Art outlives us.
I think that’s why I’m so drawn to it. Say what you will about my album and it’s songs, but on a broad scale it is a preserved slice of the human experience that will still be accessible after my body has turned to dust.
Further, it’s on its own journey, irrespective of me. We can create the thing, but we have no control over where, when or how often it is consumed.
In this way, our art children are like actual children. We can steward them kind of, but where they ultimately end up is not up to us.
Maybe my album will be passed down to my great-great-great-grandkids in a hundred years. Or maybe it will be lost to time and forgotten for centuries, only to be uncovered in the sand a thousand years from now like a cuneiform tablet, informing future historians and anthropologists of how humans existed at the dawn of the 21st century.
[I do love to speculate and fantasize on this latter possibility.]
Either way, who the hell knows? I don’t.
And that’s what’s so cool about it!
Oh and did I mention, ACT TWO IS OUT!
TODAY!
Exclusively on Bandcamp and at my website.1
And as a proper steward of the preserved slice of human consciousness I created, it is my duty to tell you about it, so that is what I am also doing now:
Long time readers of this Substack will know that in 2024 I—a wife, mother and attorney, long-obedient to societies’ rules for me— leapt, terrified, from the capitalist conveyor belt to make my own unique way in the world.
It was scary and invigorating to redefine myself in a way that had no firm boundaries or guaranteed social acceptance. “Act Two” is a sonic exploration of that fear, freedom and wild femininity that I felt.
Sound wise, I’m heavily influenced by the distinguished piano motifs of Tori Amos, the irreverence of Fiona Apple, and the exquisite way Kate Bush accents her piano with unexpected and cool synth (somebody get me a Fairlight!).
I call it ‘unhinged art pop.’
The album was principally recorded at Tweed Studios in Athens, Georgia, with the guidance of Grammy-Award winning producer John Snyder, and the assistance of Improvement Movement’s Klark Sound on guitar, bass and drums.
My personal favorite song on the album is “Tick,” but the people who have heard it also really love “Push Through” and “The Dentist’s Chair.”
That last one’s pretty weird though, just an FYI.
I HOPE YOU’LL LISTEN AND LET ME KNOW WHAT YOU THINK!
Oh look! An album widget! How convenient!
other news:
If you'd like to learn more about my journey from the capitalist conveyor belt to ‘fuck-all’ bucking (and singing) wild horse, here is a feature on me from Voyage ATL.
If you want to see me live, here is where I’ll be and when I’ll be there…
Tickets are available here.
My last bit of news is that I’ve been interviewing some other creatives around town (and by town, I mean our substack village) about the fears that they’ve confronted and conquered and I look forward to sharing those interviews in the coming weeks!
It will be out everywhere on April 10, 2026.