We interview Sara Watkins about her new album – Under the Pepper Tree – out tomorrow and the making of the record, selecting tracks for the record, creating music with her old bandmates and more.
Hi Sara, how are you doing?
Well, how are you?
Not too bad! How excited are you about the upcoming album? How are you feeling in the run up to it?
I’m excited. I’m really happy that it’s coming out. I’m really looking forward to getting to give it to people.
It’s one of the things that I guess as artists you’re thinking about all the logistical things, like artwork and creatives for so long and then finally it’s coming out.
Honestly I am, I’m so happy about the artwork as well. From early on, it was part of the plan, I think that’s new for me, we’d really been thinking about the visuals.
I loved the fact that you’ve put so much thought into the whole process, for children, viewing the entire project and having the vinyl be a part of the viewing process. How important was that to you from the onset, or was that something that evolved with the music?
It was important from the beginning. I had this very specific vision of how people would listen to the record. I’ve seen how much for children, their attention span is crazy – they get so distracted by everything, but it’s also kind of astounding, how much focus they can have. Every kid is different, but in my house, I have found that when listening to music very often, you know, picture books will be looked at and colouring happens. It’s almost a gateway for absorbing information and creativity. I wanted the artwork of this album to be worthy of kids’ attention. The music is a beautiful collage that brings together the real and the surreal and the impossible pictures that come out of it. I was just really pleased that it made it seem deserving of kids’ attention.
Talking about that, I feel that this is a record and project that is able to be listened to as a family, you’ve shrewdly chosen which songs to cut. Though it’s made for children, it doesn’t feel childish. It feels very nostalgic and it’s enchanting, but how important was it that this project was something that could be listened to as a family?
That was my goal. I’m so glad that’s how you heard it – that was super intentional for me. Even sonically, we wanted to try and record things not with a dark, but with a nice, mellow tone. What you said about these songs not being childish, but being for children – that’s such a compliment, because I think we often simplify for children and that’s necessary, but there’s an incredible expanse that their wild imaginations can fill.
It almost does a disservice to children, because their imagination is so unparalleled and they’re capable of a lot more than we give them credit for.
I think so. There’s so much great children’s music out there, but I wanted to make this record personal to my life. These are songs that have all stuck with me from childhood and have served me in one way or another as I’ve grown into adulthood.
You have said though that you were initially conflicted about the record, what did you mean by that?
I wasn’t conflicted about creating the record, I was conflicted about committing to calling it a children’s record because of all the things that we’ve discussed, but at the end of the day I wanted the audience to be children – I want this to be something that people think of for their children. So, I decided that I should just swallow my pride, because every musician wants to think that their album isn’t just one thing but a combination of many genres, all of these influences, and it cannot possibly be simplified into one category. The truth of it is, this is a children’s record for children. It’s also hopefully for families and for anyone who needs to, or want to hear some of the songs from earlier in their life or just have the comfort.
I mean ‘Edelweiss’ and ‘Moon River’ are two songs that are so timeless. They’re incredible songs and hearing your daughter on the track was incredible – it was such a moment on the record. How was the process of choosing the songs and then also choosing the right people to partner up with on each track?
In my mind, that’s because this album is an outlier for me – it’s the first concept record I’ve ever created or really been a part of, and it happens to be focused on children because a few years ago, I became a mother. It’s mostly cover songs, but they’re all songs that have been attached to me for so long, it feels like a very personal album, for me. And, because it’s so personal, I wanted to share that with people in my life who have been a big part of my life for so long – that includes Nickel Creek. We were kids when we were in that band, and now we have kids, so that’s a really sweet thing to celebrate. With I’m With Her, the band that I was with for the first two years of being a mom, they will always be a part of my motherhood experience, and the court system. It was incredibly meaningful to me.
It must have felt like a lot of full circle moments and special having your daughter and people who’ve known you in almost all the iterations of your life. You’ve got two originals on the record, so how did you go about writing those? Was it more difficult than re-inventing the other tracks?
Figuring out a way to do the instrumental was oddly challenging, because it’s so simple. We recorded in the studio, and eventually I realized that that wasn’t the right way to do it. So, I took the mic to my backyard and just recorded it into a little recording system that I have. Night Singing is one that I wrote for my daughter. I think that’s when the full picture of the album became clear to me when I realised that these songs are for children, but also I’m hoping that they offer comfort and space for imagination and just kindness in the lives of people of all ages.
Well, I’m just so excited for this record to be out. As I said, it’s absolutely stunning and comforting. I think you’ve created something timely and timeless and for all ages. So, thank you so much.
I really appreciate talking with you. Have a great day.
You too.
