Cover Story - Edan Archer
Edan Archer Electrifies the Americana Scene
by Mackenzie Patel
Utterly spell-binding, earnest to the core, and defying norms that traditional genres are riddled with, Edan Archer is an essential figure of the Americana music scene today. Toting her ornate dulcimer and singing about alcohol, death, and the struggles of reality, she is a breath of honesty in an industry that can otherwise seem contrived or all about “who you know.” Narrow Magazine spoke with Archer, a native of Gainesville, and picked her overflowing brain about festivals, the holy song-writing process, and Norse mythology.
Q: You attended the University of Florida briefly - can you tell us about your time here?
A: I was a music major for a year but left the program since it wasn’t a great fit. I come from a folk, country, and bluegrass tradition - what most people call “old-timey music.” I learned a lot of theory and ear training though and joined the Jacaré Brazilian ensemble. I was exposed to a lot of Brazilian music, drumming, and harmonies with an African street music influence.
Q: Your mom also taught Germanic Lore/Norse language at UF. How did that influence your music?
A: She was a teacher for a number of years and got her PhD at UF in runes, paganism, and witchcraft, which was considered “edgy” at the time. She was really into ancient Norse mythology legends and old Celtic, which is a parallel area to folk music. She has been a big influence on me...my song, Little Birds, is my version of a spiritual song about exposure to nature.
Q: What is performing in Gainesville like compared to bigger audiences in Nashville or South by Southwest?
A: Gainesville is an intersection of punk, folk, and anti establishment...DIY crowds that tend to be younger. Students hang out in midtown while other venues are downtown - we have to bring everyone together. I find that other cities like Nashville are a mix of generations, but every city has their own vibe. I played at the Tom Petty Bash in Depot Park for the last two years and that was a lot for Gainesville; it’s bringing more artists to Gainesville and good for the culture of the town.
Q: You performed at South by Southwest last year and are returning this year. How did you take all the craziness in and what you looking forward to?
A: SxSW is crazy, just totally insane, and the first year I was thinking “what’s going on?” But this year, I’m going to focus on my show, see a couple of artists I want to see and not stress too much - less is more. I’m excited because my sister is going to sing with me. We grew up singing harmonies together and it’s magical the way siblings voices blend together...we’re playing the Americana showcase, which means a little rock, folk, and Appalachian blues.
Q: Do you like performing smaller shows or do you enjoy the vibes of a larger scene like a music festival?
A: Everyone loves a big stage! I switch up the songs when the stage is bigger and want to take up the space I’m given. The drum beats are louder and it’s just different vibes than a small venue. I love playing with a band on a big stage and meeting new people at festivals. I also love smaller shows though and telling stories, seeing people’s faces, and having small intimate gatherings. I’m playing Gasparilla soon, and I’m super excited and grateful to them for supporting an emerging artist like myself. I’m excited to play the Tampa area and do a bang up job.
Q: You are known for being a really prolific songwriter and your lyrics attest to that. Do you have a specific songwriting process?
A: It’s definitely evolved. It feels like a seed that sprouts within me...there’s a season when it wants to grow and a season when it’s hiding under the snow and waiting for the metaphorical winter to be over. I write everything together most of the time, lyrics and guitar parts. Sometimes songs take 30 minutes, sometimes they take ten years. I’ll come back to the song when it’s done “marinating,”... songs have lives of their own. There are things to help the process though; I used to drink wine when I wrote. I don’t really drink anymore so the writing process is different. I have to create a lot of empty space in my life now and wait for myself to get really bored - that’s when things bubble up.
Q: Your songs, such as “Scenes from a Spanish Cantina,” have a Latin flare. What’s your favorite part about Latin music that you try to incorporate into your own music?
A: I love the rhythms because they’re really unique and complex. Afrocuban and Brazilian music are similar to the music from the American south...it’s super complicated so I only incorporate a few parts. I’m also influenced by Mariachi and cowboy music - I spent a lot of time in Mexico growing up and those songs, “music of the people,” have that kind of passion and power because it comes from real life, which is having kids, working, being poor…
Q: Outside of country, bluegrass, singer-songwriter, do you have any unexpected genres you like?
A: I LOVE pop music because it features so many women artists, think Ariana Grande, Taylor Swift, Lizzo. I also like traditional flamenco from Spain because my mother had these authentic flamenco vinyls from the 60s. The singers will go into a dream spirit, duende, and lose themselves. My mother always said you had to be a gypsy to sing that. I’m also into anthropological recordings of old Scottish folk songs and original field folk recordings...there’s different melodies and meanings, like one song is supposed to be sung while milking a cow or songs for singing over the deathbed.
Q: What about your career as a musician makes you the happiest?
A: The fact that I am doing it because for a long time, I wasn’t pursuing it. I was a teacher. I got my Masters of Education at UF - and needed a job to pay rent. I was trying to be responsible and do what our culture says is the most “responsible thing,” but I wasn’t happy… my heart was rebelling in a lot of ways and struggling. Everybody will tell you “there’s always a reason not to do something that’s hard.” Music is hard, it’s a real struggle, so you have to be 100% sure that you can’t do anything else and be happy. I can’t - I have to do this - so I’m grateful I’m able to make music and that people are supporting me. Life is too short to live someone else's agenda.