Shelby is sitting on the couch next to her collaborator and friend Karen Fairchild, who鈥檚 supposed to be promoting a greatest hits project from her own popular country vocal group, . And yet, here Fairchild is talking up the new music Lynne鈥檚 made, specifically Lynne's fluent transitions between poetically bluesy spoken passages and handsome, stirring hooks.
鈥淪he'll just start singing some beautiful melody,鈥� Fairchild marvels.
Lynne responds with appreciation for what Fairchild鈥檚 mere presence does for her own creativity. 鈥淪he just walks in and everything feels better,鈥� she says.
鈥淭he other day, she texted me and said, 鈥楢re you OK?鈥� 鈥� Lynne says of Fairchild鈥檚 protectiveness. 鈥淎nd I said, 鈥楬ell no. I'm not OK. But I'll be there Thursday [for this interview].鈥� 鈥�
It鈥檚 practically unheard of for an artist to be managed by another currently in-demand star the way Lynne is by Fairchild.
鈥淪he didn鈥檛 have anybody,鈥� Fairchild explains, 鈥渁nd I get very passionate about people that need opportunity and need to get back out there and share their talent.鈥�
Lynne has her own theory of why the arrangement鈥檚 working: 鈥淸Who] better to understand what it鈥檚 like than another artist?鈥�
An extra measure of empathy is necessary, Lynne recognizes, because she鈥檚 not the easiest client to manage. 鈥�I haven't ever thought of myself as anybody but an old, grouchy Alabama woman that sings pretty good,鈥� she says with a hint of mischief in her steely, blue eyes. 鈥淚 never liked the business. When we started working, I had a paper trail that would scald a dog.鈥�
There was so much to sort through, from convoluted contracts to the stockpile of master recordings that Fairchild was alarmed to discover were stacked next to Lynne鈥檚 fireplace (as opposed to in climate-controlled storage). Those are the artifacts of the long and complicated career of a true singer鈥檚 singer.
From the moment that a teenaged Lynne arrived in Nashville in the late 1980s, she impressed country music鈥檚 legendary old-timers with her pipes (right out of the gate, she dueted with ) and mystified industry executives with her self-determination. More than a decade later, she was crowned 鈥渂est new artist鈥� by the Grammys 鈥� her bright, but brief, pop breakthrough. And because she was never at ease in the music industry, her artistic contributions fell by the wayside over time. It鈥檚 music-making women like Fairchild, who admire Lynne and have walked their own challenging career paths, who鈥檝e beckoned Lynne back to the spotlight.
Only now is she truly making sense of what鈥檚 transpired during her 35 years of recording, from the big-budget projects to the DIY ones. Back in the day, she wasn鈥檛 always pleased with her output, even when it made a modest showing on the country charts the way her early 鈥�90s breakup ballad 鈥淭hings Are Tough All Over鈥� did. 鈥淭hat was a hit record,鈥� she notes, 鈥渁nd I never would sing it because men folk made me [record] it."
"I didn't care how good it was. Oooh, I was starting to be my rebel, miserable self!鈥�
Lynne wanted more say in what songs she would interpret 鈥� and the chance to write her own. 鈥淭hat was what was missing in my records,鈥� she reflects, 鈥渕y stories, my feelings.鈥�
After a decade of chafing against the control of the men who ran the Nashville music industry, she left for the West Coast, leaving plentiful lore behind. And out there, she wrote a revelatory southern soul and pop album, and titled it like a proper introduction: .
That鈥檚 what got her Lynne the Grammy. But with that success, industry pressure only increased. And the media pried into her personal life, which she resisted with all of her might. She retreated into making stripped-down, self-released albums in her living room. It didn鈥檛 help, Fairchild points out, that Lynne wasn鈥檛 sober.
鈥淵eah, that鈥檚 a big deal,鈥� Lynne concurs.
So big that Fairchild checks in: 鈥淚s that OK to say?鈥�
鈥淎bsolutely,鈥� Lynne reassures emphatically.
When she quietly returned to Nashville in 2018, it was to be near her singer-songwriter sister, . Lynne had no designs on reviving her recording career. She didn鈥檛 exactly expect a welcome.
But one friend connected her with another artist, , who called up Fairchild. They casually started writing songs around Lynne鈥檚 kitchen table and, with the help of engineer and producer Gena Johnson, gradually persuaded Lynne to make an album, something Lynne says she was in no emotional shape to do by herself.
鈥淚t's difficult for me to say it, but I'll say it: I have not really liked myself a lot,鈥� she says. 鈥淏ecause I didn't know who I was. And I'm starting to know who I am because of the safety net. And that comes from Karen and Ashley and Gena. I'm allowed to know myself, and I'm looking kind of forward to it.鈥�
Lynne would toss out melodies worthy of pop standards, and the others would support her voice with theirs, as though they were an R&B girl group. They built throwback drum machine beats and layered on guitar, bass and keyboards. And they did it all without calling on Nashville鈥檚 famed session players. 鈥�We just had a vibe,鈥� Lynne explains. 鈥淲e wanted to keep going with it.鈥�
They wove a sample of from I Am Shelby Lynne into a new tune called 鈥淏ut I Ain鈥檛鈥� that captures the serrated edge of fresh heartache, only to discover that Lynne didn鈥檛 own the rights to use the old recording that way. So during a late-night session, they just retracked those parts.
That鈥檚 not the only way that the circle of music-making women who鈥檝e gathered around Lynne are lifting up her legacy. They helped her get settled on Monument Records, the present-day version of the first record label she signed with back in the day. And that鈥檚 who鈥檚 put out her new album, , and reissued her most famous one for its 25th anniversary.
Next month, Lynne will receive a , and she鈥檚 about to play some of her highest profile shows to date, one opening for her manager鈥檚 band, Little Big Town.
Fairchild wants to see Lynne get her due. And maybe some more Grammys. And a Country Music Hall of Fame induction. Those are, after all, some of the primary ways of acknowledging an artist鈥檚 enduring importance.
鈥淒o we want some of the accolades?鈥� Fairchild asks aloud. 鈥淒o I selfishly want them for her? Yes. Probably more than I would want them for myself. But the icing on the cake will be to watch fans appreciate the record, and for the word to get out that she's back.鈥�
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