In a town like Nashville singer/songwriters often come and go without leaving so much as a painful memory of their passing through. For every Johnny Cash and Steve Earle who achieves greatness, there are dozens more who will abide forever in the annals of mediocrity ever maligning the nature of the beast as the fault of their unworthiness for fame. Singer/songwriter Jen Foster is definitely one of the former and not the latter. Already an underdog in a money-hungry business where getting the short end of the stick is the norm, she may not sell out arena venues or make platinum record sales, but this lady definitely has what it takes to be a contender for the fickle kiss of fame in a very real way. Having been compared favorably with such luminaries of the business as Bonnie Rait, Joan Osbourne and Sheryl Crow Foster’s mixture of blood sweat and tears poured into her every offering – be it in the studio on one of her albums or onstage in front of hundreds of adoring fans – has managed to build the transplant from Texas a rabidly devoted following and critical acclaim both in and outside of Music City. Her ability to share the deepest, darkest and most wrenching details of her inner self while still reveling in the light of hope has made Foster a musical force to be reckoned with. When some visionary finally writes the history of gay and lesbian songwriters and performers in Nashville, the incomparable talent that is Jen Foster will undoubtedly command an entire chapter. Currently gearing up for her newest release and tour dates to help promote it, Foster will be performing as the opening act for former K’s Choice front woman Sarah Bettons at 3rd &Lindsay on December 18. Foster will be performing a full hour set and will go on at 8 p.m. Also performing will be PJ Ollsen For more info please visit www.jenfoster.com or www.3rdandlindsay.com.
O&AN: Touring has always been a major part of your success. Does your touring in preparation for the new album differ from what you did for the previous albums?
JF: I have been touring alongside Stephanie Callahan [formerly of Halcyon] this time instead of the full band that I utilized last time. There is usually only the two of us onstage with our guitars and from time-to-time Cathey Stamps will join us on percussion. We all jump in my van and do what we call our “Josie and the Pussycats” tour. I realized last year that what I do is really about the song and is centered on the lyrics. Some of these places have poor sound systems or no sound person or even no sound system at all. One of the biggest complaints that I got with the full band was that it was difficult for the lyrics to be heard over the loud music. I feel like when I’m performing and I can look people in the eyes and they can understand me, we’ve made a stronger connection than when the music is drowning me out. It’s a way more positive energy than before because I’m happier with my performances and the chemistry that Stephanie and I have onstage is really great and goes over well with the audiences. Instead of me being separate from the crowd and rocking out onstage, this is much more interactive and fun for everybody.
O&AN: In light of your touring preferences these days, can we expect a more stripped down acoustic fare on the new album as well?
JF: Actually, the album is definitely a rock album. I recorded the album with producer Jeff Trott [who is largely responsible for the success of Sheryl Crow]. He’s an amazingly talented and down-to-earth producer who brought in a great group of musicians who had worked alongside Beck and Macy Gray and countless others. Arrangement-wise the set up is very similar to what the last album was. The main difference is the very tasteful production. Last time the production was very slick and clean this time there is more of a grittiness and edge to the music that wasn’t there on “Everybody’s Girl”.
O&AN: Your previous album seemed to deal a lot with people’s expectations of you as an artist and a person. If you had to place a theme on the new album what would it be?
JF: Well the album is called “The Underdogs” and that is also the name of the title track. I wrote the song as a tribute to the group of misfits and outcasts that I grew up with. I watched them struggle a lot while I was in school and inside I always felt that I related to them. That kind of isolation is the theme of this record. It’s really a dark record because all of the songs have to do with pain and that kind of separation whether it’s from your lover or friends or whatever. Even the popular people somewhere in their lives have had to deal with that feeling so I think that it’s a very universal theme for everyone to relate to.
O&AN: You tend to write very real lyrics that deal with a lot of pain and then set them to uplifting music. Is it a difficult thing for you to put your innermost feelings on paper and turn them into sings for the entire world to hear? Is the process of sharing these confessionals cathartic for you?
JF: I believe any songwriter would agree that all songwriting is cathartic, but it’s a lot more than just a journal entry. It’s hard thing to do, sure. But I have always felt that the best artists wear their hearts on their sleeves and take risks by putting their emotions out there and tell the stories of their lives. I always try and find the deepest part of myself because I think that’s the most interesting and compelling part of me. The best parts of that for me is communicating it to people onstage and get people’s feedback. I have people come up to me all the time after shows who have related to songs by looking inside themselves and been seriously affected by one of the songs. That’s how I know I’m doing my job right.