Anna B Savage - Rebirth of a singer-songwriter

The muse's rebellion

by Michele Corrado

Freshly released on City Slang, “A Common Turn”, the debut LP by young London singer-songwriter Anna B Savage, is one of the most talked-about and deservedly praised records of the moment, both by critics and audiences. The album delves deep into intimate, dark, painful themes, unafraid to show wounds and weaknesses, ultimately revealing its author's unstoppable, visceral strength.Thanks to the production of William Doyle (aka East India Youth), Anna's spare, shadowy folk and her deep, supple voice have found new and unpredictable solutions on “A Common Turn”, ranging from stormy electric guitars to vibrant electronic flourishes. We took the opportunity to chat with Anna, who we discovered to be, besides talented, generous and chatty. Starting from the album, we ended up talking about lockdown, books, bird watching, vibrators, Leonard Cohen and pizza nights. In short: you name it, we covered it. Enjoy the read.

Hi Anna, how are you? How are you spending this lockdown period?

Hi! I'm good thanks, a bit worn out by all these lockdowns to be honest, but who isn't? New Zealanders aside...

Okay, let's dive right into your debut LP. “A Common Turn” was a downright triumph, adored by critics and fans alike. You're really active on social media, so much so that I imagine this response from fans might have felt like a lot at times. How are you experiencing this moment?

Ah, that's really sweet. I think you're right, people have been really kind, actually. And yes, I have been really active on social media lately, maybe because right now it feels like the only way to reach people. I don't think it's exactly good for me, but I think it's fine for now. The question "how are you experiencing this moment?" is really interesting: I don't even know if it all feels real to me, probably because of the aforementioned lockdowns, but I'm trying to carve out a moment every day to think about how lucky I am.

Did you expect all this success?

There were a lot of tears. No, I didn't expect it. Honestly I was worried it might be an album that asks too much of people: very attentive listening, too much output and maybe too much emotional input as well. It's truly incredible and lovely to see people giving the record the time and care it requires. I'm really grateful for all of it.

The songs on the album are very often deeply intimate, personal, and at times you can feel real, intense pain in the lyrics. There's a lot of private life in the record, your own feelings. What does it feel like to open up to the world this way? What's it like singing these songs on stage while people stare straight into your eyes?

Yes, there really is a lot of "me" in these songs. I think it's really nice that people are enjoying them; on the other hand, I'd have taken it personally if people had told me they hated it instead! I don't know if I've truly opened myself up to the world - maybe there's a bit of naivety on my part in that respect - but so far I have no regrets about what I've put out there. You know, the only thing I really feel qualified to talk about is my emotions and my reactions to things. And I don't think anyone can question what I feel, my doubts. I think this way of thinking is a kind of gentle self-protection.

In the beautiful "Chelsea Hotel N. 3" you sing "I will take care of myself (if you know what I mean)". If I may ask: what do you really mean by that?

Ha, in this song with that line I mean taking full control of my sexual autonomy: in a metaphorical sense and in a strictly physical sense.

Is the song connected, as it seems, to the one by Leonard Cohen ("Chelsea Hotel N.2", ed.)?

Yes, it's definitely, but only loosely, connected to Cohen's song, which I used as a launchpad for mine. I was really fascinated by the idea that his muse had been Janis Joplin. But then I found myself more interested in the gender dynamics behind what's conventionally understood as the muse-artist relationship. Historically, so many muses have been passive female figures whose stories were never told. So I saw parallels with my own journey of understanding and exploring my sexuality: my whole life I'd been waiting for someone else to speak or act on my behalf.

How did your fruitful collaboration with William Doyle (East India Youth) begin?

Ha, I don't think it was luck. I simply "approached" him, ha... We have a mutual friend, so when I reached out to see if he'd be interested in producing something for me, there was a go-between to vouch for me. Luckily William said yes. After a few emails and a few sessions together, everything went so smoothly that we decided to work on the whole album together.

Your record is mainly a work of dark-tinged folk singer-songwriting, but it's full of sudden, surprising shifts - sometimes stormy electric guitars, other times electronic touches. How did you and William work together? Tell me something about the creative process behind "A Common Turn".

William and I decided to work on each song for just one day, then move on to the next one the following day. We only worked one or two days a week - it was really intense. In practice, after working on a song, we often wouldn't listen back to it for a month. In fact, for a lot of the songs we never went beyond that first day of work. It was really fun working so fast and with that kind of freedom. It was all Will's idea.

We could say you were discovered and championed by Father John Misty and Jenny Hval, who after hearing you wanted you on tour with them. What was it like sharing dates and stages with two such personalities? Are you still in touch?

It was fantastic. Unfortunately I wasn't on tour with Jenny for very long, but it was a lot of fun. I'm a huge fan of her polymath tendencies, I love her records and I also loved her book "Paradise Rot"! I toured with Father John Misty and his crew for over a month, though. It was absolutely amazing, they made me feel really welcome and we laughed a lot together. With them it finally felt like I was living the experience I'd always dreamed of, so everything was even better. Plus I'm a huge FJM fan, I loved his first record and I love his work as J. Tillman, so touring around with him for all that time was really cool. Every time they came to play in the UK, I showed up for their London date (or Bath, when there wasn't a London show). It's amazing to meet them, they're the most lovable bunch.

Your relatives are opera singers. Did that shape your musical upbringing?

Definitely, yes. I've been surrounded by music for as long as I can remember. My first memory, in fact, is coming out of the bathroom washing my hands while humming the aria "Der Hölle Rache" (the Queen of the Night) from Mozart's "The Magic Flute".

A silly question: the special edition of the record, both on CD and vinyl, comes with a truly special gadget (a vibrator with the Anna B Savage logo, ed.). Why this fun and unusual choice?

It's absolutely not a silly question! Ever since I've been interested in sex toys, I'd also have loved to design some myself. I was told I should make this edition of the record a bit more special, so I started thinking about how I could do that while keeping costs down. Besides, if a vibrator ends up in the hands of someone who otherwise wouldn't have bought one, then my mission will have been accomplished!

Digging through your songs, it's possible to find so many influences, ranging from Rocky Horror Picture Show to the Spice Girls, from Edwyn Collins to Nick Drake. What emerges is a clear overview of your versatile and deep background. Is there any other influence on your art you'd like to mention? Maybe a film or a book.

Ah, thank you. I love calling myself a magpie, and I think it's true: if I like something, I take it and treasure it. I'm a big reader, I always have been, both poetry and fiction, and lately I've also been reading more non-fiction and current affairs. All those things that make it easier to get to know and learn, to be honest. "Corncrakes" came about from reading two books almost side by side: "The Outrun" by Amy Liptrot and "The Summer Book" by Tove Jansson. While I was writing the album's lyrics, though, I also had with me a book of poems by Seamus Heaney and also "The North Ship" by Philip Larkin. I also find that "I Love Dick" by Chris Kraus was really important in making me feel ready to write the album; so once I released it, I sent her a copy to thank her.

On the album you even talk about bird watching! Do you actually do it? Is it fun?

I really do it! Anything that helps me slow down, relax, observe the world around me and bring a bit of joy is welcome "in my story". I haven't been on any great bird-watching pilgrimages yet, but I hope to make up for that once lockdown is over.

Is there anything interesting you're listening to at the moment? Any new bands or artists you'd like to point out to our readers?

I've put together a playlist that I update every month with everything I like and listen to. I'll leave you the link.

Do you miss playing live?

Yes, I miss it, even though I haven't actually done all that much of it. Either way, I can't wait to start again.

What's the concert you experienced from the audience's side that changed your life? If there is one, of course.

There are many, but the one that comes to mind right now is Owen Pallett at Union Chapel in London. The audience liked it so much that Owen had to do a full three encores, otherwise we weren't leaving!

Have you ever played in Italy? If so, do you have any particular memories?

Yes, not much really, but it has happened. One truly special time was at the "Half Die Festival". It was on a rooftop in Rome, with viaducts behind us. After the show, about twenty of us went to a pizzeria to eat. It was really special, I felt protected and at home.

And with that, that's all, Anna, thank you so much for your time. Have a good day!

Thank you!

(20/02/2021)