Julien Baker writes songs that live in darkened corners. They’re full of doubt and fear, but ultimately offer hope. That same sort of contradiction is in Baker’s voice itself: fragile and commanding, regal yet vulnerable.
The 20-year-old Tennessee-based singer-songwriter made her debut in the fall of 2015 with “Sprained Ankle,” an understated album that deliberately unfolds to reveal hidden layers. It’s mostly guitar and voice, but the guitar is looped and layered in a way that creates a phosphorescent shimmer underneath her singular voice.
Baker is on tour in support of “Sprained Ankle,” and her next stop is Portsmouth, where she’ll perform at 3S Artspace on Saturday, April 23. The Sound spoke with Baker about making music, mosh pits, and why she wants to become a teacher.
You’ve toured a lot since “Sprained Ankle” came out. How has it been, trying to translate these very intimate songs to larger venues?
It is strange playing larger venues. I am so grateful for the opportunity to play larger rooms because it is incredible to see that more people are listening and sharing the songs, but I think that when I was doing the first small tours over a year ago, it felt like the intimacy of the songs matched the intimacy of the settings and small turnout, which was comforting. However, it’s inspiring to play to different types of audiences and see people respond. I try more and more to be candid with show-goers. I can never think of good on-stage banter, so I end up trying to have an awkward conversation with the room. I try to be chipper and a little goofy because that’s me, and hopefully it’s disarming to more than just me. Also, talking to listeners before and after the show is amazing, and I think that’s one thing that I like to do because it reinforces the humanity of live sets. It’s not just a detached performance, it’s an interaction with a bunch of living, breathing people who care about art and have feelings and experiences. That’s something precious to me.
What is your songwriting process like?
It typically starts with me sitting at the piano or playing guitar and experimenting with different riffs, playing or singing whatever comes to mind, and a lot of it is just unusable nonsense, but then maybe I find one I like, and then I will make a memo on my phone and walk around or drive around listening to it and think about the lyrics, how to refine them, how I should move around parts or restructure the song. I also keep a draft open on my phone of lyrics that I think of to use later, in the car or at the store. So there’s the initial creation of a rough idea, and then the re-forming and gradual shaping, which might take a day or a week, you never know, until I feel like it is a finished product.
Were the songs on Sprained Ankle always supposed to be performed and recorded solo? Have you performed these songs with a band?
Yes, the songs were written while I was by myself, using a loop pedal to make layers if I wanted them there, or relying on just piano/minimal guitar. Since they were written within those parameters, they were always intended to be performed that way!
While I love your guitar playing, I like the piano on Go Home. Are there piano versions of other songs as well?
I wrote Go Home on the piano, just like I wrote the guitar-driven songs while playing the guitar, so there aren’t necessarily piano versions of the other songs. It’s just a matter of what instrument was used as a writing tool. But, that’s not to say they couldn’t be arranged for the piano at some point, which is a possibility.
Whose is your favorite voice?
So hard to choose! I love Elena Tonra’s (of the band Daughter) voice — it’s very haunting and pure, which is a big part of what makes their music so beautiful to me. But at the same time, one of my favorite vocalists of all time is Anthony Green of Circa Survive, not just because of his objective talent and range, but because the timbre of his voice is so powerful and visceral. Two ends of the spectrum.
If you could write a song for anyone to sing, who would it be?
I think I would have to say Kimbra, just because her vocal skill and tonality is out-of-this-world mind blowing, and I feel like she has the capacity to surpass genre and perform any style flawlessly. I mean, look at “The Golden Echo —she can sing anything.
Do you have a go-to karaoke song?
I have actually never done karaoke, so knowing nothing about what is usually on the catalog of available songs I would — if I ever dare to do karaoke — cross my fingers and hope Shania Twain’s Man, I Feel Like A Woman is on the list.
You’ve had the opportunity to tour a lot since the release of your album. How has it been, trying to translate these very intimate songs to larger venues?
It is strange playing larger venues; I am so grateful for the opportunity to play larger rooms because it is incredible to see that more people are listening and sharing the songs, but I think that when I was doing the first small tours over a year ago, it felt like the intimacy of the songs matched the intimacy of the settings and small-turnout, which was comforting. However, it’s inspiring to play to different types of audiences and see people respond. I try more and more to be candid with show-goers, I can never think of good on-stage banter, so I end up trying to have an awkward conversation with the room. I try to be chipper and a little goofy because that’s me … and hopefully it’s disarming to more than just me. Also, talking to listeners before and after the show is amazing, and I think that’s one thing that I like to do because it reinforces the humanity of live sets. It’s not just a detached performance — it’s an interact with a bunch of living breathing people who care about art and have feelings and experiences. That’s something precious to me.
Any tips for staying sane, healthy, and amused while on the road?
As far as tips for staying sane and healthy, I have had to come up with various coping methods for the challenges of touring. Even though playing live music is my favorite thing, and I am beyond grateful to have my passion of music also be my primary occupation, it can be demanding in a psychological way. For instance, I get extremely anxious before shows, and so if I feel like I am going to start panicking, I go on a long walk before doors open, or I will do some meditation/prayer before shows to refocus and put fears in perspective. It’s also difficult being away from home; there’s the risk of feeling displaced, or like there’s no certainty in the day-to-day. So, I try to do little things to maintain a routine — on this last tour, I went on a run every day, which helped especially since running has replaced smoking as my way to burn off nervous energy in the last year.
Any favorite places you’ve visited so far?
It’s difficult to say one place is my favorite, I think I love to visit local stuff and find cool places within each town, so that each place is special for a different reason, exploring a city is like getting to know a new friend in that way. One of my favorite places I have visited though is The Vera Project in Seattle. I think they have a great mission/community outreach thing going on,;it was at once very tied to the culture and vibe of the city, and reminiscent of home because it reminded me of Smith 7 and the kids back home that are just as excited to learn about and participate in music.
You’re going to school to become a teacher. Which teachers have inspired you?
I have had the fortune of having more than one awesome teache