I definitely enjoy working within different contexts, with different collaborators, and in different locations. I need to keep feeding myself as an artist by working with different people. I see continuing with that. I've also enjoyed getting to explore different kinds of music and instruments in the last couple of years.
MirahI do notice that my songs fit all over the map, even in terms of the colloquialisms in them. The songs come out with their references intact, almost unheeded by me. It's like they existed somehow before they met me with their relationship to the tradition, and then they just end up coming through me at that moment because of my relationship to some certain kind of music that I've listened to in my life. I know that sounds a little bit woooey.
MirahI think some modesty actually serves me by just accepting that I am an instrument. I'm not trying to match up to an ideal as some kind of challenge. It's more like I use the family tree of music and song that I feel has fit me as an encouragement; like it's a bed to rest in rather than a challenge to try to better myself over, to try to.
MirahWhat I try to communicate is that there's a lot of crossover between that feeling of romantic heartbreak and this devastating feeling of knowing that we've punched a hole in the planet and it's spilling out oil and destroying the Gulf of Mexico and the ecosystem and seabirds and every creature.
MirahI'm a terrible sentence finisher. I think that's why I'm a songwriter. When you write a song, there are no rules, and I think that I talk as if there are no rules. But then I run this great risk of no one understanding me at all.
MirahI'm doing more deep listening, which is part of the role or job of the songwriter. I think with a lot of songwriting, songs sing themselves to you tonally and also lyrically. And it's not necessarily your own visual memories that are writing the song. It's like there are words that you can catch out there and you have to be able to see and hear them.
Mirah