I don’t have many superlatives to my name. I’m tall for a woman, but not exceptionally so. I run at an unremarkable speed. I am passable at a couple of instruments and by dumb luck I ended up writing about music with a bunch of people much more insightful and talented than I. But apparently I’m also Mason Jennings’s weirdest fan, a designation I’ll accept even though my sister was the one who insisted we compare our enormous hands. “Do you have a hard time rock climbing too?” Mason asked me.
In advance of his upcoming, piano-centric album Minnesota, the lo-fi songwriter answered some questions about inspiration, process and awkward fans. With all the enthusiasm of a fan of many years, I present the Spectrum Culture interview with Mason Jennings.
How long have you been playing piano? Are there any instruments you haven’t learned or would like to?
I’ve been playing piano for a long time. I took piano lessons from my cousin when I was 10 or so but really never followed up on it until later. I fell in love with Beethoven’s sonatas in my early 20s and tried learning them very slowly. That had a big influence on my playing and writing. If I ever feel like learning a new instrument, I go and rent one from a local music store. That’s fun. I have my work cut out these days with guitar, piano and drums.
How is composing for the piano different than guitar? Did it impact the songs on Minnesota?
I think with piano writing, I tend to write a secondary melody line on piano that sort of sings back and forth with my vocal line. Examples of that would be “Bitter Heart,” “No Relief,” etc. I think the chords I naturally gravitate towards are always different on piano, too.
I read somewhere else where you mentioned liking the drums to sing back and forth with the vocals too. Can you explain that sound a little more? What appeals to you about writing like that?
Yeah, I’ve said in the past that drums are as important as the lead vocal. The great drummers sing back to the vocalist. The drummer has to have as much charisma as the singer. That is when bands really pop. The Clash, Zeppelin, Vampire Weekend, U2, the ‘Stones, Weezer, Nirvana, etc.
You emphasized the electric guitar on Blood of Man and now piano for Minnesota. Is this how you’re developing as an artist or are you just restless with one instrument?
I just wait for an instrument to light up, you know? Like, I look around the room and some days the piano lights up. It looks like fun. Other days the drums look like fun. I just play whatever looks fun and it’s always changing.
Which of your albums and children is your favorite? (Kidding about that second one….)
My favorite album is always the one I am working on.
Does songwriting get easier after seven, eight, nine albums? How has your process changed over the years?
It doesn’t get easier or harder; it just evolves. The process of songwriting for me has always been about going after what is interesting to me. And that can change over time. So the key is to not get stuck in old thoughts or thinking you know “what works.” It is always changing.
Your songs really run the emotional gamut—songs like “Your New Man” are really silly and fun, but “The Field” still makes me cry every time I hear it. How do you access that range of feeling in a live performance?
I love music so much. The fact that I get to play it is a gift. It is a joy to play, always. I like when shows have contrast and emotional variety. I like art that has that.
Which songs do you like performing best? Which do your fans respond to?
That just depends on the night and the fans. I love when I put out a new album, how friends will tell me which song is their favorite and it’s always different songs. That’s when I know it’s a solid album.
You’re a pretty low-key guy and you’ve been very deliberate about making the music you want without compromise. You’re also getting big enough to be an influence on younger songwriters. Did you ever see yourself in that position? How do you feel about being someone’s influence?
I feel fortunate. I always have felt like everyone is an influence on everyone else. I mean, people stand out in my mind from my past as being huge influences and they weren’t even in the arts at all. Teachers, coaches, counselors, friends, etc. It seems to me that the thing that has influenced me the most from others is kindness. I really admire that in people. That and presence. When people are really with you. You know? That’s super dope.
That’s a very yogic idea. How would you have answered a question about being someone else’s influence before you began meditating? Have yoga or meditation affected the way you relate to music?
It’s impossible to know. They’ve affected me in so many ways. I like mantric meditation because it reminds me of songwriting and music creation.
What advice do you have for songwriters who look up to you?
I have no advice, I guess. In my experience though, I can say that the greatest joy from a life of music is getting to make music and getting to walk that walk with wonderful friends. There is no pot of gold besides that. The joy is the same joy it has always been. Being interested and engaged in life and expressing oneself and sharing that with others. Noticing the beauty all around. I don’t know.
Okay, my advice: Every time you play music, whether it is alone or in front of others, you have the power to change your surroundings, to bring love and joy to others, to speak truth and to bring comfort. Every time.
Who or what inspires you these days?
My family inspires me. Nature inspires me. Kindness inspires me. Lionel Messi inspires me. J.K. Rowling inspires me. My new dog inspires me.
What about authors and soccer players inspires you?
Their haircuts. I like when people are really interested in something. I like people who pay attention and practice a craft.
Have you read The Hunger Games?
I LOVE the Hunger Games. And Jennifer Lawrence being cast in those movies is just fine by me.
Have you thought about other types of writing, like poetry or prose?
I’ve thought about it. I’m open to all that for sure.
To end things on a weird note – I met you once at the State Theater near DC and we compared giant hands. Do you remember that, were you impressed and excluding that one, what’s the weirdest interaction you’ve had with a fan?
That was easily the weirdest interaction I’ve had with a fan. Giant hands down. 
Excluding that one, they’ve all been really chill.
