All I Can Believe is a dream about forgiveness and reconnection. “I don’t believe it’s the season for leaving/ And I don’t know why we aren’t even speaking …”
My new song “Custody” might strike some as political. I don’t dispute this idea so much as wish to shift attention to what matters more. I believe the song does what songs have been trying to do for as long as they’ve been sung: it tries to say what a particular life is like as it is being lived in particular circumstances. “Custody” tells the story of a young woman detained on the Texas border. It may differ from some songs that touch on similar narratives in that it tries to envision her having agency in the midst of a situation meant to rob her of it, it resists the inclination of the listener to see the character one dimensionally as an object of pity.
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This is a new one, written last summer a couple of weeks before I moved away from New York—I suppose a case of pre-homesickness. Guaranteed: this is not your usual New York song.
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This is my new song, “Debutantes and Casanovas.” After I wrote this song I started wondering if I wasn’t unconsciously channeling the kind of stories Robert Stone used to write about desert shootouts and plans gone wrong.
I also wondered if the story wasn’t being told backwards. Then again I’m not sure what the story is in the first place. Any ideas?
Please like the video or follow my YouTube channel, if you’re so inclined!