Wunderhorse is why you should always get to the show early to see the support act.

I was introduced to Jacob Slater's band when I saw them open for Fontaines D.C. (here's my podcast with Grian Chatten of Fontaines) at a small club in Pittsburgh in 2022. I had never heard of Wunderhorse, but they won everyone, including me, over in the first thirty seconds with their volume and their energy. I've been a huge fan of Slater and his band ever since. And as you'll hear, we share a strong affinity for the amazing writer Breece D'J Pancake.

Wunderhorse's fantastic album Midas is out now. 

It’s always fun to interview two songwriters who have a history together! Before his solo career, Kishi Bashi was a member of Kevin Barnes’ band of Montreal. 

Kishi Bashi’s new album Kantos is out now on Joyful Noise Recordings, and of Montreal’s Lady on the Cusp is out on Polyvinyl Records. Kishi Bashi’s “Omoiyari: A Song Film” has been nominated for an Emmy with the winners announced in September. 

Does the mind of Eric Earley from Blitzen Trapper ever rest? I think not.  After all, he told me that he liked to solve math problems in college while he was making breakfast. Earley is a voracious reader who just finished his self-proclaimed "Time of the Tomes," in which he read nothing but, well, tomes. (The longer, the better. Infinite Jest? Please. Kid's stuff).

Earley has a family and his other occupation involves working with the homeless population in Portland, so he's not quite as active as he used to be. But that's only because he doesn't have as much time, although now he's quite invested in meditation and dream journals. And songwriting, of course. 

This is the second time I've interviewed Earley; the first was in 2018, when he told me that he'd written five unpublished novels "just for fun." Earley is also responsible for turning me on to the great short story writer Breece D'J Pancake.

Blitzen Trapper's latest album 100's of 1000's, Millions of Billions is out now on Yep Roc Records. 

For Mia Berrin of Pom Pom Squad, how a song looks is as important as how it sounds. And her latest album Death of a Cheerleader  looks and sounds red.
 
Pom Pom Squad’s video for  “Head Cheerleader” is fantastic. (The song itself is amazing and one of my favorites of 2021.) It’s rife with colors, images, and symbols. 

But what Berrin did with the video is not surprising if you know her background: she first moved to New York to study acting at NYU. And while the video is awash in vivid colors, red stands out. That color played a big part of the songwriting process for Death of a Cheerleader. In fact, she surrounded herself with it during recording, “Lots of red velvet and red vinyl. I had red curtains and wore red gloves,” Berrin says. It was important for her to carve out a physical space during writing that “looked like the internal space of the record. And red is what I wanted the world of the record to look like.”

Berrin cites John Waters and David Lynch as influences in the making of her videos, which she says are heavily stylized representations of the world.

For Yola, songwriting is all about the colliculus. And sometimes a good vacuum.

There’s a common motion many songwriters make when telling me where their songs come from: they start grasping in the air, mere conduits pulling songs out of the ether. But if you ask Yola, she’d probably tap her head. “I have an obsessive neurological approach to songwriting,” she told me. 

The most important part of Yola’s process is her colliculus, a midbrain region. And that’s why this interview was part songwriting, part science lesson. “I farm out my work to my colliculi. It’s the part of the brain that takes things in from the periphery, like that billboard that you barely notice as you zoom by,” she said. Yola doesn’t want her songwriting process to be too analytical. “If I muscle something with my conscious mind, I might fabricate something based on issues I’m dealing with at the times," she told me. It’s why so many song ideas come to her when she’s doing something mundane like driving or vacuuming: she’s not thinking about songwriting. “It’s a state of being unconscious but extremely aware,” she said. 

Yola has been nominated for two GRAMMYs this year: one for Best Americana album (Stand for Myself) and the other for Best American Roots Song (“Diamond Studded Shoes.”)

Artists are always searching for the ideal creative state, that perfect time when the songs effortlessly flow. With both Anaïs Mitchell and Charlotte Cornfield, that involves, well, not really being aware of when they’re in that ideal state. 

For Mitchell, it involves accessing the subconscious in dreams. If she’s lucky, a fellow songwriter might appear in those dreams to give her counsel, like David Rawlings once did. And for Cornfield, that brief moment right before sleep, when she’s just about to doze off, is an especially fertile time. 

Mitchell and Cornfield love a good deadline. Their songwriting processes involve structure and discipline, not just sleeping and dreaming. “I'm a big fan of having a routine and showing up for it, even if nothing happens,” Mitchell told me. And they also find artistic inspiration in blank email messages (Mitchell), skateboards (Cornfield), door panels (Mitchell), and black ink (both). In fact, Mitchell is so versed in door panels that she actually told Cornfield and me what kind of door panels we have after noticing them in our interview.

In case you were wondering how I picked Mitchell and Cornfield as an interview pair, here’s my highly scientific process. I follow two artists on Twitter, then from that  I see if they follow each other. If they do, then it’s match. Turns out that Mitchell and Cornfield have known each other for over ten years, so their familiarity made this a very fun conversation. Enjoy!

Five-time GRAMMY winner Keb’ Mo’ draws that optimism from the “big bubbling river” of creativity.  

We can all use a little Keb’ Mo’ in our lives. As the world burns, Kevin Moore (aka Keb’ Mo’) sees cause for optimism everywhere—even in his own home, where he gets joy from mundane household chores that I certainly detest. While I may recoil at the sight of a big pile of laundry, Moore loves it: he finds comfort in folding clothes and even ironing! It’s not a direct part of his songwriting process. Instead, the meditative nature of the act calms him and prepares him to sit down and write.

And when Moore starts to write, he’s pretty confident that the songs will come. “Creativity is like a big, bubbling river. It’s there. You just have to plug into it,” he told me. “I feel like I’m swimming in a pool of creativity.” Would that we were all this optimistic!

Moore’s ideal time to write is between noon and 6pm, after he’s been to the gym. He likes to write lyrics with a pencil and notepad (a legal pad if possible; he hates paper with rings on the side). He sits on the couch with his guitar, turns on Netflix, and plays around until he hears something he likes.

The latest album by Keb’ Mo’ is Good to Be.

Allison Russell & Aoife O'Donovan talk about the songwriting process as full-time moms. Hint: there's not a process.

“We’re working moms, so the best undisturbed time is between midnight and 4am.”—Allison Russell

“I’m not the ‘lounge around’ type of person. There’s not one wasted hour in my day.” —Aoife O’Donovan

Russell and O’Donovan are full-time songwriters of course, but they’re moms first. So what you won’t hear in our conversation is how wonderful it is to wake up, have a leisurely cup of coffee, lounge on the couch with a guitar, and write undisturbed. Songwriting ritual? What’s that?

What you will hear is the phrase “we’re working moms” several times from both of them. You’ll hear how Russell writes between midnight and 4am because it’s often the only alone time she has. You’ll hear how she develops melodies and plays beats on her body while she’s in the shower—and how the shower was where she went to cry when she was a new mother. You’ll hear how O’Donovan gets so many of her song ideas while she’s running; sure, exercise spurs creativity, but it’s also alone time. You’ll hear how the practicalities of being a parent and full-time songwriter involve driving kids places and being without childcare and trying to help with schoolwork—all while trying to write an album. And you’ll hear how during the early stages of the pandemic they were managing school lessons over Zoom, and how in the heck can you write songs when your kids are home and your time is someone else’s? 

It’s no wonder O’Donovan told me there are no wasted hours in her day and that she writes best while her body is in motion. Because when you’re a working mom, when is it not in motion? 

Despite their limited time, both women have put out fantastic music recently. Russell’s first solo album Outside Child has been nominated for a GRAMMY for Best Americana Album, and the single “Nightflyer” has been nominated for two GRAMMYs in Best Americana Roots Performance & Best Americana Roots Song. O’Donovan has a fantastic new album Age of Apathy. The song “Prodigal Daughter” features Allison Russell. 

Ben talks to Ben: Songwriters on Process interviews Ben Bridwell from Band of Horses.

Fun fact: this is not the first time I've interviewed Bridwell. The first was in 2015, when the amazing Sera Cahoone hooked us up with each other.

Like most songwriters, Ben Bridwell from Band of Horses has found the past two years to be a bane to his creative process.  With few exceptions, songwriters have told me that dark days are not conducive to creativity.   As Carl Newman of The New Pornographers said to me, “Some people say that they write best when they're sad or depressed. I don't get that. Because when I'm sad or depressed, I'm crippled beyond writing.’” In our 2019 interview, Jim James of My Morning Jacket decried the myth of the tortured artist. Patterson Hood and Lilly Hiatt told me that they wrote a lot for about a month after the pandemic started, but that was it. Gloominess aside, if your songwriting centers around conversations you hear and people you see, what’s there to write about if you hear nothing and see nothing?

The pandemic has not been good for Ben Bridwell of Band of Horses. “It did not lead to me writing more stuff. It messed me up,” he told me. Large expanses of time—no touring, after all—have not led to more songwriting. In fact, all this time has made him feel “listless.” The breakup of Bridwell’s marriage has made things even tougher, and the freedom to write whenever he wants actually makes him want to write less. “All this freedom makes me push it away,” he says. “I never did that when there was structure. When I had a routine, it was easy to create. Without that, I’m listless.”
 
While Bridwell’s creative process may have changed in seven years because of family upheaval, one element remains constant: crossword puzzles. Just as he told me seven years ago, he uses crossword puzzles as a way to explore language and wordplay.

The latest album by Band of Horses is called Things are Great.

An introduction to the Songwriters on Process podcast

Deerlady is Mali Obomsawin and Magdalena Abrego, and their debut album Greatest Hits  is my favorite album of the year, and this is also one of my favorite interviews because we had so much fun. 

I first heard Deerlady while listening to my old college radio station, WTHS at Hope College in Holland, Michigan. They played "Bounty," and it was one of those moments when you hear a song for the first time, stop whatever it is that you're doing, love it immediately, then listen to the entire album.

The backstory to Greatest Hits is fascinating. Obomsawin is a citizen of Odanak First Nation. She's a Berkelee-trained composer and bassist who leads the Mali Obomsawin Sextet, a jazz group. Abrego , a composer and guitarist, started at Berkelee before finishing at New England Conservatory, where she's on the faculty. 

These are not, as you can tell, rock gigs. And that's why Obomsawin and Abrego love Deerlady: it's an unveiling! Greatest Hits is full of incredible guitar work and stunning vocals. Obomsawin told Stereogum, "It feels great to be in a rock band, like that's my natural state," while Abrego says that the band "feels like an unmasking." I'm loathe to categorize music, but others have called their music shoegaze, goth, slowcore. Whatever. I just love this album.

Aaron Lee Tasjan has a pretty simple writing process: he gets up around 8am, has a glass of water, and pets his cat. Then he writes. But not every day. "I only write when my body tells me to, when I can go off yesterday's fumes," he told me. And in one of the best rituals I've ever heard, Tasjan always writes with a pencil--but never uses the eraser. "I hate erasers," he says.

Tasjan lives in Nashville, where the Frist Art Museum serves as a tremendous source of inspiration for his songs. His new album Stellar Evolution is out now on Blue Elan Records.

Jane Penny, co-founder of  TOPS,  makes her solo debut with her fantastic EP Surfacing, out now on Luminelle Recordings.  Penny stops by the podcast to talk about how Barry White has influenced her songwriting; why she has to write her lyrics in cursive; and why when you see her in the audience at a show and she's looking at her phone, she's actually deeply engaged in the creative process. She promises!

I'm a big fan of TOPS, so this was a lot of of fun. 

On this episode of the podcast, Grace Cummings talks about why her phone has been such a drain on her creativity and why she's making a conscious effort to stay away from it. But sometimes that phone can be pretty useful. For one, it allows Cummings to create her alter ego Cheryl. (You'll understand once you listen.) And it also allows her to create a fantastic filing system for her song ideas with labels like "excellent" and "very excellent" that we both agreed are pretty good mini pep-talks.  

Cummings's new album Ramona is out April 5 on ATO Records.

Will Taylor and Charlie Martin of Hovvdy take a deep dive into their songwriting processes on the podcast. We delve into, among other things, the nuts and bolts of the revision process and whether distance is important when writing about an event.

Hovvdy's new (double!) album Hovvdy is out April 26 on Arts & Crafts Records.

Evan Lewis and Tom McGreevy of Ducks Ltd seem to be at opposite ends of the creative  spectrum when it comes to organization. Lewis likes chaos: "The process should be a disaster," he says.

McGreevy, on the other hand, needs order. His writing process involves emailing lyrics to himself, editing them, then sending the edited version to himself. Over and over.  This allows McGreevy to see the version history of the lyrics in one giant email thread.

The new Ducks Ltd. album Harm's Way  is out now on Carpark Records.  I'm very proud that not once in this podcast will you hear the term "jangle pop."

Future Islands stops by today to talk about their individual and collective processes, which sometimes involves folding laundry and listening to trains. They've also earned the title of Most Well-Read Band I've Ever Interviewed: just listen to the dizzying number of favorite authors and literary influences they all have. That discussion alone could've been an entire episode. 

The new album by Future Islands is called People Who Aren't There Anymore, out now on 4AD Records. 

I had such a good time interviewing Martin Courtney of Real Estate back in 2022 for his solo album that we're doing it again! This time, Real Estate has a great new album out called Daniel on Domino Records. Courtney and I once again go deep into his songwriting process, including how it's changed since his solo album. And of course we talk children's literature too. 

Johnny Marr (The Smiths, The Cribs, Modest Mouse, The The, so many more) is arguably one of the greatest and most influential guitarists of the last 50 years.  So don't waste any time reading this intro. Just listen to the podcast. It's one of my favorites. Lots of talk about our favorite authors and some great stories too!

Marr's latest album Spirit Power: The Best of Johnny Marr is out now. His book Marr's Guitars is out too. 

Mica Tenenbaum and Matt Lewin of Magdalena Bay love hybrid cars. While I’m sure they appreciate the environmental benefits, it’s the humming sound the cars make that the duo finds inspiring. In fact, they find inspiration in everything around them, visually and sonically—even the act of Swiffering, as you’ll hear on the podcast. Small surprise that Tenenbaum had 2002 voice memos of ideas on her phone when we spoke.  

Magdalena Bay’s new album Imaginal Disk is out on Mom + Pop Records.  The band’s videos are incredible, so check those out too. 

Untame the Tiger (Merge Records) is Mary Timony's first solo album in 15 years, and it's so good, from start to finish. For the uninitiated: Timony's bands have included Helium, Autoclave, Wild Flag, and Ex-Hex.  All fantastic. Last year Rolling Stone named her #95 on the top 200 greatest guitarists of all time.  

To get to this stage of excellence, Timony's process involves writing garbage.  "The only thing that works for me is writing a lot of bad stuff I really don't like," she says. Timony writes in the morning then sets it aside. "The most important part of my process is that I have to forget everything I just did, then go about my day. If the song comes back to me, maybe three hours later, then I can judge it. That new person that I am who hasn’t written the song has to judge it.  And 99 percent of the time, I don’t like it."

All the garbage just gave us one hell of an album.

*Here's my recent interview with Carrie Brownstein

You get two for one in this episode with Eliza McLamb and Sarah Tudzin! Both are songwriters: McLamb's debut album Going Through It  is out now, and Tudzin is the founder and frontperson for Illuminati Hotties. We're here this week because Tudzin also produced McLamb's album.

But you may also know McLamb as the co-host of the Binchtopia podcast, and I have a feeling you'll be hearing Tudzin's name a couple of times on February 4 because she has three GRAMMY nominations for her work on the boygenius album.  

"Writing is a form of contemplation," says Carrie Brownstein of Sleater-Kinney on the podcast.  And while it's true that the actual act of putting pen to paper involves contemplating, Brownstein and I agree that the writing process is happening 24/7, not just during the act of transcription. You may not realize it, but you're writing and contemplating as you walk, talk, listen, sleep, eat, watch tv, whatever.

But when it comes time for Brownstein to actually put pen to paper, nothing beats a good old cheap couch she found on Craigslist. As you'll hear, it's the cheapness that makes it such an important part of her ritual.

Sleater-Kinney's latest album Little Rope is fantastic.

*Here's my 2010 interview with Corin Tucker.

"When I write songs, I put on a miner's light and try to make it around the next corner."

Josh Radnor found fame playing Ted Mosby on "How I Met Your Mother," but he's also a terrific songwriter (and stage actor) with a new album Eulogy: Volume 1. Radnor stops by the podcast as we take a deep dive into his songwriting process. We talk about how his creative process as an actor intersects with his songwriting process, why he often starts with a lyrical idea  and not a melody, and why procrastination can be a very good thing. Oh, and how food poisoning can give rise to a great song. 

I was already a Jaime Wyatt fan before we talked, but our shared affinity for the poet E.E. Cummings made this episode even more fun.  I also knew this would be a good convo after reading an Instagram post where Wyatt declared, "I love words. And language. Always been a word nerd and love phrases that have dual meanings." Amazing!

Wyatt's latest album Feel Good is out now on New West Records. 

"The times when I'm writing the most are when I'm reading a lot," Carl "Buffalo" Nichols says on today's podcast. And wow is this true: you cannot be a writer of any stripe unless you read.

Nichols likes to read voices that he cannot relate to. He mentions writers like Flannery O' Connor and H.L. Mencken, as well as books like A Clockwork Orange and A Hitchhiker's Guide to the Galaxy. He didn't even like them all, but he still felt that hearing those voices makes him a better writer.

So on this episode we talk about how reading makes him a better songwriter, why being tired and cranky makes him a good editor, and why he likes to stop writing when he knows he still has something left in the tank.

Nichols' latest album The Fatalist is out now on Fat Possum Records. 

Duff McKagan's latest solo album Lighthouse is dedicated to Cormac McCarthy, which is no surprise given the importance McKagan places on reading.  The Guns N' Roses bassist reads without fail every day, so you get some great book recommendations in this episode of the podcast.  McKagan doesn't just read for pleasure; he reads to make himself a better person. There's a great post on his Insta page of McKagan in the stacks at the Library of Congress, and he is one happy man in that photo.

You'll also learn in this episode why McKagan still has to write lyrics on a Blackberry, how he wrote one song in his head while carrying his dog, and why the New York Times crossword is a part of his daily ritual. 

Jonny Pierce says that The Drums’ new album Jonny is “a little less practice, a little more mess.” That messiness finally made songwriting enjoyable for him because for a long time, it wasn’t. “I never loved songwriting. I was never the type of songwriter who couldn’t wait to get to the studio,” Pierce says on the podcast. It was always something stressful, he said, because he equated it with literal survival. 

But now Pierce is trying something different: the mess. Which includes, as you’ll hear, slithering down walls. And he’s much happier for it. 

Jonny is out on ANTI- records. 

“I’m allergic to routine. I wake up and follow all my whims and desires. But inspiration strikes every couple of days, and when it does you don’t want to be around me because I have a one track mind,” Clem Creevy of Cherry Glazerr says. 

That applies even when Creevy’s on a date: she once rolled over in bed and starting singing a beat into her phone, much to the confusion of her bedmate. But when she’s not getting inspired in bed, many of Creevy’s songs start on the bass. She likes windowless rooms and prefers a messy ball point pen for her lyrics.

Creevy also finds inspiration while driving, but unlike most songwriters it’s not the solitude that does it. In fact, horrible LA traffic puts her in state of zen. “I love that kind of energy when I’m in a situation that seems scary and hard.”

Cherry Glazerr’s latest album "I Don’t Want You Anymore" is out now on Secretly Canadian.

Genesis Owusu is the first songwriter to cite Samuel Beckett’s "Waiting for Godot" and Franz Kafka's "The Metamorphosis" as influences. Owusu stops by the podcast to talk about why he's such a huge fan of Beckett and Kafka, what it means to be a "selfish" songwriter, and why he never trusts lyrics that take too long to write.

I saw Owusu this summer when he opened for Paramore. What a live show. And his music blows me away; I'm a huge fan. Owusu’s latest album Struggler is out now. 

"I'm always writing and always creating. I relate to the world by writing," Eva Hendricks of Charly Bliss told me on the podcast. Besides songwriting, she's written a YA novel and is a big journaler. Heck, Hendricks even gets inspired while she's hanging laundry! And when those songs are close to fruition, they need to be perfect: Hendricks estimates that she wrote 50 different verses for the new song "Waiting For You."

The new Charly Bliss album Forever is out on Lucky Number Records.

"If you're writing alone, you're still collaborating," Devendra Banhart says on this episode of the podcast. I love that idea: even in solitary writing, you're always running ideas by yourself. Is it the unconscious against the conscious? Reminds me of the time Matt Nathanson told me that he calls his writing partner "The Assassin."

What you can't see in the podcast is that behind Banhart was an entire wall of floor to ceiling books as we talked.  You can't be a good (song)writer unless you read. No exceptions. And I loved our discussion of why poetry is so important.

Banhart's latest album Flying Wig is out September 22. 

“Surprising yourself is the only way to stay inspired,” M.C. Taylor of Hiss Golden Messenger says in this episode of the podcast. This is the second time I've interviewed Taylor, and here are three things I love about him: 

• He's still the only songwriter in thirteen years of this site to discuss his love for haiku and how it influences his process.  
• The thoughtful pause before he responds makes for some incredible answers. 
• Everyone in the Taylor family--MC, wife, and kids--starts their day reading and ends their day reading (not collectively).

HGM's latest album Jump for Joy is out now on Merge Records.

Sabrina Teitelbaum (aka Blondshell) wants more joy in her songs. But that can be a problem because happiness is not a productive state for her songwriting process.  "When I'm happy, I don't feel the need to write as much," she told me.

No matter her emotional state, though, the key Teitelbaum's fruitful songwriting process is not making it look too much like a process. The more precious she makes the process, the harder it can be to write. "Normalizing it makes me more productive," she says. For example, Teitelbaum often finds herself inspired at inopportune times, like when she's rushing to get somewhere. Yet some awareness of what works is important too, which is why I love the perfect balance in her credo: "Know your process but respect the mystery."

Blondshell's self-titled debut album is out now on Partisan Records.  It's really, really good. 

At some point in my interview with Jerry Harrison, guitarist and keyboardist for Talking Heads, I asked him to respond to a quote by the iconic Beat poet Allen Ginsberg. Harrison told me that Ginsberg was a friend. And that is why he is Jerry Harrison. Talking Heads are one of the most influential acts of the past 50 years. Call it new wave, art pop, post punk, whatever: any act with that label can at least partially thank Talking Heads.

This conversation centers not just on the writing process--Harrison loves felt tip pens because of the "scraping feeling," by the way--but on literature. We talked extensively about prose and poetry, which should tell you something. Great musical artists are voracious readers.  As for the writing ritual, Harrison said, "The rituals are a way for our minds to accept that we're writing. They create signals of positive reinforcement as a way of saying, 'There are no excuses since I'm in my writing space.'"

Talking Heads' Stop Making Sense  is considered one of the greatest concert films, and in September it's being re-released in 4k. The band will reunite for the first time in 21 years for a Q&A with Spike Lee at the Toronto International Film Festival on September 11.

ED NOTE: yes, it's "Talking Heads," not "The Talking Heads."

Jenny Owen Youngs had me at "Shitty First Drafts."

This is the Anne Lamott essay espousing the idea that the first draft of anything is supposed to be atrocious. Just get it down, dammit. "Almost all good writing begins with terrible first efforts," Lamott writes. The polish comes later. I always assigned this essay to my students when I was a professor.

The challenge comes when you're a parent, as Youngs is. (We have four kids,  so I know the feeling.) How do you even find the time to create multiple drafts and feel like you're not wasting your time by intentionally writing a terrible one? As you'll hear, the shitty first draft method is not only a more efficient process, but when your time is no longer your own, you become a much more efficient writer. So a win all around.

Youngs's new album Avalanche is fantastic and is out September 22 on Yep Roc Records. 

ED note: I mispronounced Cosentino’s name in the podcast intro: the first “o” should be long (as in snow), but I used a short “o” (as in top). I’m sorry Bethany!

If you have plans to meet Bethany Cosentino and she’s late, look outside. There’s a good chance she’s there writing. Cosentino loves to write in her car—when it’s not moving, of course. She gets great ideas just sitting in it.  “I’ll be late to things because I’ve been sitting in my car for too long. I’ll get there early or on time and then just sit there,” she told me on this episode of the podcast.

This is my third time interviewing Cosentino (the others were 2010 and 2015). Each has been so enjoyable because her answers were always different and always so expansive. There’s a reason for that: each album embraces a different process.  Cosentino wrote one in front of a TV on mute and another in front of a big window. She wrote a good chunk of her debut solo album Natural Disaster on the floor.

John McCauley and Ian O’Neil of Deer Tick stop by talk about what makes for an effective songwriting process. In no particular order: laundry rooms, a kitchen, a nice rug, running shoes, recumbent bikes, Raymond Carver, and turn signals. 

Deer Tick’s latest album is Emotional Contracts, out now on ATO Records.

Academy Award nominee Emile Mosseri stops by the podcast to talk about the challenges that come with writing a solo album when all you’ve known is collaboration (his time in The Dig) and film & television composing (like his film score for Minari , for which he received a 2021 Academy Award nomination for Best Original Score). We talk about why he likes to write when he’s not supposed to be writing, why having a child is often good for his process, and why social media is never good  for it. 

Mosseri’s debut solo album Heaven Hunters is out now on Greedy Heart Records.

Josh Ritter stops by Songwriters on Process to declare that while we like to think he writes with a quill pen, he actually writes almost all of his lyrics on his phone. That's a first: many songwriters tell me they write on a computer, but Ritter eschews even that because he prefers the spontaneity that his phone provides.

Ritter's latest album is Spectral Lines, out now. 

"I'm pretty much always thinking about lyrics every day of my life." That quote represents the energy that Jess Williamson brings to this episode of the podcast. Her level of introspection and enthusiasm made this conversation so much fun.

But what happens when you're always thinking about songwriting and you can't write a song? Williamson discusses the anxiety she felt during a year-long songwriting draught that lasted for all of 2022 and even into 2023. It eventually broke one day when she "threw the capo on the sixth fret, started playing some chords, and that was it."

Williamson's new album is called Time Ain't Accidental, out June 9 on Mexican Summer Records. In 2022, Williamson and Katie Crutchfield of Waxahatchee  formed Plains and put out their debut album I Walked With You a Ways.  

Tracyanne Campbell of Camera Obscura has a superpower: she's able to write entire songs in her head before putting them to paper. If Campbell gets an idea and can't write it down immediately, she'll repeat the words over and over to herself until she can grab a pen and pencil. This superpower comes in handy when driving is an especially rich source of inspiration, as it is for Campbell. 

Camera Obscura's latest album Look to the East, Look to the West is out now on Merge Records.

"We don't write on lined paper. That's a big no-no." This episode with Etta Friedman and Allegra Weingarten of Momma goes deep. We dig into the whys of the writing process, not just the hows.  We also discuss, for example, why mundane activities are never good for their creative process--a pretty unique answer among the songwriters I've interviewed. Most tell me that walking stimulates the writing process, but not these two: they use mundane activities like walking as a means to escape, not to create.

I LOVE this band. Love them. Their 2022 album Household Name was one of my favorites of 2022 and heck even 2023. I am a huge fan, so this conversation was a blast. 

"A washing machine with a clumpy pair of shoes can be a beautiful thing."

Legendary drummer Dave Lombardo, a founding member of Slayer, finds beauty in the mundane. And also in the annoying: "Even the rhythm of a jackhammer and the bumps in a road can be inspiring," he says in the latest Songwriters on Process podcast.

Lombardo's debut solo album Rites of Percussion (Ipecac Recordings) is an instrumental effort consisting entirely of percussive instruments. What kind? Here's the list: two drum sets (single and double bass kits), a large concert bass drum, a timpani, a grand piano, and a flock of shakers, maracas, Chinese and symphonic gongs, Native American drums, congas, timbales, bongos, batás, wood blocks, djembes, ibos, darbukas, octobans, cajóns, and cymbals.

Sisters Natalie, Allison, and Meegan from Joseph talk about their individual and collective songwriting processes in this episode.  And in that discussion, they each learn something about the others that they didn't know!

Joseph's new album The Sun is out April 28 on ATO Records.

"I'm a wrong hallway person. I like to make wrong turns."

Eric D. Johnson of Fruit Bats and Bonny Light Horseman makes a lot of mistakes. And that's a good thing, he says, because that's when the good stuff happens. "The excitement is in the mistakes," he says. "The song is a house, and sometimes you walk into the wrong room."

Johnson's talking in metaphors, of course, but his literal rooms need to be a place of chaos too. The room where he writes starts off clean, but by the end there's stuff everywhere: cables, papers, notebooks, assorted musical accessories strewn all about. "The room has to be neat to start, but the good stuff happens when the room is a disaster."

The Fruit Bats' new album A River Running to Your Heart is out April 14 on Merge Records. Listen now to my latest episode with Eric D. Johnson!

"I've written whole songs on dog walks," says Amy Ray of The Indigo Girls.  "I write a lot when I'm on the lawnmower, says H.C. McEntire. 

What a great time this was listening to these two friends and fantastic songwriters go deep into their songwriting processes. For Ray, it involves writing five times a week for no more than two hours a day. For McEntire, it involves cork boards. We also discuss our shared love for Anne Lamott and Sharon Olds.  

Catch them on on tour together this May. 

(NOTE: This interview is from December 2020. I've converted the video to podcast form. You can watch the interview here.)

It's like opening a time capsule now when I listen to songwriters talk in 2020 about how they were navigating the pandemic as artists. For some, it was a bane: the isolation paralyzed their creativity. For Alex Skolnick of Testament, it was a boon. Quite simply, he says, "Not having to travel has opened me up to different ways to be creative that I didn’t have before."  But on those rare occasions when he's in a rut (and they are very rare), Skolnick knows what to do: "If I’m stuck, I know what to do to get inspired. I know which films to watch, which books to read, which tv shows to watch."

"All the time in the world is too much pressure."

Shana Cleveland of La Luz prefers a good deadline when she writes songs. And with a toddler in the house, her day is nothing but deadlines, which are also known as When Your Child Wakes From Their Nap.

If you're an artist like Cleveland, the best time to write is nap time. (We have four kids, so I know the feeling.) She discovered her knack for writing in those precious moments once she became a parent. "I can write just as many songs now in a much shorter period," Cleveland told me. And when she writes, she likes to sit outside in an office chair.

Cleveland's new solo album is called Manzanita, out March 10 on Hardly Art Records. It is amazing. Really. And I'm a big fan of La Luz, so this was a lot of fun. 

I first interviewed Sara Watkins of Nickel Creek in 2013, and this latest conversation reminded me why she is one one of my favorite interviews. The thoughtfulness and introspection she brings to this discussion are wonderful.

No matter the art you create, this episode is for you. We didn't focus on the practical aspects of the songwriting process nearly as much as we talked about Creativity (with a capital C): why we create and what it does to us when we do. Where does the urge come from? When is the drive the strongest? For Watkins, the ideal place to write from is curiosity. "The end goal is not to write songs. The end goal is to figure out my stuff, how to be me, how to work through stuff," she told me.

Nickel Creek's first album in nine years, Celebrants, comes out March 24.