Shannon Stephens - The poet of everyday life

After a youth spent in Marzuki, paired with a promising self-produced debut, Shannon Stephens resurfaced on the scene a year ago – to stay, hopefully, for good. We caught up with her to find out what's happened in these years and how the world looks to her in this reawakening. We have no doubt that her answers will once again reveal the gentle sincerity of a sensitive, mature artist.

I feel like, when I stopped making music, I was like a child without the tools to succeed. Now I'm coming back, as an adult, with a lot more common sense and resolve. The first time I played live, I expected it to be this peak experience, but we had some sound problems, so much so that I couldn't even hear myself sing. The whole show felt to me like a boxing match. It's only in the last couple of months that I've started to feel comfortable on stage, like I truly belong there, and it's exhilarating. I'm planning to do some small tours soon... And touring Europe would be so wonderful.

A lot has been said about your hiatus, about the nine years that passed between your two albums… How are things going now? Do you still have a "regular" job, have you managed to combine the need to provide for your family with your passion?

My day job is gardening. I take care of people's gardens. I love my work, but I wish I could spend my productive hours becoming a better musician. After work, there's always time to devote to family, to household chores. Some days I can't even get near my guitar. I was actually thinking about starting a jazz band and playing at weddings. That way I could really learn to play better while working!

What should we expect from you in the future? And what do you expect from your career as a musician? Has your approach changed since you started making music?

My approach is much more calculated now. I choose what to do and when. This autumn and winter I'll be working on my third album. I'm really excited about my new material! It's got a bit more grit, something rougher around the edges.

In our review of "The Breadwinner", describing your renewed need for music, we imagined you waking up in the middle of the night, then wandering around the house listening to your loved ones breathe. Is that an accurate picture?

Yes, that's a good image to represent the mood of the album. Night is a very important theme on that record, as are loved ones. I worked a lot during those years I spent without playing, and more than anything I wanted to sleep, hidden away from phones and work, curled up with my family.

How much does everyday life weigh on the writing of your songs?

Almost all the ideas for my songs come from an observation, a thought that comes up in my everyday life. I believe there's plenty of inspiring material all around, you just have to keep your eyes open.

Have you ever thought about changing your sound? Maybe going back to playing with a full rock band, for instance…

Well, actually I'm working on exactly that right now. My next album will be something bluesy, and I'm trying to bring a drummer and a bassist into my live shows.

In 2008 Will Oldham recorded a cover of one of your songs, "I'll Be Glad". How did you take the news? Did it play a part in your return to writing and playing music?

I was so surprised! And incredibly flattered. My first thought was: "You mean someone thinks my songs are good?". I had really lost faith in my own creativity. The fact that Will believed in that song definitely pushed me to get back into making music.

How do you look back on your experience with Marzuki? Are those "mythical" times, in your memory?

My time with Marzuki was one of the most fun – and hardest – periods of my life. I still love those guys like brothers. We learned a lot: to be kind, to work together, to listen to one another, to live together despite our differences… and so many other wonderful lessons like that. Sometimes we didn't get along, but most of the time we did. They're fond memories.

There's a sense of "inner calm" that comes through in your music. Is it because you feel more mature, both professionally and personally?

Actually, I think there's a genuinely restless spirit at the core of my music, especially in my more recent work. The songs might seem calm on the surface, but the lyrics carry a different message.

The main reason for your withdrawal from music seems to have been the exhaustion of handling the promotional side of things. What was the most draining part?

The phone calls. I hated them! It didn't help that I was working as a receptionist in a busy office. And nine years ago, phone calls were far more important. Now we have texting, Facebook, which make things much more efficient — but also, at the same time, inefficient.

Couldn't you have left the dirty work to a label? Your recently reissued self-titled record didn't just sound promising: it sounds like the work of a fully realized artist…

Asthmatic Kitty had offered me a deal, but I stupidly turned it down, thinking I'd rather keep my options open. So I ended up having to send the CD to radio stations, labels and venues myself, which ate up all the time I had.

How have you found the music industry, nine years on from your first record? Do you think it's harder or easier for an artist to make a living from their music today?

Oh, definitely harder. I probably reappeared at the worst possible moment. There's no money in music right now. I hope something can be done about illegal downloading, because it's making it impossible for a lot of good musicians to succeed. On top of that, touring has gotten more expensive because of gas prices, and people go to fewer shows because of the economic crisis. It's tough! I try not to think about it.

Do you think downloading has improved the quality of music production, at the same time?

No, I don't think so. Downloading has increased the quantity of music available to individuals, but it hasn't improved its quality. For instance, a lot of people don't realize that downloaded mp3s are lower quality than a CD. So the demand for quality has gone down.

From your point of view, how has the economic crisis affected the indie music business?

It's been painful to watch. People are figuring out ways to cope, but the industry isn't what it used to be. Several labels have had to close down because of the drop in sales.

And on music in general: did you follow new or old artists during your hiatus, or did you try to keep the whole thing at a distance?

During my break, I ran away from music in every sense. The few times I did listen to something, I'd put on a lot of electronic music, which is about as far from folk as you can get! In hindsight, I was deliberately neglecting an important part of myself. I wanted to see if I could live without it.

Singer-songwriting seems like a pretty crowded field these days. Where are you able to spot new talent?

I try to stay up to date at the local level, because it's so much fun to connect with the people writing the songs! The folk&roots community here in Seattle is really strong, and a lot of interesting things are happening.

What's on Shannon's turntable these days?

I'm listening to a lot of stuff by friends of mine: Bonnie 'Prince' Billy, Sufjan Stevens, Lindsay Fuller, Gregory Paul. I'm going to see The Tallest Man On Earth this week. It seems he's also covering "I'll Be Glad", so I'm hoping he'll play it at the show.

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