I
In a competitive industry constantly searching for the next trend, Adrianne Lenker is in it for the long term. Despite her 32 years, the American musician speaks with a mindset of endurance, viewing herself as a skillful “craftsperson” who has been honing her craft since the age of eight. Having recorded her first album at only 13, she continues to navigate the journey of growth and improvement. She humbly considers herself a beginner, with many more years to develop her songwriting and musical abilities. She believes that with time and practice, her songs will become more “sturdy” and well-crafted, lasting through the ages.
However, her pace is more reminiscent of a sprint. Lenker holds the roles of lead singer, primary songwriter, and guitarist in the highly acclaimed folk rock group Big Thief. Their fifth album, titled Dragon New Warm Mountain I Believe in You, consisted of 20 expansive tracks and was lauded by the Observer as “wonderful.” She is now preparing to release her fifth solo album, Bright Future, following the double release of Songs and Instrumentals in 2020. There have also been compilations and multiple EPs released in collaboration with her ex-husband and current bandmate Buck Meek (more on this to come).
The band Big Thief is known for their ability to have a gradual, lasting impact on listeners. Although it may require multiple listens, their melodies eventually become a permanent part of one’s musical preferences. In addition to receiving praise from critics and earning five Grammy nominations, they have also gained a dedicated fanbase due to their refined Americana style. Lead singer Lenker’s emotive vocals are paired with powerful guitar riffs and distortion. On their song “Not,” which was named Barack Obama’s song of the year in 2019, Lenker uses a list of things that it is not – such as “the lines on your face” and “the starkness of slate” – to build emotional intensity. This culminates in a spine-tingling climax. Interestingly, “Not” is not even one of the band’s top 10 most popular songs on Spotify, showcasing their broad and high-quality discography.
Display the image in full screen mode.
Talking with Lenker is akin to experiencing her music: lyrical, inquisitive, occasionally revealing. She is currently joining the call from western Massachusetts, although her location is only temporary. In the past decade, she has been constantly on the move after leaving New York to go on tour. She apologizes for not having her camera on during the Zoom call, explaining, “I have a scratch on my cornea, which makes it quite painful to look at anything bright, like a screen.” This seems fitting for a conversation about her new album, which was recorded in a secluded studio surrounded by nature, far from modern technology. In fact, previous albums were created in cabins in the woods, the Texas desert, and the Colorado Rockies. The album’s co-producer and engineer, Phil Weinrobe, has revealed, “Adrianne and I never once used a computer screen while making this record.”
Detaching from technology was essential for the procedure. Lenker mentioned, “The electronic waves emitted from cell phones and computers have an impact on one’s energy field.” She added, “It’s like a magnet that grips onto your eyes and draws you in, draining part of your essence.” The album was recorded solely using analogue methods, with tape recordings, an analogue console for mixing, and cutting the final product directly onto acetate discs used for making records. All members of the recording process were in the same room, not wearing headphones, and did not listen to any of the takes. They trusted Weinrobe to capture everything accurately.
The resulting album evokes a wistful feeling and captures intense intimacy, with the addition of strings and piano creating a sophisticated layer to the music. The opening track features the sounds of shuffling, the tuning of a violin, and muted laughter before transitioning into “Real House,” a somber tune about childhood memories and the loss of innocence. “Sadness As a Gift” is a stunning and Dylanesque analysis of a relationship that did not go as expected, while “No Machine” presents a delicate love song filled with anxious longing. The album’s title, “Bright Future,” takes inspiration from a song that did not make the final cut, but still felt fitting. According to the artist, our language is limited in its tendency to associate words with opposites, often connecting brightness with pure positivity. However, the artist views light as something that can also be blinding, comparing it to a bright, explosive force.
B
Born in 1991 and raised in the state of Minnesota, Lenker had a nomadic childhood that involved living among different Christian cults of varying levels of intensity. She remembers praying under blankets and being forbidden from letting the Bible touch the ground due to superstitions about sin. Her parents were only 21 when they had her, and by the time she was four, they had already left one cult. They lived in a van for a few years before settling with some Amish women, and eventually returning to religious practices. However, they later left all forms of religion and spirituality, which left Lenker to find her own understanding of it all amidst the chaos and her parents’ quest for meaning. She now considers spirituality to be a significant aspect of her life, but it is not tied to any specific religion and is more about her personal connection with a higher being.
Lenker was a solemn child who had a tendency to gaze at others for extended periods, making them feel uneasy. She enjoyed spending time in the forest and befriending boys, often engaging in activities such as wrestling, football, and building forts. She had an interest in collecting pieces of metal and aspired to be an inventor. Lenker recalls being fascinated by the idea of supernatural objects that could transport her to another world, possibly influenced by the difficulties she faced in her childhood.
Display the image in full-screen mode.
Music served as an opportunity to escape for her. Encouraged by her father, who composed songs during the night, she took up the guitar. Instead of learning existing music, she taught herself how to play by creating her own. She explains, “I turned to songwriting as a means of release – a safe place to pour out my emotions. I really connected with it.” Her parents’ divorce when she was 12 led to a troubled phase in her teenage years, during which she turned to drugs and alcohol. Eventually, she distanced herself from those harmful habits. She shares, “I was harming myself in that way, but then I found supportive friends who were focused on raw foods and well-being.” After being homeschooled for several years, she received a full scholarship to the Berklee College of Music in Boston, where she established her first band.
During our conversation, she had recently completed leading a four-week virtual workshop on songwriting. She expressed feeling nervous, similar to her first time on stage. This was her first experience breaking down her creative process, and she discovered that a crucial aspect of it is ensuring that your sources of inspiration are not hindered. In her class, she emphasized the importance of checking your basic needs, such as getting enough sleep, eating nourishing meals, exercising regularly, and avoiding screen time before bed, in order to prevent feeling disconnected or numb. She also noted the tendency to fall into autopilot and how it can subtly affect our creative flow.
On the opposite end, there is a potential for an overload of emotions, which can be particularly challenging to manage during a tour. Lenker is an incredibly passionate performer, fully immersing herself in each performance (as described by our critic, Kitty Empire, who notes her guitar solos as being “filled with frustration and anguish, both angry and joyous at the same time”). Shortly before the pandemic, after six years of nearly constant touring, Lenker found herself hospitalized: “I hit a breaking point – I had been functioning in survival mode.” Continuously delivering an authentic and vulnerable live performance can be draining, but Lenker discovered that shutting off her emotions resulted in poorer shows. She is still learning how to strike a balance between being emotionally open and protecting herself. “I am improving in this aspect. What helps me safeguard my well-being is knowing that we all gather around the music, like a fireplace. Even I, as one of the musicians, am also there to bask in the warmth of that fire.”
Building and maintaining strong relationships within the band is a top priority for Big Thief. Since the beginning, the members have made a point to engage in unofficial group therapy, often sacrificing soundcheck time to sit together and have in-depth discussions. This process of “therapising” each other has been essential, especially during lead singer, Lenker’s, divorce from fellow band member, Meek, in 2018. Despite the challenges, they were able to work through their personal struggles together through communication and understanding. Though there was a brief period where Meek did not join the band on tour, they ultimately came back together and emerged as even stronger friends. Their strong bond, fueled by genuine love and a willingness to confront their issues, remains intact and has only grown through their journey together.
The band must discuss the complicated topic of the current situation in Israel and Gaza. In 2022, their planned concerts in Tel Aviv, the hometown of bassist Max Oleartchik, were cancelled due to fan backlash. In a statement, they expressed their opposition to the illegal occupation and oppression of the Palestinian people. Lead singer Lenker is not prepared to comment on this subject at the moment, stating that they are currently involved in it. She recently posted on Instagram, urging for an immediate and lasting ceasefire and announcing a new album where all proceeds will support the Palestine Children’s Relief Fund. She also expressed her deep sadness and anger towards the ongoing violence against Palestinians, emphasizing the need for it to end.
Songs and Instrumentals expressed sadness over the conclusion of her romantic partnership with musician Indigo Sparke (one track is named Music for Indigo). On Bright Future, the pressure of societal expectations based on traditional gender roles is tangible. “If I were in his position, would you still consider me as a part of your family?” she ponders on Fool; “I wanted to be your partner, regardless of gender,” she sings on Vampire Empire, the original version of the Big Thief song. “Nobody can escape the harm caused by established structures,” she explains. “No one is exempt from that. Those who are oppressed suffer greatly, but the oppressors are also not complete human beings. There is a strong desire to break free from the concept of rigid gender roles. Personally, I have always known that I do not want a relationship that conforms to any societal expectations.”
After the Grammys, there have been claims that the music industry has become more accepting towards female artists. However, the person being interviewed remains doubtful of this, stating that the progress towards women’s empowerment is still in its early stages. The root of the issue, according to her, will take time to dissolve. She cautiously states that winning a Grammy is a triumph, but she has reservations about the criteria for awarding achievements. It seems that one must work extremely hard and become highly successful in order to receive a trophy. She clarifies that her concern is not towards the deserving winners, whom she greatly admires, but rather with the overall system. She believes that there are so many talented individuals who put their heart and soul into their craft, often while working multiple jobs, and have been creating music for many years. She sees them as true legends.
If she could, who would she award a Grammy to?
“Without any hesitation, she responds, ‘Tucker Zimmerman.’ According to her, he is a gifted songwriter whose songs are on par with the likes of John Prine. Despite having worked manual labor jobs, he exudes kindness and warmth. In his 80s, he recently released a new album featuring his latest original compositions.”
It can be observed that Lenker is pursuing a path leading towards steadiness and longevity, rather than indulging in the stereotypical rebelliousness of rock and roll. In her earlier years, she believed that pain and suffering were essential for an artist to produce great music. However, she has since realized that pain is an inherent part of human life and does not need to be sought after. Throughout our lives, we are constantly losing those we love and must learn to let go. Even at the end of our journey, we must release ourselves and our physical beings. Reflecting on her past, Lenker cannot comprehend how performers were able to continue after indulging in excess, as she would not be able to function properly and take in her surroundings.
It ultimately boils down to remaining receptive to the world around you. “There is an endless amount to explore, ponder, and empathize with: boundless sorrow and anguish, but also immeasurable moments of splendor and delight.”
-
Adrianne Lenker’s album “Bright Future” will debut on March 22nd through 4AD. Lenker will also be embarking on a tour of the United Kingdom and Ireland from April 19th to 29th.
Source: theguardian.com
