S.G. Goodman Speaks For The Unrepresented South

Making the claim that anyone represents any kind of unrepresented demographic is… well, a pretty bold claim. Kentucky-based singer-songwriter S.G. Goodman certainly didn’t make that claim about herself. Nonetheless, Goodman’s is a rare and unique case in which it really might be accurate to say that she speaks for those who have a limited voice, at least insofar as national media coverage goes. Why is that? Well, Goodman is shining a spotlight on the colorful and ever-growing progressive community in the South.

See, since the days of post-Civil War carpetbaggers, the South has struggled with regaining a sense of identity without getting tied up in the wildly complex consequences and lasting horrors of the war. Over the course of generations, that struggle has grown into the Southern culture that we all are familiar with today. Yet, the nuances and variety of that culture have been lost somewhere along the way. On her debut album, Old Time Feeling, which dropped on July 17, Goodman addresses this, letting the rest of the country know that even though they’re not in the spotlight, progressives are very much present in the South.

Produced by fellow Kentuckian, Jim James, Old Time Feeling captures Goodman’s effortless ability to craft songs that feel as uniquely intimate as they do uniquely American. A member of the LGBT+ community, Goodman’s story offers an insightful look at what modern Southern culture is really like, not just what it appears to be like from an outside perspective. Last month, American Songwriter caught up with Goodman to talk about these themes, her views on the current political landscape and how she ties that all together in the form of song. 

Tell me about making this record — what was it like working with Jim James?

Most of my songs draw from the imagery and experience of living in Kentucky, so it only felt right to work with another Kentuckian on it. Jim has been and continues to be very encouraging of my work. Just to have that kind of reassurance from someone of his caliber — whose music I respect so much — was really beneficial for stoking the fire. All in all, I’d say that it’s been a very positive experience, getting to connect and collaborate with him on that level. He’s also someone who’s really passionate about Kentucky and the art that comes from here. Our vision really aligned, it was a great experience. 

When did you first get into songwriting?

I’m not really sure. I think as a child I wrote songs all the time without consciously knowing that that’s what I was doing. When I was 15, I talked my parents into letting me quit sports to take guitar lessons. I didn’t take lessons for very long and honestly, I didn’t learn a lot. I would come in with a song I had written and my instructor would play cool riffs and stuff over it. So, I didn’t really learn anything technical about the guitar, but it did make me feel like I was writing a good song. So, I continued with it and it’s become something that I can’t avoid anymore. Songs come to me, they happen. I feel called to do it. Even when I graduated college, music was always the thing that I felt most passionate about.

How has your upbringing in the South affected your artistry?

I think a constant narrative in Southern writing deals with the outsider trying to come in and teach people the “truth.” What I’m trying to get at is that the South has a long history of “don’t come in and try to tell me what to do. You’re not from here, you don’t understand the lay of the land.” For me, I was born in Tennessee and raised in Kentucky, so I’m very familiar with the generational cycles that need to be exposed, talked about and eradicated. So, I’m not an outsider, but I am an outlier in the sense that I consider myself to be progressive. Though I understand the social codes, they are things that I want to see exposed and changed. Instead of being a person from outside the region speaking about the South’s issues, I know the language. 

So, in a sense, there’s still a real presence of “carpetbagging?”

Yeah. The South has definitely been victim to a lot of stereotypes. When a Southern state passes an outdated law — for instance, the first thing that the Tennessee legislature did this year was try to give an adoption organization the “religious freedom” to deny same-sex couples. Someone who lives on the coasts or in a big, progressive city might shake their head and say “really?” But, when you’re here and you’ve sat in the church pews and you’ve talked to the folks at the little cafes and diners, you understand that that is still where a lot of people are. It doesn’t shock you. It wasn’t a shock to me that Trump became president. 

I guess one of the things I feel most compelled to say is that there are people who are fighting for progressive change in the South and in rural areas. I think it’s important for people outside of these areas to see those efforts and understand that the only way to change this place is from within. I made a conscious choice to remain in Kentucky because I feel like my vote is important here. I don’t judge people for moving away from rural areas or the South because they’re unsafe. Sometimes people’s mental or physical health is at risk. I understand that very well. But, I do feel that there is a true need for people who want to see change to understand how important it is to live out those values in your daily life and during elections.

Do you feel that national progressive movements ignore Southern progressives? 

There is definitely a lack of representation. The spotlight is never on the progressive organizations that are trying to combat some of these more outdated and conservative laws that are being passed. I am a huge supporter and follower of a group called Queer Appalachia, which is a collective of artists who serve as representation for people in rural areas. They say “hey, we’re here.” They also spearhead a lot of amazing efforts for stuff like the Black Mama’s Bail Out fund and things like that. So, they’re talking about the things that other Southerns and rural people — both outside and within the LGBT+ community — are not. Because of that collective, other collectives have started popping up. They bring attention to a lot of these issues and these organizations. There are all those folks trying to be a part of a Southern progressive movement and they do not get the attention they deserve. It’s because these groups don’t reaffirm outsiders’ views of who Southerners are.

There are many wonderful ways to describe the South, but one thing that’s definitely true is that it’s very complicated. It’s complex. For someone who’s family hasn’t worked the same coal mine in the same county for generations, it’s easy to say “we should just eradicate the usage of coal.” There’s no initiative from our state or from any corporations to come in and bring new industries to those areas. So, you see people voting against their best interests because in the present moment it’s an issue of whether or not they’ll be able to feed themselves or stay in their homes. Especially since the downfall of workers’ unions here — in an area where the minimum wage is low and the cost of living is low, someone who makes $40,000 a year believes that that’s good money. It’s really hard to tell them that that’s about $10,000 below the national average. It’s hard to talk about these things because… well, shit, it’s complicated!

As a farmer’s daughter, it’s difficult to question the very lifestyle that’s put food on my table and given my family their existence. At the end of the day, there’s no way to not speak against the thing that’s put food on my table. When you ask people to do that, it’s a vulnerable thing. It’s dangerous. I think our nation has proven that they’re not on our side in those conversations and questions. They’ve made it so there’s no room for that. As a Southerner, I’m very proud of what my family does. I’m proud of being from a rural place. When I call certain things into question, it’s very, very close to home for me.

What is the role of music in all of this? How does it play into activism in the South?

Well, for one: it’s been frustrating. I’m a pretty new artist. I don’t have a huge voice right now. But, I would love to see musicians everywhere get involved. You don’t even have to encourage someone to vote for a particular party or a particular person — I do that because I don’t have anything to lose. 

During the pandemic, I’m so happy that music can bring people comfort. We’re in the entertainment industry and I understand that, but we also have a large platform and the very least we could do during our “Kumbaya” livestreams is to encourage our followers to be in touch with their elected officials. Right now, our government is failing people left and right. That’s why people are protesting in the streets. That’s why I’m pushing people to realize the importance of a person from Missouri being active in Kentucky politics. My senator affects that person. My senator affects people all over the country. Right now, if people don’t realize the importance of being aware of what’s going on in our neighboring states, then I don’t know if they’ve been paying attention. 

I’m not an expert, but the most important election happening this year will be the one with Mitch McConnell. That will affect every American, whether they choose to see that or not. Kentuckians hold the entire nation’s safety and well-being in their hands. I think musicians can have a very powerful impact on bringing awareness to that. Whether they choose to do so, I don’t know. But people need to be aware that it doesn’t matter who the president is if Mitch McConnell stays in office. We’ve seen him under a Democrat and a Republican, and he’s been the most powerful person in Washington throughout it all.

What’s your approach to writing songs about these issues?

I write what comes to me. A mentor of mine once taught me to respect my characters. When I write about the South, where I’m from, the people there, my experience I’ve had with it, I take it very seriously. I try to be respectful of what I’m saying and who I’m speaking about. You have to respect your characters. I don’t sit down and say “I’m going to write a political song today.” No, those songs come to me in the same way a love song does. They just happen. It’s a craft, it’s a puzzle. It’s just inspired writing, I’m not sure I look at it in any particular way. Expect, in order to be respectful to a character, you have to be fair. You have to speak from a place of truth.

Watch the video for S.G. Goodman’s “Space and Time” below: