Published by Do615 on 11/1/23.
Imagine yourself at The Blue Room this Friday night. Parquet Courts’ frontman Andrew Savage takes the stage, and just as he begins strumming the opening chords of “Hurtin’ Or Healed,” a small flame sparks in the corner of the room. That small flame grows, song by song, until it engulfs the entire venue. That’s what Savage is imagining, at least.
“Fire is something you have to escape from, and in a way this album is about escaping from something. This album is a burning building, and these songs are things I’d leave behind to save myself,” he states in a press release for his new album, Several Songs About Fire.
The record serves as an affectionate goodbye letter to his adopted home for more than a decade, New York City. However, like most love stories, it’s a lot more complicated than the highs of the relationship.
“I don’t really have beef with New York, besides it being too expensive, which most cities are now. My issue is with the USA, which New York, as different as it is from the nation writ large, is still beholden to. I still love it and its home,” Savage explains.
Although this “breakup” album was written while still a resident of New York, he departed for Paris earlier this year to get some much-needed distance from his country. This tour has been his first proper return stateside since this move.
“Touring has less to do with geography than one might think. Really the only location that matters is the song,” Savage says. “That being said, there have been some gorgeous autumnal drives. But driving between cities is where you see the evidence that the MAGA death cult is still thriving, which is disheartening.”
His lyrics carry much of the same sentiment. Although never overtly political, Savage carries his disillusionment on his sleeve throughout Several Songs About Fire. Don’t mistake this for pessimism though; he is just as invested in our nation’s potential coming out of these uncertain times. For example, take the album’s recurring metaphor of a seed.
“Seeds are a form of fire, or maybe it’s the other way around. They both grow, though we associate fire often with destruction,” Savage muses. “I think seeds are a symbol of hope and potential, which is largely what the record is about. I consider it an optimistic work, and the word ‘seed’ lives quite comfortably in the vernacular of optimism.”
Towing that line between optimism and despair is no easy feat, but there’s a true devotion to organizing our collective chaos. Savage is known for crafting three or four versions of each line in every song before selecting the phrasing he prefers. Writing the music itself is a much easier task in his estimation.
“It comes much easier, but I’m never really satisfied with a melody until I have the perfect words to go with it,” Savage says. “Take a song like ‘Total Eclipse of the Heart.’ An incredible melody. But would it be as good if it were a song about a car or how excited you are about the weekend? My feeling is no, it wouldn’t.”
Even when the melody comes easily, the recording process is an art form all its own. While his solo debut, Thawing Dawn, resulted from whoever happened to be at the studio on a given day, his new record was crafted with a much more intentional band including collaborators like indie innovator Cate Le Bon and producer John Parish, known for collaborations with Aldous Harding, M. Ward, PJ Harvey, and more.
His latest sound lands comfortably amongst these aforementioned names, but there’s a unique nuance Savage brings to every creative choice. Whether jumping from Parquet Courts’ dance-punk to a stripped back solo record, or even just evolving from one solo album to the next, he isn’t concerned with audience expectations.
“The way I see it, my audience is interested in me as an artist, and therefore is open-minded to whatever I want to do and trusts me with authentic expression. Of course I know that there are people who want to hear songs from Thawing Dawn, so I’m happy to include some of those songs in the set, but I think for any observer of art, it’s best to not come into things with too many expectations,” Savage says.
In the wake of the album’s release, fans can still expect something for certain: one hell of a live show.
“The band I’m touring with right now, which features players from the album, is a fabulous live band. They come from bands like White Fence, Modern Nature, Kamikaze Palm Tree, and Sunwatchers. I’m honored to have them backing me up,” Savage admires.
Although these new songs are what he’d “leave behind to save himself,” it’s evident that Savage is excited to take them on the road, adding that fans can also expect to meet him at the merch desk. It will be his first headlining U.S. tour since Covid-19.
“I think people are still figuring out how to be normal after the pandemic. There’s a lot of young people who are going to concerts for the first time, which can be both amusing and awkward. Maybe I attract weirdos,” Savage observes.
“I read recently that people are wearing diapers to Taylor Swift shows so that they don’t have to miss a second of the show, and are just pissing (and probably shitting) themselves during her show. I’d just like to take this opportunity to encourage anybody coming out to the show to utilize the facilities provided by the venue.”
Savage is no stranger to The Blue Room, as Parquet Courts recorded their critically-acclaimed Live at Third Man Records in the summer of 2014.
“That’s something I’m really proud of, and I think it’s wonderful that Third Man offers the opportunity to so many bands who wouldn’t otherwise have the chance to record a high quality live album,” Savage compliments. “I think the version of ‘Raw Milk’ on that record is better than the one on the album.”
Beyond his set at The Blue Room, you can expect to find Savage at one of Nashville’s favorite dive bars.
“I’m not going to lie to you, the only place I ever really want to go in Nashville is Santa’s Karaoke Bar,” Savage reveals.
Does this mean Santa’s will be treated to an Andrew Savage rendition of “Total Eclipse of the Heart?” One can dream.
This interview was conducted with Andrew Savage via email. His statements have undergone light punctuation editing for clarity.
