Ahead of her appearances at London’s Lexington, Glasgow’s Celtic Connections and with the Transatlantic Sessions throughout the UK, I had the huge pleasure of catching up with Tift Merritt. The timing was good; if these upcoming performances were not enough Tift has just released her sixth studio album, ‘Stitch of The World’. That seemed as good a place as any to start.
This album is different to its predecessors in several ways, not least because it represents quite a long time out, a period of great change for you. Take us through what lay behind that break and what’s different now. “I did take time off. I’ve been through a lot; divorce, becoming a mother and I’ve worked hard on the lyrics. It’s been a big effort, shaping the raw material, bringing it all together in the studio and while you never have a complete perspective on everything you’re doing, you have to believe you’re getting better”. Early reviews would suggest listeners agree; what exactly was the raw material that went into the record? “A lot came from location. I wrote the songs in three places; Texas, California and New York City. Different places bring out different feelings. This job allows me to move about a lot so why wouldn’t you let the variety of places into your work? I love the Texas landscape, California is the Garden of Eden and I also love city life”.
How do the songs reflect that? “A lot came from the rhythm of nature, birds and just the landscape. The long straight roads of Texas, California is very beautiful and New York is fast. From the new album, ‘Proclamation Bones’ is full of nature and references to an enchanting place while another new song, ‘Heartache is an Uphill Climb’ is just that, I wrote it while I had got lost hiking and was completely immersed in my surroundings”.
Though a tough time, you did have help from your many friends, one such was Sam Beam. “Sure, I think the world of Sam, as a writer, singer and as a human being. He brought so much with his counter melodies and the harmonies we were able to create together”.
Tift Merritt is so much about writing. Have you ever thought of branching out beyond songwriting? “Oh, yes. I started off writing short stories. I never had much interest in becoming a novelist, I prefer the short-form hence the move into songwriting but I love writing prose too”. Is that where the Raymond Carver connection comes in with the song ‘My Boat’ from the new record? “I’m always reading, particularly when I’m writing for a record. I was reading Carver’s poems while writing for the new album. ‘No- one will be denied on my boat’ could have a more serious and topical meaning which brought us onto the almost inevitable question, are you political?
“Yes, while ‘My Boat’ is a wonderful daydream, it’s really about relationships. We need to take a look at ourselves as communities right now. We have to confront racism, bigotry, stand up for public education and women’s rights. We need those relationships. These are strange times, maybe I should have been a social justice worker”. Well, yes, I’m sure you’d have made an excellent one but your art must be one of the most powerful ways to help others. “I hope so, but in the end I’m optimistic ‘Love Soldiers On’ says it all. When things are tough keep going and it’ll be ok. I just didn’t think I’d be singing it after the election’.
Let’s go back a bit. Who were your main influences? Between the ages of 18 and 25 it was Dylan, Joni Mitchell, Bonnie Raitt, Townes Van Zandt, Emmylou Harris, Dolly Parton but then books and films can influence my writing”. What do listen to now? “Recently I’ve been listening to John Coltrane, I listen to music with my daughter. We’ve been listening to Miles Davis and Joni’s ‘Ladies of the Canyon’. We all try to eat healthily so I try to do the same with music, take care with what I’m listening to”.
So, what’s next? Is there anything you haven’t done that you’d like to? “Good question, I know I haven’t accomplished everything and I can see the flaws in what I do, there’s always room for more depth, acuity and power. My dad used to say I could do anything but at this point in my life I know that not all I thought would happen has, and may not happen. I’m ok with that. Becoming a mother has made a huge difference, certainly in realising what’s important and what’s not”.
After a long break after years of almost constant touring, is performing still as important to you? “There are days when I love being on the road but having a daughter puts that in a different perspective. I love the routine I’d formed for writing over the past year yet I’ve missed live shows. It’s part of what I do”.
On performing, how did you get into the Transatlantic Sessions line-up? “I met Jerry Douglas (who leads this annual gathering of roots musicians from both sides of the Atlantic) a couple of years ago via Mary Chapin Carpenter, who’d been in the Transatlantic Sessions a couple of times herself. I got the call so here I am heading back to my own roots. The blend of Scottish/Irish and Americana is great and I’m delighted to be part of the music’s story-telling tradition. Anyway, I’m descended from a Scot, Angus McTaggart, who came from Islay!”
Do you think that this tradition has become a slave to our tendency now to classify everything e.g. Americana, country and so on? “I don’t pay much attention to labels. Sure we all need ways to think about our record collection, it’s not just alphabetic but these classifications come and go. Today’s mainstream country isn’t roots. I don’t consider myself to be a country artist; I just get on with what I do”.
And getting on with what you’re doing seemed as good a place to conclude what has been a hugely enjoyable and insightful chat. Later on at the Lexington Tift gave a wide sweep of her work with a lot from ‘Stitch of The World’ but also some gems from her plentiful back catalogue. It’s been a while since I saw Tift perform and joined by pedal steel ace Eric Heywood it was a memorable show. Now for the Transatlantic Sessions.
