FEATURE: Spotlight: Pearl Charles — Music Musings & Such

FEATURE:

Spotlight

Pearl Charles

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I know that I have been featuring a lot of women…

in this feature lately, and I will move on to male artists soon. In fact, it is female solo artists who have been on my radar mostly. I was very keen to feature Pearl Charles as she released the sensational album, Magic Mirror, on 15th January. I will come to that album soon but, just before, I want to bring in some introduction and interviews; so that we can get a better sense of Pearl Charles and her songwriting. I think that she is going to go a long way in the music industry. Her track, Only for Tonight, is one of the finest I have heard in a long time! With great ABBA vibes and an insatiable sound, it is a song that I think more artists should follow – as it would elevate the industry and brighten the sound of modern music! Signed to Kannine Records, here is some biography regarding the brilliant Pearl Charles:

“Charles has been playing music since she was 5 years old. At 18, she formed country duo The Driftwood Singers with Christian Lee Hutson, singing and playing guitar and autoharp. At 22, she joined garage rock band The Blank Tapes as drummer. After two fun-filled years immersed in the rock and roll lifestyle, she decided it was time to pursue her own songwriting, and began developing the songs that formed 2015′s eponymous debut EP. Drawn to poppy hooks and catchy choruses, Charles draws on what she loves about the 60s, 70s and 80s while developing her unique style as a solo artist.

In 2018, Pearl released debut album, Sleepless Dreamer, which Rough Trade described as “The best country pop we’ve heard in years” and Buzzfeed called her “A modern June Carter meets Lana Del Rey.” With the upcoming release of the follow up, Magic Mirror, out January 15, 2021, Pearl leans into furthering her own brand of country-disco.

“As if Tom Petty were riding shotgun, Charles and band capture a certain Southern California essence” – LA TIMES

“Bursting with blues-rock and blissed-out psychedelia” – PITCHFORK”.

I have been following Charles’ music for a little while now and I think that her best is yet to come. That said, Magic Mirror is a fantastic album that showcases a huge talent and some wonderful sounds. I am eager to highlight Charles and how she started making music. When she spoke with The Forty-Five, we find out about her beginnings and musical influences:

“Tell us about how you started making music

I was four years old when my older sister started piano lessons and I begged my parents to let me take lessons too. They told me if I still wanted to when I turned five they would let me, and the rest is history! From there I got really into musical theatre and started voice and guitar lessons as well. Eventually I sort of diverted off the path of musical theatre (I got in trouble for smoking pot at a classmate’s house whose father was a famous country singer/songwriter, but that’s a long story for another time!) and went more into the world of rock’n’roll and playing in bands which I do think is where I was meant to be.

We’re getting some serious ABBA/Fleetwood Mac vibes from your music. What did you listen to growing up?

Though I definitely heard those bands when I was growing up, I didn’t actually really get into Fleetwood Mac or ABBA until I was in my 20s. My introduction to those bands were mostly just as oldies radio hits, so it wasn’t until I got more deeply into discovering and making music myself that I was able to appreciate the level of musicianship and songwriting both those bands exhibit. Growing up I listened to a lot of classic country and singer/songwriters as well as classic rock bands because that’s what my parents exposed me to. The Beatles, Bob Dylan, Leonard Cohen, John Prine and Hank Williams are some of the quintessential ones that come to mind. I remember the first CD I bought for myself was Eagles Greatest Hits.

You have an incredible home in Joshua Tree, California. Many artists before you have headed to the desert to record because they feel it has a mystical energy. What has your experience been as a creative in an environment like that?

Joshua Tree is such a magical place! My first experiences going out there were with my family when they bought a really unique house (it was built by the first Native American Playboy Bunny) in the area about 13 years ago. That was the place where I first felt really drawn to revisit the classic country music my mom had shown me when I was young, some of the artists I mentioned earlier and others like Patsy Cline, Loretta Lynn and Merle Haggard. It was only later that I found out about the significance of Gram Parsons and felt that somehow his spirit had guided me in the right direction. There is just this peaceful, calming feeling out there, you truly feel connected to the earth and surrounded by nature, whether it’s the plants, the animals or the stars. It’s those moments where you feel so small in the world, but in the best possible way, that make Joshua Tree an artistic and spiritual Mecca”.

Even though 2021 has sort of just begun, I think that Pearl Charles’ Magic Mirror is one of the finest albums so far! It is an amazing collection of songs that everyone can appreciate. Back in November, Charles spoke with Lippy and highlighted how Magic Mirror is different from her other music:

“Tell us a little about the upcoming album... what was it you wanted to do with ‘Magic Mirror’ that you haven’t explored on previous releases?

One thing that really sticks out to me about this album compared to some of my past releases is the fact that I recorded it with my live band instead of exclusively using session musicians. On my last record I used members of Father John Misty’s band, who are all absolutely incredible players, but the process this time was much more personal. Not only had my band and I spent the last few years traveling the country and the world together playing the songs live on the road and working them out through various demos, but also because of the time we all spent together in the van where I got to share so many of the songs and artists that are so important to me and whose style and vibe I want to attempt infuse into my albums. Though we still used some session players to fill out the album, all of whom are amazing and bring their own voices to the mix, having the basis of the album be my go-to guys (and some of my absolute best friends) made it very special for me.

How do you view the current state of country music in America? How important is it to keep young people invested in country and folk?

I think there has been some rightful backlash to the idea of country and folk in recent days for having a history of not being as inclusive as it should be, in both the telling of its history and on the industry side of things in the past and the present, which is more than completely valid. That’s part of why I think it is really important to keep people of all ages engaged and interested in these genres! In truth, all roots music comes from a mix of racial and ethnic backgrounds (black, white and beyond), and continues to be made by a diverse group of people, both historically and currently. We need to tell that story honestly and open up the industry to support and lift up the contributions of people who previously did not have their stories told or honoured in these genres.

Your upcoming album ‘Magic Mirror’ has been described as a “feel good album”. How important is it to you to make up-lifting music in these potentially dark times?

Well, as I’m talking to you we’re getting some pretty good news out here in the US, so the album almost takes on new meaning! Rather than fighting to maintain optimism as we once were, it is more cautiously celebratory perhaps. Though we still have a long way to go, we are at the dawn of a new, hopefully much brighter era. To answer your question beyond just the political implications, George Jones once said, “When you're happy you enjoy the music. When you're sad, you understand the lyrics.” I think something that is somewhat unique about my albums is that although they can come across as “feel good” on a casual listen (which don’t get me wrong, I love!), if you dig in more deeply to the lyrics sometimes there is something definitely deeper, and at times darker, lurking underneath the surface. That is the beauty of this album for me really, the fact that it can fit your mood no matter how you’re feeling. There’s a song and a vibe for every emotion and it’s kind of choose your own adventure in terms of how the listener feels like approaching and engaging with the record on any given day. Though I do love making songs you can just zoom out and bop your head along to, it’s also important to me to say something, so it’s kind of the best of both worlds!”.

Before bringing in a positive review for Magic Mirror, I want to quote a couple of other interviews. In this interview from BN1 Magazine, we get an idea of what comes next for Charles:

“Does the freedom of being a solo artist outweigh the pressures it can bring?

Though being a solo artist has its challenges, I do think as someone who has a very clear artistic vision for the music, the message and the aesthetic of my project, being able to really be in full control of executing that vision is so rewarding and well worth the extra pressure. That being said, taking care of yourself and your mental health is really important as a bandleader as well, because you can push yourself really hard trying to make the dream come alive and we have to remember to stop and take the time to take care of ourselves!

I imagine Magic Mirror was largely composed and produced during 2020 and all its complications. Did this give you any unexpected benefits? For starters, working with other people must be a challenge…

I actually wrote the album before the pandemic, so it’s been interesting to see how the record has remained relevant, and maybe even become more so, throughout such a drastic global shift. The challenges that have been presented for me have had less to do with the actual music making part this time around, since we were able to complete the record before lockdown, and more to do with the adaptation to the new way of supporting the record. Since we can’t tour or do a lot of the normal promotional things we would do, we’ve had to readjust and focus our energy on creating digital content and spreading the word online instead of through playing shows.

What’s next after the album release? Are you going to sit back until you can tour again, or are there new challenges ahead?

I have already been chipping away at a ton of new songs and hope to release some new music later this year if everything goes as planned, though I think we’ve all learned that we can’t necessarily rely on anything going as planned! I’ve also been writing songs for a side project with my boyfriend that I mentioned earlier and hopefully we’ll be able to do some recording for that as well, so I will definitely be keeping busy until we’re able to get back out on the road and tour again!”.

It must have been hard putting together and releasing an album during such a strange time. I feel that there is going to be a lot of touring and exposure post-pandemic. Magic Mirror is an optimistic album that we all need. When she spoke with Flaunt, Pearl Charles was asked about pandemic times and trying to produce great music:

“Is it harder to find creative inspiration when times are tough or does it get you through the tough times?

I think it gets you through the tough time. I hate to say that being emotionally fraught creates better music. But there’s definitely a lot of inspiration when you’re feeling down. I mean that’s how it is for me, and I think that’s true for a lot of people. It’s just a different kind of inspiration when you’re feeling happy. I don’t think it’s a tradeoff that you have to be unhappy to make good art or good music. But I think when you are feeling down, music is therapeutic whether it’s listening to it or making it and talking about how you feel—getting it off your chest. Creating something beautiful with something that has caused you pain is a way to take control and have that power over that and not let it have the power over you.

What do you hope to see in the crystal ball for Pearl Charles in 2021?

I really hope that we can get on the road because the band is really good live. I think that people are going to want to see it. I’m excited to show it to people, but if it’s just through livestreams, that’s what we’ll do. As I said, the most important thing to me is keeping everyone safe and healthy and getting through the pandemic. I know we’re going to be making new music. Having this new place in Joshua Tree, we have a studio here, and we’re actually going to be able to record ourselves. That’s going to make such a huge difference. I love making records in big fancy studios and all that, but there’s something to be said about being able to wake up in your own space and create”.

I would urge people to listen to Magic Mirror as it is a sensational album that deserves to be heard by as many people as possible. In their review, this is what The Line of Best Fit noted:

“It’s impossible to not connect the Abba-dots on kick-starter “Only For Tonight”. As the melody delivers on all fronts - ear-worm settling in for the long haul - Charles greets us by looking back upon a one night stand, lamenting she “shouldn’t have played this like a man.” By erupting like a confetti canon coming at you the moment you walk into your house, a feeling sweeps over, ready to carry the party onward.

Notably, there’s now echoes of the sun-drenched California sparkle of Fleetwood Mac, Tom Petty et al - motioning to an express reach upwards for Charles and who she, as an artist, is now. No doubt, the romantic realisations within, particularly of “when I see your face it’ll be the last time I do / it’s easier to live this lie than to tell the truth” (“What I Need”) has also contributed to this new gloss - after all, when the truth feels so poignant, let it shimmer to make it more digestible.

Even on her self-titled debut EP, which dug its hands into the world of blues, there was a wish to reflect, and it feels like the steps made between then and now - the living of life, and figuring out her place in this world - has led to an evolution into a ‘70s radio-rock revival sound, featuring more swaying pedal steel and twanging clavichord en masse - with a delectable delivering of harmonies stacking where prudent.

The lack of reference to any of the issues involved in our ‘new reality’ creates the idea of a dream world, where life can once again by led without the ticking of a doomsday clock - especially following a week of (more) erupting political discourse; this glamour-tinged world of Charles’, reaches out and is telling you to ‘live in the past for a bit’ feels welcome.

While Magic Mirror's sparkling-sheen portrays the acceptance of life - Pearl Charles' diary, flinging open its pages to question long-drawn-out loves - the inclusivity means the eyes staring back from Magic Mirror flit between both yours and hers, all aided by her cool and breezy nature”.

It is still early days for Pearl Charles, though I think she has shown such promise through Magic Mirror. When things calm down regarding the pandemic, she will be able to tour and get her music out to the masses. I have been listening to Magic Mirror quite a bit lately and, during a bad time, the album has helped lift my mood. Pearl Charles’ career has been a fascinating one so far. I cannot wait to see…