Shannon Wright

The expressive solo artist lets in the light on her latest album

By Adam Schragin
Published: May 9th, 2007 | 11:45am

In the ’90s, when indie rock was ruled by grungy kids with unwashed hair, a promising group called Crowsdell from Jacksonville, Florida, made waves with their debut, Dreamette.Produced by Stephen Malkmus, the 1995 album was a lesson in the school of Very Fast Guitar Strumming.

When the band unexpectedly dissolved, lead singer Shannon Wright split for North Carolina, where she planned to give up music entirely. The ghost of her talent proved too difficult to ignore, thankfully, and in just two years after Crowsdell’s final effort, in 1999 she released her album, Flightsafety (Quarterstick), a somber, confessional work that was a solo effort in every respect — Wright wrote all of the music and played almost every instrument on the album.

With each of her following releases, Wright’s reach has extended to include collaborations with the likes of Yann Tiersen (best known in America for the Amelie soundtrack), and albums that explore everything from fiery electrical guitar noise fests to aching piano ballads. Live, “unrestrained” may be the best word to describe Wright, who appears to fully lose herself in the moment. That, coupled with her stingingly forthright and heady lyrics and arrangements, have made her a lighting rod for fans who don’t like anything held back in the music they enjoy.

Having explored a full-band sound with Steve Albini on 2001’s Dyed in the Wool, Wright is back to bare-bones basics on her newest album, Let in the Light. None too shy of cautious optimism and sparse arrangements, Let in the Light is both a progression and a homecoming for Wright, who is back to her stripped-down best on an album that quietly reaches out to its audience in a much different but no less effective way than her past efforts. For the first time in a long time, Wright is back to playing the majority of the instruments on the recording, utilizing guitar but concentrating more on piano to give the album a hushed but still urgent feel.

Answering our questions via e-mail in France on what she called an unwieldy European-style keyboard, Wright talks about her passionate live performances and her musical past.

After briefly experimenting with more contributors on Dyed in the
Wool, you’ve gone back to playing almost everything on 2004’s Over the Sun and your newest album, Let in the Light. What prompted you to return to the minimalism that marked your earliest efforts? Do you see this as coming full circle in a way?
I guess in a way, things have come full circle. Sometimes, it's easier to record the instruments myself because I have the parts already worked out. And it takes less studio time.

Let in the Light also sees you returning the piano to the forefront of your songs. How did that change come about? Do you think it’s possible to write songs as visceral and energetic as some of your songs that you’ve written just for electric guitar?
For a long time, I've been thinking about a record with more piano songs. After Over the Sun,I felt that I had really made the guitar record I wanted to make ... so, it was time for a new challenge. I think it's true that you can write songs with just as much vigor and intensity on piano, if not more. I think people miss that the piano is one of the most expressive instruments made. It is my favorite instrument.

You’ve cited Bob Dylan’s “Sara” — a song he wrote for his now ex-wife Sara Lownds — as an example of the sort of plain-spoken, emotive, and honest songwriting that you admire. On Let in the Light, is there a song in particular you see as an accomplishment of this sort?
I do admire his honesty on that song. It's nice to hear and feel the humanity in that song. I don't see how I can answer if I was able to pull that off on my new record. I can only hope that I did that.

You’ll be playing 2007’s All Tomorrow’s Parties, which is curated by your longtime touring mates, the Dirty Three. Have you played such a huge festival before, and what are your thoughts about playing for such a massive audience?
I played All Tomorrow's Parties when Shellac curated. I've also opened for Nick Cave, and that is enough to make your heart stop beating. I prefer a smaller venue, because I enjoy the intimacy of that kind of show.

Speaking of your live performances, your shows are often very emotional and you almost seem to completely surrender to your songs. Can you talk about what goes through your mind when you’re playing?
I love playing and it makes me so happy. I feel it is a moment when hopefully all the people in the room can feel something together. I feel that people are more and more not allowing themselves to feel things deeply. There is a real freedom in allowing yourself to give into your emotions. While playing I lose myself, like being in a bubble or space that is just for everyone that is in the room. I hide nothing and it can be too much for some people. But, I think for other people that understand what is happening, it can be really inviting. Maybe to stop the façade for 40 minutes.

While your days with Crowsdell are obviously far in the past for you, would you ever consider forming another “full” band, or perhaps reuniting with former members of your old group?
At the moment, I'm on tour in France and have a band (bass player and drummer) they are from The Shipping News and it has been great to have a full band. Sometimes, I think about just playing guitar in a band...I think that would be really fun. My old band won't ever reunite. Some things must lie.

In what direction do you think you’ll be pushing your music on forthcoming records?
For me all the records have a thread through them ... so, I guess I'll just continue trying ‘till I just feel there's nothing left for me to say.