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.”
Elvis Presley – ‘Mystery Train’
“My first love was Elvis, no question. In our house, we had a French-release compilation album of his songs called ‘Le Roi Du Rock ‘n’ Roll’. As a small kid, I was obsessed with ‘Mystery Train’. The way Elvis held his guitar like a gun and the percussive way he attacked the strings made me fall in love with the guitar. Many years later, I went busking around Europe on my motorbike with a tent and played my guitar in the streets. But it was all because of Elvis and those early Sun [Records] recordings – and ‘Mystery Train’ in particular.”
Blondie – ‘Autoamerican’
“There was an Our Price on Finchley Road, North London that I’d go to with my older brother and sister. That’s where I bought ‘Autoamerican’ in 1981. Blondie – what can you say? Apart from the fact that as a young boy, it was impossible not to be in love with Debbie Harry. I love the variety on this particular record – it goes through different genres. Years later, I saw Blondie play [in 2013] at a private function in New York with Kanye West. Debbie Harry was still magnetic.”
Queen, Wembley Stadium, 1986
“Queen were supported by INXS. It was before they released ‘Kick’ [in 1987]. I only went because it turned out my friend Kieran’s dad was a big-shot in the music industry and he got four tickets. I was around 17, it was a year after they played Live Aid and Queen were phenomenal.”
The Beatles – ‘Eleanor Rigby’
“All through our early teenage years, my younger brother and I were always at the top of the house listening to The Beatles. ‘Eleanor Rigby’ reminds me of the ‘80s and the views out of our house in London: looking at the grey, rain-drizzled skies. I always felt its melancholy, looking out of the window back then as a teenager. Not that I was unhappy, but I definitely responded to that in music.”
Ever meet Macca?
“I have met Paul McCartney and he was a complete gentleman. At a political party, we were watching the American election on TV and he came up to me and said [Lewis does a pitch-perfect Macca impersonation]: ‘Oh, you understand a bit or two about the TV, don’t you?’. And I just realised he’d seen me on TV and I melted. I went to bed grinning. That McCartney knows who I am is incredible. I was completely tongue-tied.”
David Bowie – ‘Heroes’
“I know 173 other people will probably also have picked ‘Heroes’ for this, but from the opening note, it’s just relentlessly brilliant. It’s the most evocative, triumphant, euphoric song – and unbelievably cool. The second album I ever owned was Bowie’s ‘Hunky Dory’ – and he’s remained a touchstone for me.”
The Rolling Stones – ‘Little T&A’
“I listen to the Stones a lot and I can never get ‘Little T&A ‘ out of my head. Keith Richards is quoted as calling the song ‘dumb’ and that it’s just about rock ‘n’ roll energy. It’s a celebration of carnality, I’m aware of that, but that’s the one that stays in my head!”
Jive Bunny And The Mastermixers – ‘Swing the Mood’
“I can’t fucking hear Jive Bunny again! But I don’t mean that in a pejorative way. When I was in my twenties, I would go out on my own dancing to old-school rock ‘n’ roll at rockabilly nights. Then Jive Bunny came out and cut up my favourite songs into snippets and put them into this endless [novelty] medley. And then it was never off the radio, so I’d have to put it into the Room 101 of music.”
Crazy P – ‘There’s a Better Place’
“It’s an ambient rave tune with a fantastic Willy Wonka & The Chocolate Factory sample. I’m just that age. I left school right into the dance culture of the ‘90s and that will still always get me up on the floor.”
The Weepies – ‘Gotta Have You’
“It reminds me of moving to LA as a family with my late wife Helen [McCrory]. My daughter was one year old and my son was about to be born. We were living in Venice Canals – and I was filming out there. We had a babysitter who was a 23-year-old roller-skating, already-Botoxed sunny Californian girl. We asked her, are you listening to any good music? She gave us two great bands. One is The Shins but the other was a lesser-known band called The Weepies. That song will always get me going.”
Elton John – ‘Saturday Night’s Alright for Fighting’
“I can’t say I do karaoke but I will proudly divulge that I was at karaoke in Fulham Broadway once. I went in there with a friend and I got up and sang ‘Saturday Night’s Alright for Fighting’ and I won a bottle of champagne for best karaoke of the evening! Very chuffed I was too. If I was back looking for another bottle of champers, I’d pick it again.”
Talk Talk – ‘It’s My Life’
“I was an ‘80s kid and I liked electronic music. I’ve always loved ‘It’s My Life’ and Andy Hollis’ vocals, as well as its slightly bombastic nature. Life’s what you make of it – seems like a good sentiment to have.”
Damian Lewis’ UK tour begins on October 2. His album ‘Sweet Chaos’ is out now via Thin Red Duke
