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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Lucinda Williams has been touring lately in concerts that mark the 20th anniversary of her Car Wheels on a Gravel Road album from 1998. This video is from her September performance in Port Chester, New York.
Anyone who has seen Williams in the past will, I think, attest that she can be a hesitant or reluctant performer. In this concert, she discusses the background for the writing of many of her songs. I’ve never seen her either on video or in live performance more relaxed, warm, and charming.
If you’re a Lucinda fan, and haven’t seen her on this tour, I recommend this video.