requires only open-handed, lateral movement. It’s becoming a bit harder to navigate some fingerings, but for the most part I’m doing OK. And these days I don’t take this stuff for granted.

Elihu is doing very well in college, and is finishing strong. I look on him in utter amazement. He is not only academically successful, but he is a thoughtful observer of life. He has a clever sense of humor and a compassionate heart. The eye of an artist and the rigor of an engineer. Too much? Meh. Indulge me… My son has maintained an A average in his studies of aeronautical engineering, he has started some clubs on campus (indoor aeromodelers, philosophy, international language group) as well as served in a group of Chinese language mentors, and he is also in student government, requiring late nights of administrative tasks and budget allocations. He’s now fluent and literate in five languages, and conversational in several more. He also plays tuba in the symphony and a variety of wind ensembles – plus he gets all over town on public transit with his tuba in tow, sporting his favorite porkpie hat, sitting in with funk and jazz bands. Proud much? Maybe a little.

In spite of feeling the mortal clock ticking faster these days, I am in a very nice spot right now. I’ve lost some weight, gotten quite a bit stronger (I racewalk 2-3 miles a day and spend about an hour weight training) and – this is the biggee for me – I am writing songs regularly. Year before last I wrote my first song, and I’ve been writing ever since. Sometimes a month will go by and I’m too busy to sit down and listen for ideas and I panic, thinking surely I must have written my last song. How in hell do ‘real’ songwriters do this? Come up with albums and albums of material? And yet, I’m beginning to get it. Kind of. I now have many more songs than I could ever hope to record, and even choosing ten out of the lot is difficult. But now I must choose just five songs for an EP that I’ll be recording in the new year. Not easy. I’ve ended up sending out my homemade demos to a number of friends in search of their input – informal marketing research of sorts. But it has not yielded the consensus I’d hoped for; my tallies show almost all songs getting equal votes. Not a bad problem to have though.

One year ago I made a decision to play anywhere and everwhere I could. Performing my songs was still a new thing and I wasn’t as in control of my performances as I wanted to be. Tempos weren’t locked in, my focus was easily thrown off, and being in the spotlight as a solo artist was new and I felt a bit unsure of how I needed to present myself. The only way to get better was to be persistent. I find open mics to be grueling affairs, but they are also a great resource. Between those and a good number of solo shows, I’ve learned a lot this past year; it’s been surprisingly fruitful.

The exciting thing is – it’s not over, in fact, it’s kinda just beginning. I’m in pursuit of some future I do not yet see very clearly, but one I am trying my best to create. It’s a little scary sometimes to think I’m starting something new at this age – but isn’t that what we humans do? We move, we pursue. And as Elihu launches himself into the world this year (he will most likely be attending grad school in Stockholm, so his absence from my life will be profound) I too will be entering a new chapter.

It seems we will both be graduating soon.

Ambiverse

Posted in An Ongoing Journal...4 Comments

Yesterday, my 88-year-old mother and a friend drove north into the Adirondacks. Essentially, it was a leaf-peeping trip, but along the way they visited the lakeside house where my father’s family had summered from the nineteen-aughts through the sixties. It was the house where I was conceived in August of 1962.

About a decade ago, I took mom and Elihu up to the Severance home. No one was in the main house, so I searched the grounds for the owners and found them having a large family gathering in a screened outbuilding. The owner happily gave us a relaxed tour of the house. He enjoyed the stories that mom recounted from more than a half-century ago. I enjoyed seeing the rooms and matching them up with my father’s stories. I spent a moment at the top of the stairs, imagining that young boy, long past his bedtime, sitting there listening to the eruptions of grownups’ laughter as they sat downstairs playing pinochle. But my biggest curiosity was to see the room. Easy enough, it was at the top of the stairs. A cozy bedroom under the gable that looked out and over that grand, descending lawn and the lake beyond.

When my mother and son and I stood in the room together, I felt the closure and completion I’d been after. My existence had begun in that room, and, as a result, Elihu’s life had begun there, too.

My son’s life had also begun in a lakeside retreat, one with a similar view (Torno, Italy). Like this place, the site of Elihu’s conception was also high above the nearby water, and on the south side of the lake. If you were to examine a map of each location, they look incredibly similar. My son and I both began our lives lakeside, looking out to the mountains beyond. This is something I very much like to know. Somehow, it grounds me.

A massive new house now sits too close to the driveway, and a few small outbuildings appear to be missing. The house itself has been painted, it is no longer pale yellow, and the shutters are now blue. The immense tree in the turnaround of the driveway has been taken down. It seems there has always been a tree there; it does make perfect sense. But new money doesn’t always abide by those classic rules of balance and aesthetics. No matter, it’s under the care of someone with resources. That’s the key to a building’s survival. The place may be changed in many ways, but it still exists. The phantoms of the home as it once was still hug the new periwinkle shutters and bare front yard. My father still lives there as a five-year-old boy bringing barn kittens into the house. The Confederate General and his family still live there, slightly dazed at their new Northern environs, but finding enjoyment in the cool waters and pine-scented woods, nonetheless.

These days I feel I am living in an in-between time. Things are this – and at the same time they are also that. My son is in college, closer to graduation than high school, yet he is close by, and I am able to see him fairly regularly. My mother, although visibly aging into frailty, is still living her own life, driving to the Adirondacks, regularly reading The New Yorker and feeding her outdoor wildlife friends each day. I myself look young enough to fool people about my age but am old enough to feel the oncoming infirmities. This and that. Both, at the same time.

Sometimes I feel as if I’m waiting for the other shoe to drop. Or at least the next chapter to identify itself. Lest I sound as if I’m complaining, I wish to say that I am not. I am simply feeling a little off – a little out of my body, a little unsure as to what it is that I am. My roles have always been fairly tidily described. But now, these days? I’m kind of in a nether role. I’m not a caregiver anymore. Not for the kid, and as it stands right now, not yet for mom. I’m in a rare place, this I know. And so I’m filling the space. And filling it easily.

I’ve begun to write songs. And while it may seem a mere hobby – on paper it would satisfy that definition – it feels to be more than that. A tiny spark ignites inside my chest when I envision writing songs and performing them. And then, if I imagine a band behind me, it gets so exciting that I don’t dare explore it further. It would be too big a disappointment if I began to care too much about that particular outcome, never to see it happen. But then again, why the hell shouldn’t I dream? Is that not what leads to creation? Have I not played behind dozens of other people who themselves had the conviction of self to assemble a band in support of their own vision?

It appears to be time for me to step up. And I am in the process of doing so. Step by step I am beginning to ascend. Or, as a band leader once put it to me, I am, to use his words, beginning to “ramp up”.

About a year and a half ago I had a rapturous musical experience which was followed quickly by an excruciatingly difficult period. I lost almost half of my hair due to the stress that it caused. I stopped working out. I started eating and drinking way too much. Then I suffered a back injury. After six months of brutal despair, I knew only I could get myself to a better place. And so I began to work my way up in the only way I saw available to me. I began attending open mics in search of a new musical tribe.

The open mics were challenging to endure, especially in the beginning. Long slogs through dozens of bad musicians playing done-to-death songs on out-of-tune guitars. Yet I tenaciously continued to attend open mics everywhere – even in Chicago – fascinated by the hard and earnest work that so many people were putting into their performances, even if, at the end of the day, they were far from performance-ready. I also went to the open mics on the hunt for the gems – the sleepers, those magic songwriters who stop by to work out a new idea, or who are there to fill a night because they’re passing through town… (That’s a bit of a fairytale outcome I now realize – although at the Caffe Lena open mic I actually have heard and become acquainted with a few “real” artists.) On the whole, there were no sleepers. The “real” musicians and songwriters were out playing real shows.

Tiring though they may be, the open mics have been a very important step in my ascent. They give me an opportunity to test this new skill of songwriting. They provide me with a goal. They provide me with feedback and input. They have opened doors for me to do my first solo shows. They have been a necessary step on the staircase ahead of me. They are a great tool, to be sure.

The first song I wrote was born of sheer need. I was going mad. Bereft and alone, without son, prospects or piano students, I pulled my keyboard outside into the sunshine on a late summer day because I had nothing to lose and no reason not to. Moved by the dire situations of two dear friends, I began an aural contemplation on the whys of it all. And by the end of the day, I’d written my first song.

It feels a bit naïve to actually call myself a songwriter at this point in my evolution – I only have about 30 songs completed and ready to perform – but I feel as if it’s a really perfect tool of expression for all the interior stuff that’s going on in my head right now, and it tugs at me daily. And at this time in my life, when I am not distinctly in my middle-aged years nor yet in my truly aged years, it seems to be a sweet spot for this new adventure to take place. I can still carry and setup my gear, I’m able to offer enough interesting covers to fill some single jobs, and I can perform a few sets of well-written original songs decorated with plenty of charming backstories.

Panic attacks still tap me on the shoulder and threaten to reappear, but I’m working on it. Silencing the self-sabotaging monkey which pulls me out of that place where I need to be in order to perform well should be handled by now, but it is not. I’m working on it. It is getting better. And I also gotta slow the fuck down when I talk. These things I know, and I practice every chance I get. I’m deeply appreciative of all the time I have to write and all of the opportunities I have to perform – and to work on telling that monkey who’s boss. I’m trying my very best to ramp it up.

I’m no longer at the bottom (although I’m not even sure if I know where the top is). What I do know is that I’m somewhere in the middle of it all right now. I’m en route.

And even though I’m not “there” yet (and I do fully realize that “there” may well simply be right here and now), for the sake of naming things in a physical world where we organize our lives through time and accomplishments, let’s just say that I am definitely on my way to a new place.

For now, I reside in the ambiverse.

To my friends near and far, you can watch my upcoming solo set at Caffe Lena (here in Saratoga Springs, New York) through their live stream. The show is on Sunday, October 29th at 7 pm. I’m up first, so tune in close to 7 EST for my set. Link here.

You can read a sampling of my song lyrics here.

Music Monster

Posted in An Ongoing Journal...1 Comment

Melissa Ferrick at Caffe Lena in Saratoga Springs, New York

The size and complexity of the musical world blows my mind.

Genres and styles seem to be as numerous and varied as snowflakes. Just when I think I have a handle on things – at least within the parameters of the current, western culture in which I reside, and that I can organize in some satisfactory way the musical world as I know it today – I’ll learn something new about a subgenre, a style or a trend, and I realize it’s not possible. The musical world – even my tiny corner of it – is too big to fully understand.

In addition to my amazement at the boundless forms in which music exists, I am also fascinated by what people seek to get from music. It serves so many functions, and within those functions, so many aspects of music are valued in such different ways. I am endlessly curious about people’s motivations for listening to music. What on earth moves them?

Last night my own feelings about what’s musically important to me became clearer, and as soon as I got home, I began to digest my thoughts…

This evening I went to hear songwriter Melissa Ferrick at Caffe Lena, the iconic local venue here in Saratoga Springs, New York. My former husband produced what I believe to have been her first EP demo – the recording that came before her successful career began (starting on Atlantic Records), now over thirty years ago.

As I listened to her set, I observed the audience with care, as I do at all shows. I always note the reactions, whether folks nod or sway to the time, whether they mouth the lyrics, whether they sit stock still, whether or not they applaud or shout. It was fascinating to me how many folks didn’t move an inch as they listened. I’d say maybe five percent moved visibly. Melissa’s stuff is, as one would expect from a songwriter, mostly about the story, the choice of words. As I listened, I couldn’t help but think that the folks there present – as with folks who gravitate to singer/songwriters in general – didn’t seem to care so much about the groove or the harmony. Maybe even the melodies weren’t of top priority. They seemed to care primarily about the sentiments expressed. I imagined that they were listening for the language and the poetry. Listening for connection through story.

For me, that’s secondary. A clever lyric always impresses, but I don’t really want all that storytelling. (Says the woman who’s penned nearly 700,000 words of her story over the past decade.) And as for the nuance, the poetry? There’s a deficiency in my character, I fully admit it, because I don’t have a need nor the patience to listen for it. (I do enjoy reading poetry, however.) When I’m listening to music I’m wanting primarily to be soothed, to be taken to a place of ease and deep comfort. My objectives cannot be met by an evening of music consisting of essentially the same four chords with very similar voicings. For me, the story alone is never enough to carry the same predictable harmony, over and over. If I want a story, I’ll go hear someone read one. (I usually get a lot more enjoyment from the stories that come in between the songs than come from the songs themselves.)

Please understand that I know Melissa is a super-talented showman and songwriter, and her relationship with the crowd is beautiful. She’s top tier stuff. And her rhythm, her time? Her style of playing is built on it. Her groove is rock solid. Melissa is an all-around stellar human and badass musician. (But in light of how few in the audience were nodding in response to her time, it seems to confirm once again that for them, groove still takes a back seat to story.) Yet somehow – and I cannot quantify exactly how – it didn’t move me the way it did all those people there. Maybe it’s because I have no history with her material. I don’t know. Her set was a great thing to behold, and what she possesses is rare – and I’m glad I went, for sure – but on the whole, I don’t need a lot of solo singer/songwriters in my life. A few shows a year by great talents like Melissa will do me just fine.

There, I’ve said it. It’s been on my mind for decades. I’ve always known it, but I’ve never shouted it from the rooftops before. But now I am ready to declare that I am, musically speaking, a snob. Perhaps I’m even a bit of a simpleton. I want music to wrap around me like a warm blanket or tease me like a lover. I want to feel about a groove the way I do about a fresh, hot slice of thin crust pizza with just the perfect amount of char on the bottom. Oh dear God. That’s the good stuff I’m after.

I like things the way I like them, and at this point in my life I don’t wish to spend too much time trying to like things I pretty much know that I won’t. I’m always up for listening to something new, and I’ve probably spent more time critically listening to a far wider variety of music than most folks I know (thanks to my father, former husband and son and their huge combined musical orbits), but I no longer wish to give over hours of my time to music that I don’t really love.

Instead, I’ll take any form of Bach you have, I’ll take harmonically and sonically rich tracks of any genre, a few clever lyrics – then add in a handful of impeccably tasty sessions at Daryl’s House and I’ll be good. On the drive home I might want some hair bands to push me through those long, dark highway miles, and when I’m driving into New York City I’m gonna need my Cuban grooves on the way down and some deep R&B cuts on the way back. And when I can’t be soothed by tasty and tidy pop tunes, give me some straight-ahead jazz, the stuff that scratches the itch like no other musical form. On a fine fall day I might need to hear the sweeping expanse of a Mahler symphony. And on that first warm day of spring, I’ll definitely need some vintage Allman Brothers playing (with all the windows down) when I’m driving through Greenfield.

Metaphorically speaking, I listen the way I eat; the meat isn’t important to me, the sauce is. All I’m after is the bread and those sexy flavors. Actually, forget the bread. Brother, just hand me a spoon.

I don’t need a sophisticated story – just something I can identify with. Mostly, I just want a rich sound and a great feel. And please. When you’re sharing those lyrics, please… get to the point already. I’m here to witness your story, but do you really need nine verses to tell me about it? Give me a hook or a melody that I’ll go away singing, share a curiously clever lyric. Let me hear the kind of arrangement or performance that will make me laugh out loud because it’s that good.

As I see it, music and food provide the highest order of pure pleasure I’ll ever know at this point in my life. So this shit all better be pretty compelling. Music should sound as good as the best barbecue tastes.

After Melissa’s show I walked around the tourist town to hear the many lives acts whose music spilled out into the street. I paused at each, wondering what it was that appealed to the patrons. It was easy to see what all the cover bands offered; folks waved their beer bottles in the air and sang along with every line. Humans have enjoyed this sort of camaraderie for centuries. The jazz club was different, very few seemed to be listening, the music served more as an energetic bed behind the conversation. I moved on to the large venue in town and could feel the bass pushing my organs around inside my body before I reached the main room. It felt like a physical assault. Yeah, but this was a young person’s scene. Once I too had the energy – and desire – for a full immersion like this. But not now, it seemed almost violent. I didn’t finish out my tour of the town; I’m not a fan of electrified Irish bands; loud, midrangey and often on top of the beat, they usually just make me anxious. Kinda like Zumba classes. (Seriously guys, what’s with the crappy music at the Y? Someone, please, figure it out. Produce some compelling tracks already.)

These days I need the good stuff; I need the medicinal forms of music. Please, do your best to play and sing in tune. Bury the click or lay just a bit behind it. Let your string quartets and symphonies breathe and sway like great undersea plants. Give me a sonic profile that is balanced, lush, and just loud enough. Time is running low; I need to get to the good stuff now. I need to get to those tasty, salty crumbs at the bottom of the bag. Got no time for the filler these days.

Ok, so having just unloaded my uber-honest feelings about music, I feel I must make a confession: I do not find my own music to check many of my own requisite boxes. I’ve written songs that fit my current and limited purview; I write for me and a piano, not for a band. And it’s really more like therapy than songwriting. (Kinda like this collection of writings. So. Who knows how my songwriting might evolve?)

This songwriting thing is completely new to me, and I’m a tad disappointed that my process is confined to keyboards. Guitar players carry an arsenal of critical elements that serve to drive songs. I don’t have the built-in drummer of the strum patterns, I don’t enjoy the complex harmonic profile that strings create, and then there’s the portability issue. I have always been deeply jealous of guitar players, and it’s only getting worse as I realize all the components my one measly instrument is missing. I have begun to dream about having a band, of hearing how my songs might sound if they could only be fully animated. Who can I enlist? Fantasies of moving back to Chicago filter into my thoughts… At least there, I know musicians. I’m odd man out here, and it feels acute these days.

My efforts to find a duo partner have failed, so I’m skeptical that I can find anyone to help me animate my music. I dunno. I feel stopped. I’m such a critic, and yet I myself am worlds away from any sonic success. I began writing songs only to discover there are so many more layers to the process than I’d realized, to say nothing of what’s involved in producing it and bringing it to life. (I wish to add that I do know well about the production process, it’s just that I didn’t expect to get sucked in and wish for anything more advanced than simply writing a song and documenting it on my ancient iPhone 7.) With the skills and tools I have presently, I don’t have the ability to achieve a product that comes close to what I think might be satisfactory. Holding standards that I myself cannot live up to makes me feel a bit foolish, but there it is.

In writing my own music, I have created a monster. Kinda looks like my next project will be learning how to train the beast.

Postscript: Since publishing this post, it has been brought to my attention that a primary element of Melissa’s show is simply her incredible energy. Seems silly that I missed such an obvious thing; it appears that in my analysis of her performance and music, I missed the forest for the trees. Yes, Melissa exudes energy. She also exudes humanity and honesty. There’s much to be said for her and what she gives to this world.

Visit Elizabeth’s website here. Visit Elizabeth’s Instagram here.

Visit Elihu’s personal Instagram here. Visit Elihu’s tuba practice Instagram here.