131: Lera Lynn
On Episode 131, I'm joined by singer-songwriter Lera Lynn, who at the end of the week (Friday, Oct 23), is releasing her excellent new full-length, On My Own. As the title alludes, On My Own is just that. It's a singular vision with Lynn doing all of the writing, playing, singing, arranging, engineering, production, and more all on her own. That solo process is very much the guiding light and force for the 10-track album. There's a magic and tone set by Lynn not only experimenting with new instruments and song structures but by also learning the various aspects of recording an album that often is taken for granted by the average listener. Still, Lynn is as steady as ever blending bold statements, intimate whispers, and the innate anxieties that come with the human condition. At every turn, Lynn's sonically adventurous with drum machine rhythms, sprinkles of dark-toned electric guitar, smoky harmony textures, and Lynn's own rich and velvety crystalline vocals. Songs like the opening "Are You Listening," the smoldering "Dark Horse," and the album highlight "Let Me Tell You Something" find Lynn at her best and confidently progressive.
During this interview, we talk about the creative process and songs of On My Own, what spurred on the direction of the album, investing hours of learning and perfecting proper recording techniques, taking up painting, and the current climate of the music industry.
This episode's presenting partner is Desert Door Texas Sotol. In addition, this episode is sponsored by WYLD Gallery and The Blue Light Live.
Interview Transcript
Note: Transcripts aren’t always accurate since they are computer automated and haven’t been edited for spelling, grammar, etc.
Thomas Mooney 0:01
Welcome back to New slang. I'm your host music journalist Thomas Mooney. We're ending this week being joined by singer songwriter lira Lin. I'm so glad we were able to get this one scheduled. She's releasing a new album this Friday called on my own. That's tomorrow, October 23. So I interviewed her a couple of years back when she was releasing her previous album Plays Well With Others. That was for wide open country, which is probably up there still. So if you want to go read it, go check it out. Anyway, as I remember, I was in Ruidoso and we spoke for about 20 minutes on the phone. And she was just so enjoyable to speak with. So insightful and thoughtful and excited to share those songs. I just knew that I needed more time talking with her, and probably more so listening to what she had to say at some point. And like that last time, speaking with her has just been so enlightening to the creative process. I think if you've listened to any of her songs, and her rich catalogue of music, you'll realize that she's not milling any of this in she's thought about these songs and herself as an artist and a storyteller. And of course, like the the multitude of reasons why she's a creator, and, and obviously, so many other things that are tied to the creative process and the industry at large. This new album, it's just so great. And it's incredibly important as well. For starters, as the title alludes, essentially, every aspect of this album was done solely by her, the writing the playing the production, all of it. I think that's so bold, and, and honestly really brave, it's so easy to second guess yourself, it's so easy to talk yourself out of doing things simply out of fear. And that's obviously such a natural feeling. It's understandable. Now, on my own, it isn't a great album, solely due to lire doing it all. I have to feel that deep down had she done this album, with a producer and with other musicians on it, maybe some other co writers, whatever, it is still been a good and worthy effort. But make no mistake. Some of that magic that lyric comes across on this is because she was doing it all by herself, as one would say Necessity is the mother of invention. And there's just aspects of this album that wouldn't have happened the way they did without it being these conditions. Anyway, we touch on all of these in the interview, so I won't just rehash them again. Today's presenting sponsor is desert door, Texas SoTL. If you know anything about me, it's probably that I'm from the heart of West Texas and absolutely love everything about West Texas. And that's really why I love desert door so much. You may be asking yourself what exactly salto is, well it's a premium spirit that similar to a tequila or a Moscow, but for my money. It's a little bit more refined and smooth. There's a sweetness and faint hints of vanilla and citrus and it's also as versatile as your garden variety vodka. At its core desert door is authentically West Texas, they go out and harvest Soto plants from the wild and bring them back to their distillery over in driftwood, Texas. So next time you're at your local liquor store, get a bottle of desert door. For more info, check this episode's show notes. If this is your first time listening to new slang, I strongly suggest hitting that subscribe link. If you just did, I'm giving you a virtual High Five right now. New slang is over on iTunes, Spotify, Google podcast, Stitcher, radio, and basically any and everywhere you listen to podcasts. Go check out the Newsline merch store. Grab a koozies and stickers, buttons and magnets. Any bit helps, I'll throw a link into the show notes. And if you're into playlist, go check out Tom Rooney's cup of coffee and the neon Eon playlist over on Spotify. The neon Neon is for all your nostalgic 90s country needs, which there's going to be more neon Eon related stuff coming your way pretty soon. And then Tom mooneyes cup of coffee is a regularly updated mix of new Americana and country music. It's also a really great hint at who I have coming up on the podcast. So yeah, go follow those. Okay, I think that's enough housekeeping notes. Let's go and get on to the interview. Here is lira Lin. Obviously you have this new record gonna be coming out in just a couple of weeks. And, you know, one of the big parts of this record is that it's all you that you know, there's no co writes there's it's all you producing, playing the instruments everything it's a singular vision as you've put it, I guess like how important was it to I guess like initially was that always like the idea for this next record was it to be a just all you singular vision album.
Lera Lynn 5:01
It wasn't really a plan of mine, actually. I started recording just for fun, I had, you know, an inbox and had an idea and was inspired and had the time. And really enjoyed doing it by myself. Before I started working on this record, I'd worked with several different producers and co writers and was really trying to find the right collaborative partner for my next album, and I just nothing felt quite right. To me. I feel like there were a lot of hurdles. And, you know, one day, I just thought I just tried something. See how this goes, I had very little gear, especially on the recording side, I didn't have drums, you know, I had a few guitars and some amps and and that's about it. And I had such a great time recording that song that I did another one, which was just recently released called Let me tell you something. Still no drums, I was using paint Canvas for a kick drum sound, for instance. And I kept working in that way, I think I did three songs. And then I spoke to a producer who will go unnamed. And so you know, I'm actually having some success recording on my own right now. And I think I'm going to keep keep chasing this and, and he told me that he thought that was a big mistake. And I don't know if that's because he wanted me to work with him. If he really thought that I would fail at doing it, but regardless of of his motives, I really felt even more inspired to, to do it myself. And I think, you know, as I continued with the process, it became important to me to demonstrate to other women who might be inspired to do the same thing to do it, that you can do it. Because through my career, I've had a lot of a lot of people saying, you know, No, you shouldn't do X, Y, or Z or you can't make these decisions on your own, you know, different things like that. So it was very liberating in that way. And an important point for me to make.
Thomas Mooney 7:40
Yeah, like, what I was wondering is, you know, how, like, you mentioned, like the, just kind of like having the lack of gear, the lack of, because obviously, you're a front woman and an Americana country, whatever we want to call this, you know, the traditional instruments are always acoustic guitar, or piano, that's just kind of how songs usually start off. And you know, I guess I was reading on one of your posts about how you you did start out with a lot more trying to figure out like the drum machine drums and baselines and like starting from that angle. And I was wondering, like, if that was like, because of of necessity because of the the the nature of the album or if that was just something that you'd always kind of wanted to go that route or experiment with that?
Lera Lynn 8:37
Well, it's it's the same approach to songwriting is is, you know, like top lining and like pop pop song. Writers will often do you know what, no, you know, but for other people who are listening, you know, they someone will build a track and then a singer or songwriter, lyricist will come and write the lyric and the melodies over the track that's already there. It's just a different way of doing it. Ultimately, for me, I feel like the acoustic guitar at this point. And that is largely based on my lack of knowledge of the instrument. At this point, it limits me and I feel like it steers me into writing a certain kind of song with with drums and bass as the basis for the song. You know, I feel like it gives me so many different possibilities. And also, you know, Americana genre is such an interesting relationship, I think for all artists. I don't think any artist really likes being put into a genre. And Americana in particular, has sort of chosen me Just through the process of touring and having to present my music in a limited way, you know, opening for other artists and stuff like that. And, oh, we don't want electric guitars, we won't allow amps or drums on the stage for the opener or I can't afford to fly a full band over to, you know, you're up to do my first tour, I will just take acoustic guitars, you know, to simplify things. And slowly I kind of fell into that, that niche but, but that's not really where I would categorize myself. So it was important for me to push that boundary with this record to and I and I do think starting with the drums and the bass helped me break out of that even more.
Thomas Mooney 10:44
Yeah, I mean, like, for me, as I like, I understand both sides of the, of the genre thing because, you know, at the end, like, I guess, like the the original intentions of any kind of genre label was to help listeners understand what what they're listening to, I guess, but at the same time on your end, yeah, it is very much a putting people in boxes. And, you know, the more I think you talk with artists more, the more you talk with bands and songwriters and, and everything like that, you the less you they think of themselves, or you I guess like what I've realized is, you guys think of y'all of yourself less as on a certain kind of songwriter, and more or even just as a songwriter, I'm just an artist. And that is obviously like, that's just such a blank canvas for for people to understand. But
Lera Lynn 11:44
well, it's all related to marketing. Right. And, and I think marketing, you know, there's a, there's an old school thought to music business that we're very quickly leaving behind us. You know, every everything is everywhere, now with the internet. And I think that the genre did serve a purpose. In a time when the only way you found out about music was through a magazine ad or the radio, you know, just to know where which station they should be playing on. But these days, it seems a little antiquated To me, the concept of genre I mean, now, somebody tells me about a new artists, they'll say, you know, what, what's it like, you know, and I'm expecting them to drop some genres, and maybe, you know, this artist cross with this artist, you know, but it's still frustrating, because I think people kind of bands can get married to a genre and come to expect an artist to stay within that genre. And some people will feel betrayed by you if you don't, you know, continue creating art within those confines. Yeah. But I do think those days are trailing behind us, don't you? Yeah, well, I
Thomas Mooney 13:00
mean, also, at the same time, like, as a journalist, the one thing that I would like more than anything is people to read the article that I've written about said artists, because I feel like that's a way better descriptor than calling someone country or Americana, or a rockin hole songwriter, or you know what I mean? And that, to me is like, leaning on those kind of things. That's the way and also, like, you mentioned, like, how it limits a fan base or listener. It goes, I think, like maybe the best example of that is, you have like a lot of these diehard fans who don't listen to quote unquote, top 40 music or top 40 country. And they're limiting themselves to some great artists that maybe they would like if they were just if that wasn't right in front of their name. You give them
Lera Lynn 13:56
right, yeah, like why don't like metal. Yeah, so they don't ever even listen to the artists in the in that category.
Thomas Mooney 14:05
This episode is, in part brought to you by Austin, Texas's wild gallery, a virtual Art Gallery, featuring traditional and contemporary art by Native American artists. As you're probably aware, I'm not just a avid fan of music and film and novels. I absolutely love visual art as well. And as you probably also know, if you've been listening to new slang for a while, you'll know just how often songwriters, they also dabble in various other mediums and are largely also inspired by other artists. One of the giant reasons I was drawn to wild gallery is that all the art is produced by Native American artists not only produced by, but inspired and influenced by other Native American artists, history, tradition, nature, stories, music and just culture in general. If you head over to wild dot gallery, that's w y LD dot gallery, you'll see exactly what I mean. I've spent probably an hour scrolling and clicking through the various pieces, there's just some incredible pieces featured is such a vast array of styles as well, everything from newer pieces inspired by both like the American West, and a bright and bold pop art field to more traditional Fine Art oil on canvas paintings. And then obviously, there's plenty of pieces inspired by Native American traditions as well. Like I mentioned earlier, they're currently a virtual gallery. What's so great about that for you is that you're able to purchase these pieces from anywhere. And with Christmas coming up, they'd make perfect gifts, talk about just like one of a kind, unique, and probably more importantly, well thought out gifts that excite anyone from your parents, your grandparents, your in laws, siblings, yourself, really just whoever. And also I'll be perfectly frank, it's time we have this talk. With everyone working at home these past few months, I've been on so many zoom calls. And I've seen so many zoom call screenshots on social media. And we really need to talk about some of you all's home office spaces. Too often, it's just that generic desk, maybe a poster that you had from college, maybe a calendar or like a whiteboard that you write on. And just those bare bland walls, I'm just saying, We've all been there. But like right now would be the absolute perfect time to fill those walls with some great art. Go visit Wilde gallery and order a handful of these paintings, that'll just really spruce up your background and make you look a little bit more adult and lively. When you're surrounded by art, you're more productive, you're more creative, and the space that you're more happy. For me, that's why I fill up my walls with different art. Because obviously, you walk by them multiple times a day, and you're able to like just take those little moments, you're able to appreciate all that effort and energy that was put into the art. And hopefully that kind of inspires you to go on and do more stuff in your day. Again, that's wild with a why other link into the show notes, as well as share some of my favorite pieces on Instagram and Twitter already have a few earmarked because I'll be ordering them soon myself again, that's Austin, Texas is wild gallery featuring a blend of traditional and contemporary art by some of the most gifted Native American artists. Okay, let's get back to the episode. So getting back onto the record, and because I'm really interested in the in, I guess, like exploring those the other ways that you were the songs, I guess originated where you're, you are less you're you're figuring out other instruments to, to begin songs was that like, just a, obviously, like a refreshing way of approaching a song? Or had like, have you ever done this in the past? Or like what what I guess like what was? What's been? What have you thought about that as far as like, kind of like, you know, looking back on how a lot of these songs started.
Lera Lynn 18:04
It's funny, I'm, I'm, you know, some of them were so embarrassingly easy to write. With this approach, like I'm hesitant to pull the curtain. No, you know, I think, gosh, it was it really helps to have a room all to yourself and be able to record and have unlimited time. And you don't have to worry about studio fees or someone else's opinion. And you can just throw paint on the canvas. And if you don't like it, paint over it, you know, for some of these songs, I just, I don't I would just go into the studio every day, that was part of my process, forced myself to work every day from like 11 to five with a lunch break. And I would just start with something, you know, I would start like I had a, I borrowed a Mellotron from a friend, I would just find a sound that I thought was cool, for instance, or maybe I would start with a drum machine or maybe I would build a loop myself some samples that I was recording myself and just follow it. I mean, having no plan was was the most liberating aspect of the whole process. And then when it came time to write lyrics, you know, I would just think about topics I tried to write about things that I haven't written about. Which is hard because ultimately it all comes down to love and death. You know, like with Let me tell you something. That song is is about a conversation I had with my father when I was in college. Where he was, he was lecturing me and telling me not only was my my major in anthropology mistake, but also trying to pursue anything creative as a career was a mistake, because the chances of failure are really high. And, and he was right and I understand where he was coming from. But I really liked the idea of writing a song about that, and releasing it. Then there's another song on the record called isolation that's just kind of about technology, and how it is killing our ability to relate to each other and how we're all living in a virtual world, which is especially true now. And it's funny, I wrote isolation before the pandemic, but now I'm really grateful for that, because it's kind of our only, you know, communication line to the outside world. That is a double edged sword. But yeah, those are those are definitely songs that I wrote the track for kind of top lines, and then then there was a song called make you Okay, that just fell on me. It just happened. And that was with a guitar in my hand. And I think you can hear that in the song even though it's not acoustic guitar based, but that's how it was. It was written.
Thomas Mooney 21:28
Yeah, well, you know, what I what I'm what I love so much about this is because I think all the you starting the songs are primarily starting a lot of the songs with drum machines and different instrumentations. They add all that texture to a lot of these songs that if I was just telling someone that you were putting out a new record that you self produced and played all the instruments, I think the majority of people would just think it's an acoustic guitar solo album, like, like that style. And this is, you know, not that at all. I feel like, you still have so much of those vibrant, dark tones, that you've kind of heard in a lot of your, your songs, and I don't know, I've just I find that just to be a like refreshing like that. You didn't necessarily just go down the what I think what most people would think that would be a quote, unquote, I did everything album. So yeah, I wanted to go back on to the the song that you're talking about the conversation with your father, you know, was that kind of like a an idea that you've had forever? That you were like, this is a song? I don't know, if I'm right, I'm ready to write it? Or was this like, a new revelation to like, Oh, you know what, that would actually be a great song.
Lera Lynn 22:55
Well, it's a thought it's always been in the back of my mind, because? Well, for a number of reasons, I did get a degree in anthropology and I did pursue an I am pursuing a career in music. You know, I always hear him saying you shouldn't do that. You shouldn't do that. And I sometimes think I wonder where I would be if he had been supportive of that position instead, if there would be any further down this path. But I definitely have, have wanted to write about it hadn't figured out how to write about that. Like, I can't, you can't sing a song, like one guy at once said to me, you know, so I decided to have it, to have the conversation be written from his perspective. And I think that is, is just confusing enough for the listener to maybe keep them engaged. Because if I'm listening to it, I can see how one would easily interpret the chorus as being, you know, real advice. And it is multi layered, you know, because he did have my best interests at heart, he wanted me to have a good job and make money and, you know, be self sustaining. You know, that was his main concern. But the part that he was missing is that ultimately, if you are fighting against your passion, you're never going to be happy. Right?
Thomas Mooney 24:30
Right. Yeah, no, I think it's a very, like, I'm very empathetic on on his side of things, too. You know what I mean? Like it's, and I think that's like an important aspect to kind of understand is, is understanding both sides of the story. I guess the conversation that as you put it, the it's a it's important to understand like, that it wasn't out of you know, The I guess like, it wasn't a cruelty, I guess, you know what I mean? And I think a lot of times we can think of it that way. Well, I what I think is really interesting too, about that is how, you know, sometimes songs, song ideas, they come to you when you're ready to write them. Verse, even though you've maybe had them for a while. And I guess like a feels like, now was like, just like the right time for you to write that song. So, you know, obviously also, this is like coming off of kind of like a 180 off of your last record where, you know, it was so much about collaboration. What, like, what did you now like, looking back? Do you feel like, what what did you learn out of like, you know, co writing and collaborating with all these other artists that have, I guess, maybe helped? I guess, push this record? Has there been anything like that?
Lera Lynn 26:08
That's a really interesting question. Just because they're so different, the process is so different, but I'm sure there are some lessons from the collaborative album that I use in this record. You know, writing with several different people really forced me to learn how to let go of my own ideas. Because everyone's writing style is different. And everyone's you know, method of processing other people's ideas is different. Some people are like, highly projective or insistent that their ideas be used, and some people just sort of wait for you to make the suggestions. But regardless of who the writing with and how they write, I think I learned you just have to be ready to let go of everything. And I think that did free me up in a big way for this record that I, you know, was never married to any of the ideas, any of the lyrics or melodies, or even tracks or several tracks that I worked, you know, for weeks on, that ultimately didn't make the cut. And all artists go through that, and then making records but somehow doing it all on my own. It was a little bit more difficult for me to let go of those things. But yeah, I think that's, I think that's one of the biggest lessons that I learned from it as well with others projects.
Thomas Mooney 27:42
Yeah, like, it's very, like, letting go of something is very difficult, obviously. It's, I don't know, I find that so it's, because I guess like, in part, like, that's, at the core, like kind of why you started playing to begin with, in a way is, you know, trying to share these ideas and then like, you just don't want to give up on them necessarily, you know what I mean? And yeah, I think that's just really the, I guess, like that struggle of figuring out if it's just, if it's a lost cause.
Lera Lynn 28:23
Yeah, but that's, that's really challenging when you're working by yourself.
Thomas Mooney 28:28
Yeah, I can see that's I love like the the I guess like the idea of like you like he said, you know, you going into the studio and like, I hate to say the word force, but like forcing yourself to like, work X amount of hours a day and do that daily. I love like, personally, like I love just like kind of being by myself and working on stuff by myself. But on the other side, it's very, very easy to start second guessing yourself and kind of being like lost in the woods and just being unsure of what you're doing. And kind of like gosh,
Lera Lynn 29:04
yes.
Thomas Mooney 29:05
Is this even I mean, you know, so
Lera Lynn 29:07
go ahead. Oh, I
Thomas Mooney 29:08
just kind of like you get lost out there and kind of go What am I doing this right is this is worth it like you just hear yourself? second guessing yourself. Constantly.
Lera Lynn 29:18
Yeah, I think I think that was a huge part of the process for me, too, was just kind of like regular meltdowns. So I started painting during this process. I mean, I started painting started paintings previously in my life, but while I was working on this record, I found that it was really helpful for me to go paint and when I when I reached those points of uncertainty, and when I started to second guess my decisions and intuition, I would paint and try and switch my brain over completely kind of like palate cleanse my brain Then go back and listen to what I had done. And that really helped me gauge whether or not I was on the right track. And I'll say that, you know, also, I have to credit a couple of my friends that I would have listened to stuff once I thought it was mostly done and just gauge their, their experience listening to it on how good it was, you know, if you can't really create in a complete vacuum. So, gosh, it's it's such a such an interesting thing, because I think a lot of people have this ideal of artists creating with without ever considering what other people will think or how other people will hear it. Like you're making music for other people to listen to. I mean, I guess, in a certain phase of the creation process, you're making music, just for catharsis, or because it feels good or whatever. That being completely for yourself, but, but eventually, if you're doing music, as a career, you know that other people are going to listen to it. And at some point, you do have to consider that a little bit. Although I've tried really hard not to say that's another complex relationship, just sort of projecting other people's experience. Yeah, to music.
Thomas Mooney 31:23
Yeah. What it's very, I mean, I think we all kind of love the the romanticism of the artists, right. But it's so hard to work in those absolutes like, like, it's hard, like you mentioned just a second ago, the vacuum, it's hard to, to just create in that vacuum and just not take into account if it's for lack of a bit of term, listenable? Or if it's relatable,
Lera Lynn 31:52
or Yeah, in the case of this record, the song like let me tell you something, I think most people would say, Well, that doesn't really go with your other music. So no, that's a perfect example of, of how, you know, freeing yourself from that can open different doors.
Thomas Mooney 32:15
This episode is in part brought to you by the blue light live here in Lubbock, Texas, there is a way to help a support blue light, and be get a sense of that normalcy by visiting blue light, loving, calm, clicking on the merge tab, and getting some koozies a vast array of T shirts and caps, and yes, even a blue light flag. While it is such a bummer, that live music is still on hold right now. I'm telling you, by getting some blue light, live merge, we're gonna feel better, it just feels better wearing a T shirt and ballcap and helping support your favorite board. Again, that's blue light. lubbock.com click on the merge tab, get some merge. All right, back to the episode. Yeah, you know, you mentioned painting, I was actually gonna bring that up because I saw on your Instagram that you had shared a painting that was I think like, as you put it, like it was inspired by a light comes through. And you kind of already touched on it like being a palate cleanser, a, a way to stop if you if you hit that wall to just take a break and work on something else that eventually got to helps you out. Like, I guess like, Can you expand on that? Like what was like What, what? When did how did you get back into painting? And like how did you realize this is something that is is part of the creative process as a whole.
Lera Lynn 33:51
I love painting because there is zero pressure around it for me. There's, you know, I never have to share it with anyone, I don't have to produce a certain amount, you know, and, and painting is another one of those things that I go into with zero plan in mind. I there's something really thrilling about just painting is that there's this kind of adrenaline rush at the very beginning when I just kind of start throwing paint on there and just watch what happens and really follow where the paint leads me. I think it was important for for this album process because I would use it to sort of go deeper into the feeling that I was trying to portray the song. The feelings that I was trying to explore and illustrate through the song in a different medium. Kind of sound like a new age weirdo
Thomas Mooney 34:58
like I think a Like it challenges listeners to or like just listeners in general, not necessarily listeners on my podcast, but listeners in general to like, think of the songs is bigger than just the songs. But then also I think like it it I don't know, I think it kind of goes, goes back to that whole genre thing that I was just talking about ago a minute ago, not like limiting yourself to just being quote unquote a songwriter, even though as you just said, you know, you don't have a quota or anything like remotely close to that when when it comes to painting, but it does help the does help out.
Lera Lynn 35:37
Yeah, you know, just looking back on it, there's so much goes into every song. I mean, for most, you know, songwriters, good good songwriters, and think, you know, it can be years of experience and, and so much work and so much emotion and thought goes into making that three and a half minutes. As succinct and compelling as possible.
Thomas Mooney 36:07
Yeah, like it's, and it's also, what I love talking about is, and that's kind of like one of the more one of my more bigger things is the romanticism of writing, where sometimes I think we also think of you guys as the writing of the song is only when you pick up the guitar and start strumming and you start writing down the words. And that's almost like just like the smallest part of the process. It's like, all those hours that you've been kind of thinking about the song that it's been kind of marinating
Lera Lynn 36:42
and pulling the car into the garage after you've been driving for five days or something.
Thomas Mooney 36:47
Yeah, exactly. Yeah. So I found that really interest in I guess I know, again, like kind of the perfect example of that is, let me tell you something, because like, you've kind of been thinking about that for a while. One of the things I want
Lera Lynn 37:01
to thank you, okay, is another good example of that too. Just that that, that experience of wanting to fix someone that is really hurting. Emotionally that, you know, I was writing from the child's perspective and and from my own perspective as an adult, but Gosh, I mean, I have been meditating on that idea my entire life. And trying to stop fixing people to you know, it's a it's a deep one.
Thomas Mooney 37:32
Yeah, well, that's what I was gonna say is also just on on let me tell you something, you have like that little, like cough. That little like clearing of your throat, I guess like more the the second verse starts. I, I'm sure there's a lot that goes into that. But like I like as far as what it can represent everything. But I just really love that moment. Because it's, to me, it's kind of like a really real but it also, as a listener, you kind of like, get if you've zoned out a second, it makes you go back and listen. What, I guess I can't wait for that right there. Like what was what went into like, adding that I guess, or like having that as a part of the song.
Lera Lynn 38:21
I feel like I was trying to embody a certain character for that. And it just happened. And I was like, Oh, yeah, that works. That's cool. I remember when I played it for my boyfriend. He was like, Oh, are you gonna? You're gonna check that out? Like, you thought it was in the state. And I was like, Nah, I'm leaving it in there. Oh, wait,
Thomas Mooney 38:45
what I what I love about it is it is a little bit of the, like, the authority figure, I guess. Like I can remember my mom. Like, trying to get my attention back by doing like a cough like that. Or, like, you know what I mean? or a teacher or something. So like, I think it's a very it works for that character as you as you say, so
Lera Lynn 39:08
yeah. It's been fine as I as I'm getting older and feel a little bit more comfortable, slightly more comfortable in my own skin. It's been it's been fun to explore things like that and not feel so restricted. Like I have to be a certain way of seeing a certain way or always be the same kind of character singing and songs.
Thomas Mooney 39:29
Yeah, yeah. That's i don't know what i think so interesting. Is the and I guess like it's, it's really tied to what you're just saying there is like, the projection of like the idea of, of who you are as an artist, I guess like that happens for y'all as well as like, Who am who How do I who is lire Lin as a as an artist and can we do those things, you know what I mean?
Lera Lynn 40:00
Yeah, I mean, I think that's another big reason why I ended up making this record by myself. I think I was really looking to a collaborator, a co producer, or co writer to help me state my identity with this record, because I did do a duet record last. And it's time for me to say, Okay, here's my music. This is who I am. And I ultimately felt like I couldn't ask someone else to show me that, that path, you know, that's, that's something you gotta find on your own.
Thomas Mooney 40:36
Yeah, yeah, it's, I find that so just, like, just an interesting thing that are interesting conversation about, about the artists because I, I guess, like, just the, a lot of time, a lot of times when when you think about an artist, you think of them as like, just knowing who they are. Already, like, they're confident, like, this is like, what I do, and the songs are about me and all that everything that's attached to that. But obviously, it's a lot more complex than that. The more you talk with people, the more you realize that there are anxieties that are attached to that, and there's a lot, they're not necessarily all. A lot. There's a lot more, I guess, introverts as artists than there are probably extroverts. And so I don't know, I, I, there was a point about that, but go ahead,
Lera Lynn 41:40
it helps me to, to remind myself that every record is just a snapshot of where you are at that point in life, that no one record defines any person or any artists. I mean, how can 10 songs define a person? You know, it's like, if you ask any person, any, anyone, any music listener in the world, define yourself in 10 songs, nobody can do that, you know, that there's just too everyone's too complex, and it's had too many experiences and feelings. And I think, for me, at least, letting go of that idea of a record defining me was really liberating. I think that allowed me to do a lot of things I wouldn't have done otherwise. And honestly, that that approach was what was disabling the process for me earlier on.
Thomas Mooney 42:39
Yeah, I kind of remember what I was gonna say it relates to exploring all those other instruments and starting songs out differently. Obviously, like, it was that I think for a lot of people, I guess, let me backtrack for a lot of people picking up a new instrument can be intimidating. You as an artist who's already been doing this for a while. Is it? What is it the same feeling of maybe intimidation when exploring a an instrument that you're not necessarily familiar with? Or is it more I don't know. Like, is it more just like oh, this is something new that I can explore? Or is it both
Lera Lynn 43:22
it's a little both Yeah, I mean, I in one point in the process, I thought okay, well I'm gonna have so and so come and play drums on this and so until play guitar and and I was like, gosh, just try it myself. I mean, I live in Nashville and pretty much everyone who plays instruments in this town is a badass so the idea of me picking up a bass in the studio with other people and saying let me track this bass part is way intimidating because everyone in the room is 10 times the bass player that I am you know I don't think I would have had the balls to do it if I if there have been people around and you know even now like listening back to it I'm like oh god, how are all the bass players going to think my bass parts but yeah, it is intimidating new instruments for sure. In what's even more intimidating what I found even want him dating was just learning to navigate Pro Tools and miking techniques. And yeah, how to set preamps and compressors. And, you know, I had no idea really what I was doing. I mean, I've had limited experience making records and watching other people do the work and you know, I'll here I'll help set the level but YouTube was really helpful.
Thomas Mooney 44:46
That's what I was gonna say. How much it was just watching YouTube.
Lera Lynn 44:52
Every day like, help YouTube.
Thomas Mooney 44:55
Yeah, I think there's like that's very relatable Two way a lot of people are doing with during this quarantine time is because I've talked with a lot of people about how Oh, you know, I've started doing this, I started doing this, I started playing, you know, Zune shows, and I've been playing on Facebook, or Instagram and all that kind of stuff. And, you know, in theory, a lot of that is very, very easy. And it is fairly easy if you just want to, like start playing in front of a. Yeah. But also like when you as a as an artist, a lot of people have been going, Oh, you know, let's make it let's, let's set up mics and let's set up lights, and let's do all this stuff. And then it's like, you know, actually, there's a lot more of a learning curve than I was. I guess,
Lera Lynn 45:48
I'm really glad that you said that. Because I want people to, to know, who are listening, how much work goes into these live stream shows that people are doing. It is actually really difficult. Just to get Facebook to work, for instance, for a live stream, this is a whole mindfuck. And then you put on top of it like liking and getting all of the hardware to work together so that you're getting the mic sounds into the computer and into the live stream. It's not simple, and I feel like some some people were like, Oh, yeah, why don't you just recorded a video of yourself singing a few songs for this or that? Like, you kidding me? That's gonna take days of work. It's not. It's not just like, oh, let's just crush clay. You know? Yeah. Yeah. Also say when you're watching the live stream thing, keep that in mind. We're working really hard behind the scenes to bring you that?
Thomas Mooney 46:45
Yes, exactly. Like, when I say it looks easy. It's because like, in theory, you go, hey, let's just play. Well, we'll just set up a live stream, it'll be easy. Drive and all that other stuff that goes where it's like, I was talking with someone that they were saying how, you know, they set up and like another thing that people underrate is if you have like lighting, and how hard that can be. But like, I guess, like they were, they had set up, and they had done a few shows once a week kind of thing and how, you know, they finish a song and they lean in and like they're reading some comments. And one of the comments that was, you know, oh, it sounds awful. Can you guys do blah, blah, blah, blah. And it's like, it's probably like the shitty, like, microphones on your end. You know? Like, they didn't say that. But it's like, if you knew how much it was that we how much time and process it was to set all this up, you would realize that it's probably like you listening to listening to the stream on your phone?
Lera Lynn 47:55
And yeah, because it's actually far easier for more fun to go set up at a venue show. Yeah. Take that anything.
Thomas Mooney 48:05
Yeah. Um, so like, yeah, I think that very much relates to what you're talking about as far as learning how to the trial and error of recording yourself and making it right. So I think it's, it's wanted to talk to y'all one more time about our new partners that desert door and offer up a handful of my favorite ways to drink it. Do you a Mexican Coca Cola, have a couple of swigs, then pour yourself some desert door oak aged in tossing a lime wedge or two. Or how about this, pour some desert door into a mug. top off the glass was some ginger beer, squeeze in a lime. Or for all you ranch water drinkers out there, get you a topo Chico, take a couple of polls off, and then pour in some desert door. Toss in a couple of lime wedges. And now you have a mighty tasty and refreshing ranch water. Remember, Soto is as versatile as vodka and has a more refined, smooth and a more complex palate than tequila. It's rich and balanced and and whatever your go to drink is it'll make it that much better. And again, it's inherently West Texas, it tastes like home. For more info on desert door, check our show notes. Alright, that's it for Thomas Mooney, his cocktail minute. Let's get back to the show. One of the things I was wanting to I guess circle back on is how does this relate to like when you're first starting out initially in your career as far as becoming a quote unquote singer songwriter, since for most people when you start out, it is just you an instrument, your words singing?
Lera Lynn 49:50
such an interesting, interesting question. I've recently been going through or looking for photos of myself playing music for at the very beginning. For a project that I'm working on, and I've been reminiscing a lot, and just looking back on myself, then how just naive and free I was in the whole thing. And how I never considered this that I never considered when I was releasing music that this is forever. Now, like, this music, as long as we're here, this music is going to be there, it's going to be somewhere accessible, which can completely disable you, creatively if you if you really let that sink in too far. But you know, I look back on my old music. And I think, gosh, you know, she, she, she had something to say, I guess, but I really had no direction. You know, I really couldn't. I really had no plan. And and there's something to say for that too, I guess. But gosh, it just seems like it takes so long, it takes so much work to even begin to understand the subtlety of songwriting. And how how much impact three words can have, you know, in a lyric and how much impact one chord change can have in this in the feeling of the song or? Gosh, I mean, I feel like I'm just now on the tip of the iceberg of that. Whereas before I was somewhere far out in the ocean, in the tropics. There's still so much to learn. I think maybe I thought I was a better songwriter than than I was and, and thought I was better than I than I am now. Although I know that I'm a better songwriter now. But do you get what I'm saying?
Thomas Mooney 52:01
Yeah, no, it's. So this is going to be like a weird comparison. I think I've made this comparison before, but so like in professional sports, like I'm a big basketball fan, I love the NBA. And one of the things that they talk about, as far as like a player in the NBA is when you're, obviously when you're like 18, you're like at really like the peak of your athletic powers. Right? You can do all kinds of amazing athletic things. But the reason why like rookies and second and third year players don't win championships is because they don't have the experience, right, they don't have the, they're not. They don't have all the fundamentals and all the tricks of knowing how the game really works. And you don't learn those until later on. And, like, made plenty of mistakes. Yeah, and, and what's funny about all that, too, and like maybe it's the the tragic aspect of it is like, by the time you learn all those really great things to win all the winning plays, if you will, you know, all of your athleticism is steadily declining. And so, your prime for most players is between the years of like 28 in, like 3132 and then you know, it soon falls off after that. But like so in comparison in applying that to to artistry You know, when you start off you're so full of the I guess like that being naive as you mentioned it because like you don't know any better. Right? So then like once you start understanding a the industry understanding, artistry, understanding yourself better. You You do look back and go, Oh man, like who is that person or like, that person was really bold and didn't necessarily know as much as you do now. And so it's this weird thing where you kind of, you're better but maybe like, also what kind of gave you the the boost early on was being so naive to all of destroy everything. And I think that you can apply it to not just artistry but just really any field.
Lera Lynn 54:25
Absolutely. I think that's why when you encounter a young artist too, who is subtle of the understand all of that stuff about music, it's just so mind blowing. It's like they've they've lived, you know, 100 lives before something when you can combine wisdom and virility. Something amazing. That's so rare. We're all kind of fighting against aging. You know, especially in the entertainment industry, and especially as A woman. Really big part of it. I mean, that's kind of an odd segue. But that's that's something that, you know, is always in the back of my mind, too. I feel like that's changing them for a lot of younger women. And we're really grateful for that.
Thomas Mooney 55:22
Yeah. Well, let's talk about that. Because I think eight is important into. Yeah, there is I feel there is. At the very minimum, I guess, like, more dialogue about it. There's more. I guess there's more. I hate to say that word accepting, but like, there's, I don't know, if there's a better word for it. There's more understanding, I guess, from like, just your average, I guess, like white guy.
Lera Lynn 55:54
Yeah, well, I mean, I feel like marketing has, has sort of invaded our minds. For many years. You know, like, being older is not marketable. Aging is not marketable. Being pregnant is not marketable. Not wearing makeup, you know, it's like all of these things have been fed to us for so long. And I see the younger generation, really refusing to, to follow those norms. And I'm really glad for it is something that I've had to face, head on this year, because I've just had a baby. And that's something that I emissions by the fear of doing my entire career. I mean, I have had this idea that if I have a child, I am, I might want my career will be over because I will no longer be, you know, fuckable as it were, I'll be a mom, which is not cool. It's not rock and roll. I sound super cool when I say rock and roll, too. So just wanted to split. But no, I, I was so inspired by Beyonce, his performance at the Grammys when she was pregnant with twins, she was like, fuck it, I'm gonna get on stage with this giant belly, and I'm gonna absolutely dominate and totally sit in my power as a mother because it is completely magical. The whole thing that happens is it's just mind blowing. Just to see a woman get up there and do that. I think reset everything for us.
Thomas Mooney 57:37
Yeah, but I don't know, it's such a obviously there's the double standards of it. And I don't know, I just I guess it's easy on for a lot of people to just play the the ignorant or naive card on this. Because sometimes you just don't like you don't think about it, or you're not thinking about it. And I don't think of that as necessarily an excuse on like, for my for even myself, but like maybe an explanation on like, Oh, you know, well, that's why I've not really thought about that. Because it's not necessarily a problem. That, that's for me, you get what I'm saying? And yeah, but it's, I don't know, I find like, like you said, like with the Beyonce or there's a one of my friends here in Texas. Her name is Jamie Lynn Wilson. And she is an artist and a mom. And she's been playing throughout her career while having a few kids and I think like, a lot of people have seen her do that and go, Oh, you know, like, maybe, you know, I don't have to stop being a musician all of a sudden, you know what I mean? Like, and I think like that's, even though like a lot of most artists are liberal leaning. That still happens in this world where you think like, Oh, it's time to go and be a mom or like a stay at home mother or whatever the case or I can't do that. And I find that such a again, like I can't that's not an experience I have. But like I empathize for that on that side.
Lera Lynn 59:36
Yeah, that's it. That's it. That's important. You know, it's it's real life. People have babies. That's how we keep you know, and I do feel like people are becoming more accepting of real life every day. There's a song on the record called what I'm looking for. That I wrote last year, just after I was told by my doctor that I would not that I missed the chance for having children. without going too far into detail, just like that I basically have two old kids. Not that it was necessarily a big goal of mine, you know, like I said, I've always thought like, no kids, I can't do kids and tour. No. I'll get to it someday, maybe. But when I was given that news, it really made me step back and look at my life and say, like, why am I doing exactly? Where am I going with this whole thing? Because at a certain point, it feels like, Am I going to miss out on life because I'm chasing this dream that I may or may not ever realize, am I gonna wake up in 10 years and say, I have nothing to show for. Except a couple of records that I may. So yeah, that, that, that thought and particularly just trying to to decide what's most important to me, that that all made its way into this record, I think, really wanting to take control of my my own destiny. No.
Thomas Mooney 1:01:42
Yeah, well, I mean, it all relates back to this like image thing that we have, right? where it's like, we want you guys to be real, we want you to write about these really raw feelings. But then also, like,
Lera Lynn 1:01:56
none of the baggy single behind
Thomas Mooney 1:01:59
the baggage attached to that stuff, right? It's like, and I'm telling another, or another sports analogy out there, but it's like, that's super big in sports, to where it's like we want all of our, you know, our professional athletes to be engaging and have these like, really amazing personalities and do all these great commercials and just be off the cuff until they say something real. And then it's like, No, no, no, no, that's too real. Right? So I think like that's the same thing with with y'all as far as like, be real and be vibrant and be the the rock and roll star.
Lera Lynn 1:02:37
They only do it in this way. Yeah. Yeah. Please don't have an opinion. And please don't air it if you do.
Thomas Mooney 1:02:46
Yeah. Well, what I was also wanting to ask about with in connection to this is Yeah, like I think there is this dialogue and there is a lot more people being okay with with themselves. earlier on, I guess as artists, but like right now, since there is the pandemic, since there are virtually no shows. How much of it do you feel? Or is there any hesitation? Do you feel like we're it's not going to necessarily be easy as far as equal ground equal footing going forward as far as like, stuff that really matters as far as touring and like lineups and because like, it feels like there's still such a lean towards there not being a lot of women headlining shows and you've seen plenty of festival lineups, where they have everyone in they take all the men names off and it's like, four or five, maybe women on the bill. I guess like when it goes to that, like what? Is there any hesitation? Is there any like, what do you feel about that? I guess I'll just stopped talking.
Lera Lynn 1:03:57
Well, okay, so I guess I'm taking from your question women's place in music, do I see it changing?
Thomas Mooney 1:04:03
Yeah, what was your What do you think like all of this is like maybe lip service from the like, the the industry?
I guess, like, No, I don't know, I'll tell you why. Okay, there's, there's so many people involved in getting a record out to you to the to the general public. There's, from the from, you know, it starts with the songwriting, obviously, and then it gets produced and made with the musicians in the studio, and then it gets mixed and it gets mastered. And then there's the person who makes the artwork for the album. And then there's this whole other side of the business that's not associated with making the representative know you probably know most of this. But those are the people that are distributing your records. Online, getting it on to Spotify, or iTunes or Apple Music or getting it into stores. There's people that are running sound venues when you go Play shows, there are people who are booking the shows at venues. There are tour managers, people that are getting the band, where they need to go that are booking all the hotel rooms and dealing with all the traveling travel logistics. And the list just goes on and on and on for you to see a show or hear a record, there are so many more people, more people involved than most people realize. And the reason I know that that the business is changing is because a large number of those people are women now. And they're kicking ass. And a large number of people that are working on my team are women. I just realized that one day I was like, wow, everyone on this on the business side over on my team is is a female. That's amazing. Because there was a time when that, you know, definitely was not the case.
Yeah, I think that's a great point. Yeah. Because I, I mean, I on my site, I don't know, I guess like I'm I'm very, I can be very negative about things very glass half empty and go. You know, is it just going to be? Yeah, sure. And like, when things go back to normal, just kind of go well, it wasn't like we can't do it now. But yeah, like the I guess, like just having that's it with anything, I think, for change to happen further being an understanding on a voice on the other side is when you have more diversity in the room, you understand better like you everything, basically, I guess.
Lera Lynn 1:06:38
Yeah, sure. Yeah. So I think that we definitely have a lot more work to do. But I, I see women playing lead guitar. Now I see women producing records and engineering records and running sound venues and lights at venues and, you know, writing film scores. And that's just going to continue to increase, I think. And that's another reason, again, that I made this record on my own is like, I want to demonstrate to other women. That they can do it.
Thomas Mooney 1:07:13
Yeah. Yeah, I think it's a great record. And I think like, it's just, it's a great message as well. And I think that a lot of people are gonna understand that so
Lera Lynn 1:07:24
good. I hope so.
Thomas Mooney 1:07:25
Yeah. Well, it's been really, really great talking with you. I think we've had we've covered a lot of great subjects here.
Lera Lynn 1:07:33
Yeah, we have. Thank you. Yeah, well, thank
Thomas Mooney 1:07:34
you as well. All right, that is it for this one. Thanks so much to lira for taking the time, check out her new album, call it on my own out this Friday, October 23. Go stop over at our partners over at Desert door, the blue light live, and wild gallery. All those links are in the show notes. Check out the Patreon feed if you haven't yet stopped by the merch store. And yeah, I'll see y'all next week for more new slang
Transcribed by https://otter.ai