Mary Chapin Carpenter: Not Your Typical Country Star
’’When I’ve been lucky enough for people to tell me that they’ve experienced many of the same things,’’ says Mary Chapin Carpenter, ’’you just invariably feel a little less alone. You feel less of a freak, you know?’’
Carpenter, you could say, has been lucky a lot - at least in terms of responses to her songwriting. What was once simply a hobby for a shy, lonely teenager blossomed four decades ago, after the hometown girl graduated from Brown University and moved back to D.C. She has since sold more than 8 million records and won five Grammy Awards for work that effectively straddles the country-folk divide, including hit ’90s-era singles ’’Down at the Twist and Shout,’’ ’’He Thinks He’ll Keep Her’’ and her cover of Lucinda Williams’s ’’Passionate Kisses.’’ She’s also written or co-written songs for everyone from Joan Baez to Wynonna Judd to Cyndi Lauper
Named after her mother Mary Bowie Robertson and her father Chapin Carpenter, Carpenter says the time she lived in D.C. in the early ’80s was instrumental in helping her break out of her shell, gaining confidence in her craft and getting comfortable with an audience.
These days, the singer-songwriter lives with ’’her peeps’’ - five dogs and four cats - in Charlottesville, Va. She’s also a near-annual draw at the Filene Center at Wolf Trap, which she cites as ’’one of my most treasured and favorite places.’’ In a few weeks, on Aug. 18, she’ll be joined at the large, outdoor Virginia venue by folk legend Loudon Wainwright III (Rufus and Martha’s father).
More than anything, people connect to Carpenter because of the emotionally honest and frank way she reflects on her life in lyrics. And her new album -- her 10th -- just may be the most personal, most powerful, yet. (It also features a rare collaboration, and Carpenter’s first with a hero of hers, James Taylor.) Ashes & Roses touches in particular on the dissolution of Carpenter’s marriage and the death of her father - both of which occurred in recent years. Carpenter doesn’t really flinch at sharing her thoughts and feelings. ’’To not write about these things would have been odd in a way,’’ she says. ’’I think I had to excavate these feelings.’’
Two years ago, the proudly liberal Carpenter, who has long supported LGBT causes, publicly congratulated, via Twitter, Chely Wright on coming out as country’s first openly gay star. Wright has since noted Carpenter was the only country star to go public with her support, beyond private messages or conversations.
’’It just never in a million years would occur to me to do anything else,’’ Carpenter says. ’’[It’s] what was right.’’ During a 40-minute conversation the day after her new tour launched in Pittsburgh, Carpenter expressed dismay at the lackluster support for Wright, and the slow - but steady - pace of progress for LGBT rights.
’’Everybody deserves love and everybody deserves acceptance," she says. "It’s that simple.’’
METRO WEEKLY: I understand Wolf Trap is a special venue to you. Can you explain why?
MARY CHAPIN CARPENTER: Having spent so much of my life as a Washington-area resident, it’s just one of the most special places. It’s one of the most undeniably beautiful places, the Filene Center. We have this sort of tradition where we finish sound check and it’s towards the latter part of the afternoon, and then they open the gates for people who are sitting on the lawn. And if you stand in the back of the stage, in the wings - ’cause it’s a dark stage at that point - you see people racing down the hill with their coolers and their blankets and the sort of wonderful yells and screams of people staking out their plots for the night. You just feel this joy and happiness.
MW: I understand you got your start in the music industry by performing in clubs in D.C.
CARPENTER: I did, I absolutely did.
MW: Do you remember some of the venues?
CARPENTER: Kramerbooks and Afterwards Café. A place that used to be known as Gallagher’s Pub on Connecticut Avenue, which I believe is now called Nanny O’Briens. A wonderful, fabulous, storied, no-longer-there-but-famous place called Food for Thought on Connecticut Avenue, a vegetarian restaurant. I passed the hat there on Friday nights.
You know, just little joints around D.C. I had some wonderful times and incredibly dear friends and other musicians and we would hang out together. Sunday nights at Gallagher’s was an open-mike night, and there was a real crowd of wonderful musicians that used to hang out there. That sense of fellowship and community was really important to me. I felt I belonged with these other musicians [at a time] in my early 20s when I didn’t know what I was doing.
MW: You didn’t study music in college, I understand.
CARPENTER: I really don’t think I allowed myself to imagine that I’d ever be fortunate enough to do this. My folks sent me to college; I was so lucky that they could do that. I was just a liberal arts junkie in college: history and literature and a few sociology courses thrown in, art history, lots of English courses. And I really didn’t know what I was going to do with that. [After college] I sort of patched together some sort of living, living in group houses [in D.C.] and doing temp work and playing in bars and clubs and just kind of - it was a complete improvisation for a period of time. I didn’t have a plan.
MW: But obviously the liberal arts side of you, that helps inform your lyric writing.
CARPENTER: Well, I guess it does, yeah. I love to read and I love to write. I sort of feel like everything in your life is helpful to you. You’re a sponge and you absorb things, and whether or not you’re conscious of it, they come out in what you do.
MW: I realize your touring season just started so it’s still early, but how is the reception to the new material?
CARPENTER: I don’t ever like to say, ’’Oh, we killed it!’’ [Laughs.] All I know is that the audience [in Pittsburgh] was lovely, and I loved it, and I had a wonderful time. You know, it’s always a little nerve-wracking to present brand new material. And I definitely got the jitters. I’m just such a perfectionist, always trying to get a sense of how it’s going [even] while I’m playing. But I felt really happy with how it went. I might make a few adjustments but it’s a good start.
MW: You must also get the jitters because you’re pretty forthright in your material about expressing what you’ve gone through, and reflecting on your life and your issues.
CARPENTER: There’s no question that Ashes and Roses is a very personal record, and it addresses some issues that are sort of the big topics in our lives. As a songwriter I’ve always sort of written about my internal world. That’s what people do; it’s not unique to me. A singer-songwriter is sort of a genre unto itself, I’ve always felt. And invariably you speak to your emotions and your feelings - as well as of course, you know, write songs about the world beyond you and so forth.
MW: I imagine it takes a while for you to figure out how to write about some of your feelings though, or what you want to say.
CARPENTER: I think the oldest song on the record -- ’’Don’t Need Much to Be Happy" -- dates to the summer when my marriage was coming apart two years ago. There are some days where you sometimes have to write down what gives your life meaning and what makes you feel whole in order to remember it when you feel so bad. And that’s what that song really was. It was like I was trying to comfort myself. And I was in the midst of my marriage coming apart, and I didn’t have a lot of perspective at that point. However, it took another year or so to finish all the rest of the songs. So there was obviously a certain amount of time that had elapsed to give me some sort of observation point, I guess, if that’s the right term.
Having said that, it’s not like the point at which I’m at now is that I’m over it, and everything’s fine. This stuff takes a long time to sort of figure out and process and transition through. I’m still going through it. I have terrible days of feeling lost. And then I have other days when I can definitely tell that I’ve come some distance from certain things, and the pain or the sorrow feels less acute. So it takes a while.
MW: I gather that songwriting for you is a little bit therapeutic to some extent.
CARPENTER: Therapeutic? I don’t know if that’s the right word as much as it just kind of helps. I think by writing about things and thinking about them and trying to work to excavate feelings and explore them -- there is a therapeutic value to that. But it’s not like therapy, you know what I mean? Songwriting, as I think with any creative effort, is a way of making sense of your world, or connecting to the world in some way. And all of those things are very positive things. So straight therapy, I don’t know, but it does have a value in terms of just helping you sort through things.
MW: And then by extension, you help listeners and fans sort through their own issues and problems, by seeing you do the same.
CARPENTER: When people tell me that they connect or something I wrote resonates with them, that always feels like a gift. Divorce and grief and loss, those things are very isolating experiences, or they can be. It’s comforting to know you’re not the only one. And that’s very therapeutic I think.
MW: How long were you married?