Tamara Lindeman IS The Weather Station

Photo by Collin Medley

Tamara Lindeman IS The Weather Station. But it’s a different Station than it used to be.

“I originally started with (the band name) The Weather Station because I was making experimental music that wasn’t at all singer-songwriter, and I did play with a band; more of a sound collage. And because I’m known with that name, I stuck with it.. . .

I think it covers a lot more ground. If you just use your birth name, people have a perspective of what they think that is. But if you have a (different) name, it gives you more range. I’ve thought about using my own name, but since I’ve been using Weather Station so long, I’ve stuck with it.”

And changed up her sound to something more akin to what Cowboy Junkies were doing, sound-wise. On album, at least: as a singer/songwriter, Tamara is used to the solo-performance presentation of her creations.

“On this tour it’s going to be me alone (onstage); Asie (of The Bahamas, the headliners) might join me depending on how he feels that day.. . . . I’ve been doing solo work for a long time, and I kind of enjoy it. The songs change, and everything is different. When you’re alone you approach every show differently: you’ve got to be nimble to respond to the environment and how you feel on the day, which is kind of cool. You can find different meanings in the song, play it slower or faster, change the meter. I love playing with a band, but I like playing alone because it gives you that freedom.”

“I’ve just realized, from playing alone, that it’s more about being there in the moment: allowing the song, the day (to affect you). It’s more about being present than it is about recreating. And I think that you hear music very differently live than you do on record.”

Hence, the need for a Live Music Writer to investigate this unique experience, and present it’s multiple expressions for your reading thrall.

The Weather Station (and The Bahamas) are touring Western Canada and the U.S. with her new EP of thematically linked songs: a sensuous 12” 45 rpm on vinyl, I might add.

“It’s just this little release: I have a full-length I’ve been working on. This is just something to bridge the gap, and we really liked some of the songs and wanted to make this little release.

“I met some people in North Carolina who said ‘Why don’t you come record with us?’ And I did, and it was really awesome. I couldn’t believe how good it sounded.

“And I was recording with my friend Dan (who recorded my last record) in his basement, and then I noticed that all these songs kind of went together, and it worked well in the short format. So I put them all together.”

“I really love older recordings, especially from the 50’s & 60’s, where the vocals take up a lot of space in the music.I feel like the trend nowadays is for the vocals to be very thin, sort of laid on top of the song. And I thought, ‘No, I really want that thick, wide sound, and then everything else around it.”

Catch them on the way through:

  • September 15th – Philadelphia, PA – Boot and Saddle; 17th – New York, NY – Le Poisson Rouge; 18th – Washington, DC – DC9; 19th – Carrboro, NC – Cat’s Cradle; 21st – Atlanta, GA – The Earl; 22nd – Nashville, TN – High Watt.
  • October 16th – Victoria, BC – Alix Goolden Performance Hall; 17th – Vancouver, BC – Vogue Theatre; 18th – Kelowna, BC – Habitat; 20th – Calgary, AB – Knox United Church; 21st – Edmonton, AB – McDougall United Church; 22nd – Saskatoon, SK – Broadway Theatre; 25th – Minneapolis, MN – Triple Rock Social Club.

Posted by Paul Verhaegh

Author: Carey Rutherford

Swallowed by the mutual loves of words and music (but far too chicken-shit to perform them with a band), Carey’s writing career started slowly as a freelance writer in 2003, starved him nearly to personal bankruptcy until 2008, and changed directions while writing for FastForward, Beacon Calgary, GayCalgary, and Examiner magazines. With the death of many old-school periodicals, and the explosion of musical diversity in Calgary, the modern approach to writing about live music performance in the Calgary region presented uncluttered landscapes for the focussed passion that Carey’s conversations with musicians, drag queens, festival producers and small animals has uncapped. He was moulded by the brilliance of paper-based periodicals old and new (Life, rolling Stone, Swerve! and Adbusters etc.), and sees the info-verse as needing creative, empathetic, but clear-eyed Agents to communicate these performances.