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ON THE RISE
Caroline Spence discusses how she used her "English major brain" to crack the code of country songwriting.
Molly MatalonAfter moving to Nashville from Ohio in 2011, Caroline Spence nannied, waited tables and wrote songs. It took her two years to come up with one she felt was good enough to play around town: “Whiskey Watered Down,” a gently savage kiss-off to a flaky musician. “You think you’re a big deal with that guitar in your hands,” she sings. “But you’ll never be Parsons, Earle, or Van Zandt.”
“I had been making myself a student [of those famous musicians],” the 29-year-old country singer says of her songwriting process. “The tagline of the verse is the same as the tagline of the chorus, and every time it lands, it means something different.” In the first verse, the song’s title refers the sub-par tunes of a wannabe singer-songwriter; by the second verse, it describes what it’s like to try to love such a person. Spence says, “It was the first time I wrote the type of song that I love.”
Spence first started thinking about becoming a songwriter as a teenager in Charlottesville, Virginia, where she grew up in a family of piano players and audio engineers. Loving music was simply part of the family routine. “Everyone could kind of play, so it didn’t feel super special,” she says. “It just felt like a thing I did.”
As a teenager, Spence idolized singer-songwriters like Patti Griffin and Lori McKenna, whose songs often would up getting recorded by others. When she first heard Faith Hill sing one of McKenna’s songs on the radio, she had a realization: “’I want to do that.’ I just didn’t know that was a job you could have.”
But the singer’s plan to remain in fully the background hasn’t quite panned out. After two self-released albums, she recently signed to Rounder, which put out her third LP, Mint Condition, a gorgeous reflection on finding peace amid upheaval and confusion. “I don’t think I considered being an artist,” Spence says. “[There was just] a need for someone to be singing my songs. And [that person] was me.”
The album establishes Spence as a writer somewhere between Kathleen Edwards and Guy Clark in her deft chronicles of interpersonal complexity. She relies on the Nashville tradition of rigorous songcraft and is obsessive about songwriting on both a literary and formal level: how words work in relation to one another, how removing a word like “when” can change the entire meter of a verse, how a protagonist in one song on her album seems to respond to a narrator on another. When she was writing “Sometimes a Woman Is an Island,” Spence flicked on “English major brain” and created a line that unlocked the entire meaning of the song: “Sometimes a woman is a bell.”
Spence’s craft has even impressed Emmylou Harris, who appears on Mint Condition’s poignant title track. Spence wrote the song back in 2013 from the perspective of her grandparents, with Harris’ iconic voice in mind.
Spence has also had to grow comfortable with the inherent beauty of her own singing. “I would love to be able to rock a little bit, but there’s no denying the tenderness and softness of my voice,” she says. “I just have to be like, ‘Yeah, OK, I’ve got a sweet voice.’”
Spence’s potent, unflashy sound feels like part of a movement, also exemplified by Kelsey Waldon, Erin Rae, and Michaela Anne, fellow rising singer-songwriters who share her mission of stripping country and folk music back to its core elements. “People always ask, ‘is it hard to do this?’” says Spence. “And I mean, everything’s hard. But because it’s so hard to make a living, seeing anybody rise up always feels like a victory. That’s the greatest joy of living here.”
ON THE RISE
As they prepare to unveil their fourth album, ‘Joy In Short Moments’, The Snuts have spoken with NME about how stepping away from touring gave them the chance to reflect on some of life’s biggest challenges and bring greater attention to mental health.
Their first album since 2024’s upbeat ‘Millenials’ follows a rare break from the road over the past year. During that time, frontman Jack Cochrane also experienced a major change in his personal life as he welcomed his first child.
Along with getting used to fatherhood, the singer began thinking about deeper questions that the demanding touring lifestyle had previously left little room to consider. His reflections on growing up, dealing with loss and understanding what success really means gradually found their way into his writing, eventually shaping the direction of the band's more personal new album.
Fans were first introduced to the album earlier this year through ‘Summer Rain’, an emotional track exploring postnatal depression and the “fear of the future”. They later returned during the summer with the more hopeful ‘Defibrillator’, encouraging listeners to move beyond negative thoughts about themselves and find comfort in connecting with other people.
Speaking to NME about the creative shift behind their fourth record, Cochrane explained: “By taking a conscious break from life on the road and making records, my world opened up to let so much more of the real world in,” he said. “For the first time I was living then writing, not writing while trying to live.”
He also described how the change helped the band approach recording differently, adding: “It unlocked a new process that the band had been crying out for,” he continued. “The studio sessions were set up to allow us to be friends and not colleagues. Distraction and external pressures were completely eradicated from the recording environment, allowing us to trust our gut and have the conversations we needed to as humans.”
In the remainder of the interview, Cochrane also discusses his new role as an ambassador for mental health charity CALM and talks about starting a podcast designed to encourage more artists to speak honestly about their personal struggles.
NME: Hi Jack, congratulations on the new album. You’ve said that this record was about addressing the topics that you previously tried to hide from. What kinds of questions did you find yourself confronting?
Jack Cochrane: “I would say mainly, ‘What do I need to be happy?’… Eeek! It’s a big one I know, but having set out with the title ‘Joy In Short Moments’, I was able to spend my time searching for them and allow joy to do what joy does: compound and relieve the stresses of the modern world.”
That’s not the easiest question to find yourself confronting. Did you manage to find any answers along the way?
“Ultimately yes. With the completion of this record I was able to find a much happier healthier version of myself I had been so long yearning for.”
The album sees you deal with new themes, but musically we also see you return to the guitar-led sound from your early days. Did revisiting those roots make you notice how much has changed since you were starting out?
“For sure. We were able to remove any snobbery from the process. We’re no longer new kids on the block and with that came a new found ability to be really honest about the kind of noises we wanted to make and the type of artists that had originally inspired us.”
This album goes hand in hand with you becoming an ambassador for CALM and launching your own podcast dedicated to checking in with fellow artists. Why was it important for you to get involved in the conversation about mental health?
“I think conversations and role models are absolutely essential for young people. I wanted to have more and do my best to be one. Every song on this record was born out of unfiltered, open and honest conversation.”
From talking to people on your podcast, including Louis Tomlinson, and using your platform to open up this dialogue, is there anything interesting that you’ve noticed?
“I think that more often than not, young men are finding it difficult to combat the struggles they are facing in this modern world. To me it feels like there are less and less spaces and opportunities to have meaningful, healing conversations…”
Having had those conversations yourself and explored them on the album, it must be somewhat daunting to now put it out into the world. Is there something that you hope people take from it?
“I’d like people to feel less alone after hearing the record and the themes intertwined with it. I think music is more than just heartbreak and I hoped in the writing of this record I would be able to highlight some more universally relevant topics.”
You have your headline tour coming up next month. What can we expect from the shows?
“Big smiles and big sound all round! It will be the most self assured Snuts tour to date.”
‘Life In Short Moments’ is out now Happy Artist Records in partnership with Virgin Music Group. Their UK and Ireland tour kicks off next month with an opening night in Dundee. Visit here for tickets and check out a list of tour dates below.
NOVEMBER 2026
19 – Dundee, Livehouse
20 – Aberdeen, Beach Ballroom
21 – Edinburgh, Corn Exchange
23 – Dunfermline, Alhambra Theatre
24 – Newcastle, O2 City Hall
26 – Sheffield, Octagon Centre
27 – Nottingham, Rock City
29 – Norwich, UEA
30 – Hull, City Hall
DECEMBER 2026
1 – Bristol, Prospect Hall
3 – Leeds, O2 Academy
4 – Manchester, O2 Victoria Warehouse
8 – Birmingham, O2 Academy
9 – Portsmouth, Guildhall
10 – London, O2 Academy Brixton
JANUARY 2027
26 – Belfast, Limelight
27 – Galway, Róisín Dubh
28 – Dublin, Academy
