'It’s curious to me how black artists working in black genres get treated, versus when a non-black artist working in that genre is more celebrated.' jamilawoods in conversation with MacyGraysLife
The album is both a celebration of these various voices and an investigation of their place in America, as seen through Woods’ intricately woven lyrics. One Monday afternoon, Woods joined Gray at her home in Los Angeles to discuss the musicians and writers’ respective histories, both musical and personal, and make a case for creativity, vulnerability, and Lil Nas X.
WOODS: I always loved singing, and I was in a lot of church choirs. But I never thought that I could sing as a solo artist, just because my voice couldn’t do the things I saw other people doing, like getting the solos and doing runs. I ended up getting into poetry kind of by accident–I signed up for the music one and the theater one, and they just put me in the poetry one. Then I fell in love with it because it felt like a language that I could finally speak that everybody understood me in.
People don’t really think about us. So I think there’s a sense that you have to work harder being from Chicago, and people have a more collaborative energy because there’s not a bunch of labels or a bunch of industries. There’s more freedom to work with whoever you wanna work with, and a lot of people do more than one thing. I noticed that about a lot of people in Chicago, like
I mean, the hook is like… but the music is not country, is it? There’s nothing country in there. But because he did it with Billy Ray… I think that there’s a lot of overt blackness in my music. I feel like a lot of black people recognize that, and are attracted to that, which is my goal. But then non-black people are sometimes like, “Ooh, how do I deal with this type of black music?” Sometimes people are like, “Oh, I’m a white man from Kansas, I’m sorry, I know it’s not for me, but I like it,” and I’m like, that’s cool.
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