I got a call from Lee Ann Womack‘s publicist about a week ago asking if I’d be interested in interviewing the country star in advance of her at the John Paul Jones Arena, where she’s opening for George Strait and Reba McEntire on Saturday. The first thing that came to mind was that "I Hope You Dance"—the only one I knew about until this week—is one of the only songs I ever heard twice on my mom’s car stereo. (My mother and brother danced to it at my brother’s wedding.)
While that song doesn’t represent the first time that a country artist has crossed over into pop territory to find huge success ("I Hope You Dance" wound up near the top of the Billboard Hot 100 chart) it’s relevant to consider what happens to country musicians when they grow tired of pop music: the pop audience doesn’t follow them back out to the country.
That doesn’t mean that Womack is has fizzled, a one-hit wonder. Since 1997, she’s released 6 albums, and sold 5 million of them, staying near the top of one of the industry’s major markets. There’s More Where That Came From was released to critical acclaim in 2005, and she followed that up with 2008’s Call Me Crazy, which was nominated for the best country album Grammy last year.
Read some of her thoughts—on songwriters, home and "real" country—below.
You haven’t released an album since 2008. What have you been up to?
I’ve had a lot of irons in the fire, I’m in the studio a lot, working on my own stuff. I write, I go into the studio with other artists. I have two kids and a house, and a lot of stuff going on, so it’s a lot.
Who is your favorite songwriter working today?
Probably Dean Dillon. Dean doesn’t overwrite, and I just like the subtlety in the writing, and he just has the best melodies in the business. And he’s done a lot of living, and you can hear it in his music. He comes across as being real…well, really real.
He wrote “Twenty Years and Two Husbands Ago” with you. What is your role in songwriting for a song like that?
For instance, in that particular song, I came in with the idea and just kind of came in and told him and Dale Dodson where the idea came from and some lines that I had, and kind of set the mood and the scene. The melody was all Dean and Dale, though.
How do songwriters present their material to you?
My husband’s in the business. He has a production business, he is a producer, and we have a lot of connections in the business. We have a lot of friends, a lot of artists. Sometimes I don’t know where we end and the business begins, you know? We’re just surrounded by music, by musicians, by songwriters all the time. So things have a way of filtering through our home. I mean, I might get a song that’s not for me, and I might send it over to George [Strait], or I might send it to Ronnie Dunn, or anybody.
I read that you studied for a degree in Country Music in college.
I went to South Plains Junior College in Levelland, Texas, and they have a program there where you can study—it’s a music program, but instead of having to study classical music and stuff like that, you can study country music. Your music appreciation class, you know, might study Bill Monroe or Bob Wills. When you’re in the band, you play country music. It’s a music program that revolves around country music and bluegrass.
Did formal study of country music affect your work today?
When I left home I was 17, and I went out there and I started playing in the band, and we traveled, we toured, we played shows in clubs around there on the weekends. And I had to help set up the equipment, tear it down, we had to go in the studio and record. So I really got an education in what I ended up doing. It was really invaluable to me.
What would the young Lee Ann who drove to clubs and set up her own PA say to the present-day Lee Ann?
I guess she’d say, golly, I can’t believe she did it.
How has travelling with George and Reba been?
We played about a dozen shows, I guess. It’s great. I’m having a great time being out with them. George, you know, does real country music.
Can we look forward to a duet with George on “Everything but Quits”?
You know what, we’ve never done that live. Only in the studio.
“I Hope You Dance,” which was 10 years ago now, was something of a milestone in terms of bringing together pop and country themes. Having helped to blur the lines, where does country music end and pop begin?
Yeah, I don’t know. That’s the question I get asked at every single interview I’ve done for 12 years, and I don’t have an answer for that. I do know that I miss fiddles, and I miss steel guitars, and I miss songs with real meaning, and songs about meaning and life. I miss those things.
Is that what you mean when you talk about “real country,” and someone like Dean Dillon?
Well, I think real country is different to different people. To me, real country is musically, it has the fiddle and the steel guitars, and less drums, more acoustic-driven. And thematically, it’s songs about life. People. Real issues.
Are you working on new material now?
I’m always working on something. I’m always onto the next project. I’ve been in the studio, I’ve been writing. And touring.
Will your new record be a departure from what you’ve been doing?
I’d say it’s very similar to Call Me Crazy. I’m working with Tony Brown again, I’ve gone back to a lot of the same writers I’ve drawn from before, Jim Lauderdale, Dean Dillon, Bill Dodson.
What do you bring on tour to remind you of home?
My two dogs, I have two little Yorkies. Honey and Cocoa are their names, and I guess that’s what I would say.
They come with you on the bus?
Yes.
Don’t they chew up what’s on the bus?
No, they don’t chew up things. They’re just so small. One weighs three pounds, and one weighs four pounds. So they really can’t do a lot of damage.