Sheryl Crow FAULT Magazine Cover Interview

With a career spanning decades, Sheryl Crow has long been a source of inspiration for singer-songwriters across the globe. This year, she released her 11th studio album, Evolution, which not only became a favourite among fans but also introduced a whole new audience to her impeccable songwriting skills. We caught up with Sheryl Crow to discuss her musical journey, her evolution (get it?), and her FAULTs.

What would you say has been the biggest change in your creative process when working on this album compared to your previous releases?

The big glaring difference is that I did not produce this record. I wrote a bunch of songs and I didn’t want to produce myself. I wrote them in the quiet of my studio at home, all from an introspective place. I called my friend Mike Elizondo, whom I’ve known for years, and I said, “I have a bunch of songs, would you listen to them?” One of them, interestingly enough, was “Digging in the Dirt” by Peter Gabriel. I didn’t write it, but I felt compelled to do that song. That’s how we got started. He was on board. I told him, “I want you to create movies.” He kept in mind what I do and my influences but didn’t adhere to any strict parameters. And man, I loved working with him. It was fun.

Evolution is at the heart of the album, but is there a specific message you hope listeners take away from it?

The message for me is that life is a work in progress and that there are many diversions, especially in America right now, that are all very superficially motivated. We have to figure out a way to discern good from bad, truth from non-truth. In my estimation, everything is spirit or soul-based, and when we get away from that, that’s when we start misstepping. I think life gives you a lot of experiences to help you remember that nobody lives life perfectly, but hopefully, people will start figuring out who they are and staying true to that, instead of being influenced by hate, fear, and other distractions.

One of my favorite tracks on the album is “You Can’t Change the Weather.” What does that track mean to you, and how did it feel recording it?

Well, I’ve been pretty open about my struggles with the real low lows. The high highs have been challenging, but the low lows have been devastating. It’s taken me a long time to navigate those and work on myself. Now, we’re watching a whole generation of kids, including my two teenagers, navigate lows that are unlike anything I ever encountered. I didn’t have to worry about the planet not being able to sustain life or nuclear war. The song is really about saying, “You have someone that believes in you. Look to them and know that you are not alone.”

And then there’s “Don’t Walk Away,” such a stripped-back and vulnerable song. Do you find comfort in those more vulnerable tracks compared to larger productions, or do they still feel daunting?

This record was really a quiet exploration for me. I came out to the studio, had my engineer set up a mic, and played and sang the song once. I sent it to Mike and said, “I don’t know what to do with this,” and he used that initial recording to create a beautiful arrangement around it. It’s about loss, giving up, holding on, and watching relationships—some survived, some didn’t, especially through Covid. It’s about staying in the room, which is something I always struggled with.

While that’s quite a record, there’s still a lot of positivity throughout the other tracks. Did it ever become emotionally taxing during the production, and how did you keep your spirits high?

It was incredible,. This is not the way I usually work, but I would send the demo – Mike took my acoustic demo, put it into his setup, and recorded to it. I’ve never had someone take my little idea and create such a cinematic experience around it. It was like walking in and having my mind blown. I sent Mike the song “Broken Record,” which is about how mean everyone is getting. Social media, school shootings, and the vitriol. Everyone was nervous about that song, but Mike was like, “Let me have it.” And he fulfilled my dreams with it.

You’ve always been a collaborator, but was it daunting to hand over the production role and ask someone else to put their spin on your creation? Or did it feel liberating?

It was liberating and daunting. I usually play bass, record vocals, play piano, and rhythm guitar, then fill in the blanks. To not be in the middle of all of it was something I had to get used to. I had to remind myself it’s okay to let someone else bring their spirit to my music. Once I got over that, it felt like giving myself a gift, and I deserved that gift.

What’s one question that no one has ever asked you, but you’ve always wanted to discuss?

No one has ever asked me if I’ve dreamt a song before. And yes, I have. When I was maybe 12 or 13, I dreamt I was sitting in a tree with Paul McCartney, writing and singing a song together. When I woke up, I’m pretty sure we had written “Yesterday.”

Looking at your overall career, what’s an experience you haven’t written about but feel you need to get down on paper?

I’ve had people tell me to write a book, but I won’t because everyone has to die first. As for collaborations, I’ve had some unbelievable experiences. I remember being at The Palladium in LA for a Bob Dylan show. I had cut and dyed my hair dark, and out of nowhere, I hear Bob from the stage saying something like, “Your crew, come on down.” People were looking at me, but I went backstage, and he asked me to sing “Highway 61.” We didn’t have phones back then, so I was scrambling to remember the lyrics. He asked if I knew the words, and I said I knew the first couple of verses. He said, “You’re not gonna sing them better than me, are you?” <laugh> I went on stage, sang the song, and left wondering, “What just happened?”

You’ve spoken about your children and how they’ve inspired some of your songs. Has motherhood changed you as an artist?

Absolutely. Life informs your art, and my kids have changed every aspect of my life, from decision-making to what I say in my lyrics. I realize as I get older that we’re not doing enough for future generations. It’s not fair that we’re not leaving the world in a better place. This affects what I write and say. There are a lot of themes on this record about AI and other issues that terrify me. Everything comes from the standpoint of being a mom and wanting things to be better.

As someone who has seen the music industry change, do you think you would fare as well if you started today?

Oh, I wouldn’t be doing what I’m doing for sure. I wouldn’t even attempt it. Having people in my business doesn’t come naturally to me. I wouldn’t be able to deal with the scrutiny, social media, and the full-time job of self-promotion. I don’t have a thick enough skin. My admiration for artists today is immense. What they deal with would shut me down.

What is your FAULT?

I bite my cuticles and sometimes I’ll, if I’m nervous, I’ll bite them until they bleed, you know, I’ll tear at them. Yeah. That’s human, just like a nervous, nervous thing. Bloody cuticles.