ANIMA

In her debut EP, indie soul artist Jess Baldwin weaves playful rhythms, lush textures, and butterscotch vocals into stories about finding love, finding self, and finding home.

Sounds like Gretchen Parlato, Laura Mvula, Haitus Kaiyote, Becca Stevens, Lake Street Dive

Debut at 42

Jess Baldwin started singing in her carseat and never stopped. She grew up immersed in music, got two degrees in it, and built her career around it. But she wouldn’t release her debut EP until her 42nd birthday.

Others First

For the first 35 years of her life, Jess only performed other people’s music.

“I loved being in service to other people in music. I loved imitating my favorite singers, honoring the composer’s markings in an art song, closely following a choir conductor’s direction, being sensitive to a performer’s choices while at the piano.”

But there was a shadow side to her love of service.

“Focusing on others was how I maintained a feeling of safety and worth as a kid, and that was reflected in my early career. Plus, Christianity was incredibly important in my family, and I subconsciously prioritized the codependent parts of it. ‘Always put others first. Be self-sacrificial.’

“All of that stuff put together meant that writing music and expecting people to listen or care felt really self-centered to me. I didn’t feel that way about anyone else. Just myself. But that’s what codependency is. Everyone deserves what they need more than you.”

Learning to be Self-ish

Jess credits therapy and self-help books with her shift in mindset. While journaling one day, she noticed a change in her perception of the word selfish.

“I was thinking about people I admired and noticed that they all had this really strong self-concept. They were clear about who they were and what they wanted. They had a better balance of meeting their own needs while also being conscious of others. They were more self-ish, as in, their self was vibrant and clear, and they embraced and celebrated it. I wanted more of that.

“I was also digging deeper into what it meant to have a clear identity as an artist. To have something to say. To be strong enough in how you put yourself out there that people can easily identify you. I had to get over my stuff about the focus being on me.”

the door at the end of the tunnel

Baldwin convinced herself she’d be perfectly happy being in service to other people’s music for the rest of her life until Julia Cameron’s book The Artist’s Way cracked open the door.

“The first time I read The Artist’s Way in my mid-20’s, I knew I was supposed to write music. I was recently reading old journals from that time, and I was legitimately scared that God would think I was selfish for putting the focus on myself as an artist.”

Despite this fear, something in Jess’ gut knew she needed to stay open to the possibility.

“I had this image of a door at the end of a long hallway, barely cracked open with a sliver of light around it. I knew my songs were on the other side of it, but somehow I knew that the parts of myself I’d been sacrificing and hiding were there, too, and that I’d have to face all that. Even though it scared me, I couldn’t live like I wasn’t going to write anymore. I knew the door was there, and I had to get myself to the other side of it.”

Finding lyric writing more difficult, Baldwin started with music writing first, specifically arranging unique covers of her favorite songs. “Over the Rainbow” in 5/4 was one of her first.

“I arranged tunes by Barber, Björk, and Weezer. I wasn’t quite ready to write my own words, and reimagining songs was a great bridge.”

She also set modern poetry.

“Setting poetry is a long tradition in art song, and I just let myself explore that for a while to get the hang of setting words.”

As she wrote arrangements and poetry settings, she started gathering lines of lyrics from journals and free writes that would eventually become parts of songs.

A Leap of Faith

Baldwin’s first performance of an original song was in 2018 at the age of 37. She was featured on American Public Television’s Songs at the Center, a show where singer-songwriters perform their originals in the round.

“I was invited because the folks on the show knew me as a performer, and they assumed I had original songs. I didn’t. But I was not going to turn down that opportunity, so I kept that detail to myself, accepted the gig, and got to work. Based on the arrangements and lyric snippets I’d done up until that point, I knew I could pull the songs together. It just needed the impetus.”

No One Is Alone

Financing was one of the tougher hurdles Baldwin faced in making the album happen.

“We don’t talk about the business of being a musician in music school. At all. That part properly freaked me out. I started reading several books about how to do crowdfunding and realized it was going to be really intense. It was intimidating. Plus, I was really stuck in this belief that being a successful artist meant being able to do everything myself, which made it even scarier.”

Baldwin started noticing that none of her independent artist friends were actually doing everything by themselves. They all had a team of some sort. Most had a partner and/or family members who helped them, and many hired people to do the parts they didn’t enjoy or weren’t good at. She’d also joined a voice business owner group for her coaching business True Colors Voice and Artist Coaching, and she was starting to see more evidence of the reality that having a team was the key to growing a successful business.

“I realized it was time to build my team, and I started by looking for a Kickstarter coach. I was super thankful to find the amazing Laser Malena-Webber.”

With Laser’s help, Baldwin planned and ran the campaign during the COVID pandemic, and she loved the way it helped her build connection with her listeners.

“The campaign was definitely one of the hardest things I’ve ever done, but it was also one of the most rewarding. I built much stronger connections with my listeners because they were invited into the process and could help it happen. I’d always felt so uncomfortable asking for help, but I learned that relationships aren’t just about being the giver. They’re about letting yourself receive. People prefer relationships where they know they have something to offer.”

Crossing the Finish Line

After crowdfunding was complete, Baldwin finished her arrangements to get ready for the studio.

“I didn’t expect production and arranging to be something that put me in such a state of flow. It was the one thing about the album process where ideas were coming out of the ether with no effort. It was invigorating.”

Recording itself was quick and easy.

“After all of that planning, preparing, stressing, and fundraising, it’s kinda crazy how quickly the actual recording part happens. Everyone came in and knocked it out super fast. Such professionals. We finished the bulk of the recording in two days, and all that was left was my vocals and the horns and strings, which took just a few sessions.”

Influences

The album reflects many of Jess’ influences in jazz, soul, pop, and even classical music: Gretchen Parlato, Kate McGarry, Erykah Badu, Haitus Kaiyote, Laura Mvula, Lake Street Dive, Sara Bareilles, Sufjan Stevens, Debussy, and Steve Reich.

“I totally worked toward specific sounds related to my influences, but when I listen back over the songs, all of these subconscious things showed up in ways I didn’t consciously try to include. It’s like my favorite artists snuck in and added subtle touches when I wasn’t looking. I know that’s a common experience for creators, but it doesn’t make it any less cool when you notice it happening in your own stuff.”

Don’t Panic

Baldwin released the first single “April Fool” on April Fool’s Day, and continued releasing one single per month leading up to the full release of the EP on her 42nd birthday.

“I had hoped to have my first album out before I was 40, but that just wasn’t possible. Once the timeline became clearer, I loved the idea that it might work out to release it on my 42nd birthday since The Hitchhiker’s Guide to the Galaxy is one of my absolute favorite movies. And that’s what happened.”

A Deep Sense of Satisfaction

Baldwin says the whole album creation experience was deeply fulfilling.

“For me, creating this album has been of the most beautiful experiences of my life. Every part of the process has grown and rewarded me in so many ways. The intense satisfaction that I feel tells me this was something I really needed to do. It’s one of those things that I’ll look back over my life and feel particularly proud of.”

Behind The Songs

April Fool

The album starts with “April Fool,” a whimsical cosmic carousel about falling in love with The Fool, an archetype that represents new beginnings, spontaneity, heading into the unknown, and trusting your instincts.

The Fool was absolutely the energy in my mid 20’s. I was ready to hit the ground running after grad school, and had moved to a new town for work opportunities. I was also starting to deconstruct my faith. Potential was everywhere.

I was also falling in love with someone who valued spontaneity. The Fool was his favorite tarot card. I met him on a Good Friday in April.

The InBetween

I woke up one day with no idea who I was, where I was, or what I was responsible for. It was a fleeting moment that was equal parts wonderful and scary. In the moment, I thought, “I’m in The InBetween.” It was the only moment of egolessness I’ve ever experienced. It passed quickly, and once I came to, I realized it was the autumnal equinox…earth’s day of perfect balance between light and dark. It was fitting.

I had recently become aware of how much anxiety I had around choice. Every choice was a crossroads with at least one path that was filled with regret, and I was always trying to avoid that path. And any state of not knowing which path to take next would leave me in that space of fear about choosing the “wrong” one. I would envision an avalanche of worst case scenarios that I felt powerless to stop.

But in one particular bodywork session, a different visual came to me. I was floating in the middle of a ring of doors in the sky. There was no ground. Just possibility. I felt that no matter which door I chose, I could always come back to this place and just try another door. My anxiety subsided immensely in that moment, and I’ve used that imagery many times since when I’ve gotten stuck in the “one best choice” ideology. That vision and my feeling of The InBetween were closely related.

Wild

While writing “Wild,” I felt drawn to the Latin words anima and animus as I was looking for words related to animal.

I was pretty enmeshed with family members as a kid. There were many parts of my true self that had to be caged in as a result. Letting them out felt like letting out a wild animal that would hurt people.

I kept envisioning this tigress in the cage. Dangerous, but also beautiful, powerful, and colorful. In the cage, she was barely a tiger. Released, she was running through the grass, stripes rippling in the sun, awesome to witness simply because she was herself. Yes, she could hurt people, but she was fully alive.

I went to the roots of the word animal and found concepts like intention, courage, passion, intelligence. It helped me believe that we’re all supposed to be wild in our own ways.

Wild and Wonderful is the motto of my home state of West Virginia. It means something deeper to me now.

What I’m Not

The seeds of this song were planted after a fight with someone who was having a hard time with my faith deconstruction.

I’d just finished my semi-annual music studio performance, and this one was a particularly great mountaintop experience where I felt aligned with my purpose, my passion, and my wonderful community. I was seeing how the personal growth I’d been committed to was bearing fruit.

But this person was seeing me in this super-negative way. The fact that I wasn’t a Christian anymore cast this really dark shadow over how they saw me and my heart. The only thing they could see was that I wasn’t a Christian.

The juxtaposition of those two experiences was so jarring in the moment.

Even though that situation was the impetus for writing the song, I’ve been amazed by how often the words have applied to other situations for me.

Sometimes people just can’t see us. Just because someone thinks we’re wrong or bad doesn’t mean we are.

Home

In my late 30’s, I started to realize that I didn’t really know what it meant to feel at home in the way many people meant it. I was pretty disconnected from an inner sense of safety, security, and comfort. The past several years has been a journey to reprogram my nervous system so it can access safety and to craft areas of life where I can truly feel at rest and unafraid to be my fully integrated self.

By the Sea

The song is a bit of a departure from the rest of the songs on ANIMA. It's meant to be a light balance to the weightier, more complex tunes, so it’s the last track on the album. A digestif.

By the Sea is a breezy little Django-esque tune that elicits the magical feel of laying by the waves with someone who makes you swoon. It was inspired by a story from a friend about a trip to Oceania, where he heard whales singing as he slept on his boat. A seaside dream.

My usual writing method takes lots of time, but this one showed up in about 30 minutes with a ukulele and a cup of coffee.

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