{"id":1808316,"date":"2026-07-01T07:44:37","date_gmt":"2026-07-01T07:44:37","guid":{"rendered":"https:\/\/celebrity.land\/pt\/?p=1808316"},"modified":"2026-07-01T07:44:37","modified_gmt":"2026-07-01T07:44:37","slug":"sara-bareilles-interview-new-album-good-grief-documentary-and-more","status":"publish","type":"post","link":"https:\/\/celebrity.land\/pt\/sara-bareilles-interview-new-album-good-grief-documentary-and-more\/","title":{"rendered":"Sara Bareilles Interview: New Album \u2018Good Grief,\u2019 Documentary and More"},"content":{"rendered":"\n
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\n\t\t<\/span>t this point in her life and career, Sara Bareilles<\/a> has no time for anything that\u2019s not real. \u201cThe decade of my forties has been all about stripping away artifice,\u201d the singer-songwriter says. \u201cI don\u2019t want distance in my relationships, in my conversations, [with] fans, or the music. I don\u2019t want artifice. I think it\u2019s very easy to hide. And I\u2019m terrified, but I\u2019m not hiding.\u201d<\/p>\n

\n\tIt\u2019s been nearly two decades since Bareilles broke out with \u201cLove Song,\u201d the 2007 piano ballad that was her cheeky response to her label (just think of it as the millennial version of Joni Mitchell\u2019s \u201cYou Turn Me On I\u2019m a Radio\u201d).\u00a0Ironically, \u201cLove Song\u201d became a hit and earned Bareilles two Grammy nominations, but she immediately found the life of a recording artist to be monotonous. Instead, she branched out into Broadway \u2014 beginning with 2015\u2019s Waitress<\/em>, which she wrote the music and lyrics and starred in \u2014 and television, notably Girls5eva<\/em>, where she was a member of a rad fictional pop group. It\u2019s fair to say that across the last 19 years, Bareilles has lived many different lives. \u201cI think of us as Russian nesting dolls,\u201d she says. \u201cWe carry those parts of ourselves. We just encase ourselves as we move forward in time.\u201d\u00a0<\/p>\n

\n\tOn Aug. 28, Bareilles will release Good Grief<\/em><\/a>, her first new album in seven years. It\u2019s a reflection on loss and the power of healing, paired with an accompanying documentary and tour. She detailed these upcoming projects and reflected on her career in her very first Rolling Stone Interview.<\/a> <\/p>\n

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\n\t\tWatch the video interview below\t<\/h2>\n
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\n\tOn a rainy night in early June, Bareilles is sitting in a black velvet long-sleeve dress, greeting the crowd at New York\u2019s Cherry Lane Theatre. She\u2019s about to kick off Rolling Stone<\/em>\u2019s residency<\/a> at the intimate and historic venue, where she\u2019ll partake in an onstage version of our classic conversation series, followed by a stripped-down performance alongside guitarist Butterfly Boucher and keyboardist Misty Boyce. \u201cThere\u2019s a part of me that\u2019s worried that my vagina is going to flash,\u201d she tells the crowd. \u201cSo if that happens at any point, I want two fingers separated to let me know, and we will adjust for the camera. Great. Thank you. Back to my grief.\u201d<\/p>\n

\n\tGood Grief<\/em> is your first studio album in seven years. How did it come together?
<\/strong>The genesis for this project started in 2020 with a little thing called Covid-19. The pandemic for me, as for many people, was like a seismic reorientation. My mental health, which has always been something that I\u2019ve had to work really hard to maintain, took just a total nose dive, and I was in the throes of anxious, depressive episodes that I could not shake. I was so overwhelmed by the magnitude of the experience of the pandemic and the world shutting down. And then what we saw happen with our administration and how we were managing this enormous global crisis, I shut down. I would see all these artists having a lot to do and say and create from the impact of the experience, and I just really got quiet.<\/p>\n

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\n\tAnd then one of my best friends passed away in 2020. His name was Chad [Joseph], and he died of stage 4 lung cancer. He got diagnosed and was gone in eight months, and he\u2019d been a part of my life for decades. And then I got on Lexapro, which I highly recommend, if you need it. There are a couple of songs on the record that were written in 2020, which feel like a bookend that were like the seeds of a very desperate, empty place within myself. And then moving forward in time, things got a little better. I lost another dear friend, Gavin Creel. I was on a very challenging fertility journey that I continue to be on, and just a lot of grief. And I feel like the vast majority of what I see happening and what\u2019s coming out sideways in our world is unprocessed grief. So, yeah, it started in 2020, and it\u2019s continued.<\/p>\n

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\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n

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\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n

\n\tI feel humans have gotten to a place where we can talk more comfortably about mental health, but we\u2019re still working through how to talk about grief. And sharing grief really helps us process it. Tell me a little bit about the conversations that you had with others about grief, and how it shaped the album.<\/strong>
<\/strong>What I realized is that grief must be witnessed. You must share it. It doesn\u2019t heal on its own. You can\u2019t go to your corner and figure it out. The alchemy of it doesn\u2019t change unless you share it with other people. And the recognition that is born from taking the time to share and unpack and just see each other in your grief is the thing that actually transforms and transmutes. And it\u2019s crazy to say, [but] the pain of the last six years of my life, I almost wouldn\u2019t change. Of course I wish my friends were still here, but I am a different person because of losing them and loving them. And I am more of who I think I\u2019m meant to become because of it. So it\u2019s wild. Grief is a miracle. It\u2019s just love. It\u2019s so beautiful.<\/p>\n

\n\tOnce I started feeling a little bit better \u2014 not just with the help of medication, but meditation and therapy, and really doing some work with my husband, Joe \u2014 the more I started to understand what was unfolding. And then the music started to come. Most of these songs were birthed in the last three years.<\/p>\n

\n\tWhen you announced the record, you released your magnificent new single \u201cHome,\u201d which was inspired by a conversation on Anderson Cooper\u2019s podcast between him and Stephen Colbert. I know you said that you felt like you plagiarized the story, but\u2014<\/strong>
100 percent. And I\u2019m like, \u201cI\u2019m not giving you writing credits.\u201d You have enough money, Anderson Cooper.<\/p>\n

\n\t[Laughs.<\/em>] Tell me about writing that one.<\/strong>
Oh, my god. I think what Anderson Cooper is doing with his podcast about grief is just masterful. It\u2019s called All There Is.<\/em> It is so bold and so courageous for him to continually dip back into his own well of grief and to be a very public-facing figure and to be willing to be vulnerable and to invite people into this very vulnerable space. He had this incredible conversation with Stephen Colbert. It\u2019s these two men that I really love, and their tenderness with each other and about their loss was so moving to me. Stephen lost his father and two brothers in a plane crash when he was 10 years old. And he talks about his father being 53, and how profound the day was for him the day he turned a day older than his father ever got to be.<\/p>\n

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\n\tI\u2019m lucky to not have lost my parents yet, and I just couldn\u2019t stop thinking about that. When you outlive these people that you love, it\u2019s a wild experience. And the theme of that song feels like it\u2019s the sort of centerpiece of the record. We get to, and we must, go everywhere within ourselves and share it with each other in order to come back home. Home is about connection, it\u2019s about recognition, it\u2019s about catharsis. We just have to be brave enough to go into the dark corners to find the light.<\/p>\n

\n\tDid Stephen hear it? What was his reaction to it?<\/strong>
I played it for Anderson on his podcast, and I sent it to Stephen. They were so sweet about it. I think what they found remarkable was that anytime you put something out in the world, you can\u2019t imagine it changing shape or changing form. They were like, \u201cI can\u2019t believe you wrote a song about that. You made a song.\u201d It\u2019s the way I felt when I saw Mia Michaels choreograph this dance to \u201cGravity<\/a>\u201d on So You Think You Can Dance<\/em>. This was many years ago, but I was like, \u201cOh, my god.\u201d It made it this whole other thing, and I couldn\u2019t even believe it, and then I couldn\u2019t unsee it. And it was just so special. The idea that art continues to transform and transmute and change.<\/p>\n

\n\tI also want to talk about the song \u201cJust a Kid.\u201d Can you tell me a little bit about your relationship with Chad, and how he inspired it? I know he was really pivotal to your career.<\/strong>
The lyric is very explicit in this song. Chad and I met sitting on the steps of UCLA. We had both been gone an entire year prior; we studied abroad. I was in Italy, he was in England, and we both came back to UCLA in the fall. And we were friends, and I was like, \u201cHow was your time? I don\u2019t think anyone noticed that I wasn\u2019t here at all last year.\u201d And he\u2019s like, \u201cYeah, everyone\u2019s like, \u2018How\u2019s your summer?\u2019 I wasn\u2019t here, and no one noticed.\u201d And we became really fast friends. He was one of the funniest, most personable, most beloved people.\u00a0<\/p>\n

\n\tHe remembered everybody\u2019s birthday. Literally, it\u2019ll be like the clerk at the CVS told me their birthday and then it would go into his Blackberry at the time. But for years, every year, that CVS clerk would get a text from Chad Joseph telling him or her happy birthday. Very thoughtful, very messy. We were roommates for years. We developed a very codependent relationship that I ended up in therapy over.<\/p>\n

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\n\tHe quit his job to join me on the road. He was working for a publicity firm, and I was going on my first tour. And I called him, panicked, from the East Coast. I was doing everything myself, and I was so overwhelmed, and he couldn\u2019t get the time off work. So he quit his job and he flew across the country and saved my ass, and we were in lockstep for about 10 years. And then we parted ways professionally, but we were really good friends. And then he got that crazy diagnosis, and I\u2019m just like, \u201cYou\u2019re fucking 40 years old.\u201d It was unbelievable. And then he was gone.<\/p>\n

\n\tHe sounds really amazing. You also have the song \u201cSalt Then Sour Then Sweet,\u201d which you released last year.<\/strong>
That\u2019s right. That\u2019s the order it goes on your tongue. That\u2019s not true. I couldn\u2019t rhyme with umami.<\/p>\n

\n\tIt\u2019s such a fantastic collaboration with the late poet Andrea Gibson and Brandi Carlile. It was even shortlisted for Best Original Song at the Oscars. Why did you decide to include it on the album?<\/strong>
There are those people and those events in your life where there\u2019s a before and after. And I am a different person after knowing Andrea and their work and being a part of that film, Come See Me in the Good Light<\/em>, which is this incredible documentary that was made about Andrea and their partner, Meg Falley. It was a collaboration with Andrea\u2019s unfinished work. We were given two documents with a bunch of couplets and unfinished verses, and I watched the film. And then Brandi and I collaborated to get it across the finish line. But it\u2019s mostly Andrea\u2019s words, which is part of why I wanted it on this record, because I just think their words belong absolutely everywhere.<\/p>\n

\n\tAnd let\u2019s talk about Brandi, because she\u2019s collaborated with Elton John, Joni Mitchell, all these legends\u2014<\/strong>
<\/strong>I get it, Brandi\u2019s everywhere! We love Brandi!<\/p>\n

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\u201cGrief is a miracle.
It\u2019s just love.\u201d<\/p>\n

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\n\tWhat makes her such a great person to work with, though? She\u2019s really awesome.<\/strong>
Oh, my god, she\u2019s like a big electric neon yes. She is first and foremost a total music fan. She is, like, gaga over people. She\u2019s not like, Gaga. She\u2019s totally different than Gaga, but she is so unabashedly supportive of who she loves. She wants to highlight the careers of these incredible legacy artists, people like Bonnie Raitt and the Indigo Girls and Joni Mitchell. She champions and reminds us that these are the women that have shaped so much for those of us who are creating music and art in the world. It is just undeniable, and I think her love of them is deeply sincere. She\u2019s very kind and very funny. And she\u2019s just got a decent voice.\u00a0<\/p>\n

\n\tI was with my husband, and we were in Canada at a wolf sanctuary where we were sleeping in cabins near wolves. I love wolves, I always have. And we got the demo, and Brandi had added her vocals. And popping in the new MP3 of fucking Brandy Carlile\u2019s voice on his song, it\u2019s the greatest. It\u2019s the greatest thing.<\/p>\n

\n\tWait, can we talk about the wolves, though?<\/strong>
100 percent. I would love to.<\/p>\n

\n\tWhat made you want to do that? That\u2019s amazing.<\/strong>
Well, it was his birthday. His birthday\u2019s in March, and I used to be really bad at his birthday and now I\u2019m trying to be better. So I usually take him on a trip somewhere, and we were going up to Montreal and Quebec City and there\u2019s a wolf sanctuary up there. You can sleep in cabins and they howl at night, and it is wild. We would sit in the morning, have coffee and watch wolf TV. It\u2019s these big picture windows, and you\u2019re just watching these sleepy wolves.<\/p>\n

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\n\tHow long were you there?<\/strong>
<\/strong>Just one night.<\/p>\n

\n\tThat\u2019s probably as much as you can do.
<\/strong>Yeah. I don\u2019t want them to throw in, like, a baby deer. I don\u2019t want to watch that kind of wolf TV. I just want to know they\u2019re there, listen to a howl, and then go shopping.<\/p>\n

\n\tI\u2019m so down with that. Well, I\u2019ll pivot away from the wolves. There\u2019s a documentary coming out alongside this album. I loved watching it. It\u2019s really just you in the studio with these incredible musicians. Your dog Louie is there. Highlight.<\/strong>
<\/strong>Highlight. Yes.<\/p>\n

\n\tWhy did you want to document this process, and what was that like for you?
<\/strong>In a huge way, being a part of Come See Me in the Good Light<\/em> really informed that decision. I was so moved by Andrea and Meg\u2019s bravery and Ryan White, who\u2019s the director, and Jess Hargrave, the producer. The tenderness with which they were able to hold something deeply intimate I think made me feel like this was possible. And I knew I had been hemming and hawing about going back into the studio. I think like anybody, you stop doing something for a while and it\u2019s very easy to lose confidence and to feel irrelevant. I mean, the music industry moves so quickly. Young artists ask me, \u201cTell me how to \u2026\u201d And I\u2019m like, \u201cI don\u2019t fucking know. Are you kidding me? We had MySpace! Good luck losing your mind!\u201d<\/p>\n

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\u201cI want more tenderness from everybody.
Can we just be a little softer with each other? Except for the Knicks.
You just keep going.\u201d<\/p>\n

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\n\tI wanted to invite being seen, and I felt like I was finally ready to not put on a dog and pony show for the camera. I mean, I\u2019m a ham. We all know this. [But] I wanted to bear witness to what felt like was going to be a profound experience, and it was.<\/p>\n

\n\tYou can see you going through this in real time on screen. You produced this on your own, right?<\/strong>
Well, what I\u2019d say is that I definitely am the producer of the record, but it was all about deep, intentional collaboration. So I share production credit with the band members that came in and were in the studio with me, and I did some songs with Aaron Dessner up at his studio Long Pond [in upstate New York]. So it\u2019s not that it was like \u2026 I\u2019m not Lauryn Hill. You know what I mean? Don\u2019t we all just listen to that record [The Miseducation of Lauryn Hill<\/em><\/a>] and go like, \u201cThis bitch, she\u2019s just the best.\u201d\u00a0<\/p>\n

\n\tBut for me, there was something really liberating about affirming that I was worthy of making the decisions. It\u2019s taken me a long time to kind of let go of being deferential, that someone else knows better. And I\u2019ve been doing this a really long time, and I think I\u2019ve earned my stripes at this point to at least be like, \u201cI know what I like.\u201d It feels like making my first record [2007\u2019s Little Voice<\/em>]. It\u2019s so handmade. I know every little nook and cranny of this record. I poured over the details. I have spent hours and hours \u2014 thousands of hours \u2014 on this with wonderful collaborators, but it is so mine. It feels so mine.<\/p>\n

\n\tLet\u2019s talk about working with Aaron and going to Long Pond. What made you want to work with him?<\/strong>
Well, Brandi Carlile was like, \u201cYou got to try Aaron.\u201d<\/p>\n

\n\tAlways Brandi.<\/strong>
Yeah. All roads lead back to Brandi. I had been talking to her about producers where I was just like, \u201cOh, I\u2019d had a couple meetings, and it just didn\u2019t feel like I was finding the right fit.\u201d And she\u2019s like, \u201cI loved working with Aaron. You should check him out.\u201d And I have a house upstate, so he was not far away. We just spent a little time together. And the thing that I love about Aaron is, he\u2019s not asserting himself or his aesthetic onto anything. He really feels like what I think a great producer does, which is trying to clear space and trying to just augment and uplift the artist in their most sort of essential self. And he\u2019s just really lovely, really gentle. Makes a wonderful latte, serves really delicious wine. It was classy and easy, and it felt really fun.<\/p>\n

\n\tSo many amazing albums have come out of Long Pond. I\u2019m curious what your favorite might be.<\/strong>
Maybe Noah Kahan\u2019s. Yeah.<\/p>\n

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\n\tThat record\u2019s so good.<\/strong>
I really loved that record. Did you guys see his documentary? I love a tender guy. I feel like I want more tenderness from everybody. Can we just be a little softer with each other? Except for the Knicks. You just keep going.<\/p>\n

\n\tYou are obviously someone who does so many things. You\u2019ve been on Broadway, television \u2026 it makes me feel tired even listing these out.<\/strong>
I\u2019m tired, too, to be honest.<\/p>\n

\n\tBut you have this really amazing way of creating so many different outlets. Is that intentional?<\/strong>
I don\u2019t think it was originally intentional. I think what happened was I got a little spooked on my second record, [2010\u2019s] Kaleidoscope Heart<\/em>. After I finished touring that record, I got a little spooked by how predictable the cyclical nature of being a recording artist is. And I\u2019m a Sagittarius, so I really like when things change a little bit. Not too much, but just a little bit. And I started to feel claustrophobic. I was like, \u201cOh, you go on tour, you come home, you take a break, you write a new record, you go back in the studio, you go back on tour.\u201d I was just like, \u201cI can see the rest of my life. That\u2019s just what it will look like.\u201d And I wasn\u2019t that interested in that.\u00a0<\/p>\n

\n\tI took a year off [from] L.A. I had a cute little house in Venice. I was pretty comfortable there, but I came to New York, and the way I describe it is just that the version of myself that I encountered who lives here is so much more interesting. I feel like this city carries so much depth, richness, and variety, and art, food, culture, and people. I was so turned on by New York City, and then I started working on Waitress<\/em>, which was the project that changed my life. I would never have thought that writing a musical about pie would actually finally bump my artist profile where people are like, \u201cOh, Sara Bareilles, what are you doing?\u201d<\/p>\n

\n\tYou wrote a memoir 10 years ago [2015\u2019s <\/strong>Sounds Like Me<\/em><\/strong>], which is so good.<\/strong>
It\u2019s very short. When I was on the book tour, people were like, \u201cI read your book in line.\u201d I was like, \u201cI wrote a pamphlet.\u201d<\/p>\n

\n\tYou wrote so candidly about breaking out with \u201cLove Song,\u201d and how you worried \u201cthe big, bad pop monster would eat me.\u201d I\u2019m curious how you look back on that era now.<\/strong>
Oh, man. I just feel like the number of times I\u2019ve prepared myself for being consumed by fame is hilarious. I remember before \u201cBrave\u201d came out. [Turns to audience<\/em>.] I have a diary entry, you guys. I was like, \u201cGet ready, Sara. Your life is going to change.\u201d No, baby. No. I feel so much tenderness towards that girl. I think of us as Russian nesting dolls. We carry those parts of ourselves. We just encase ourselves as we move forward in time. And I was so scared of losing myself. I was so terrified that something would happen and I would be unable to find ground to stand on again. And many, many years later, and medications and ketamine trips and all kinds of shit later, I\u2019m like, \u201cOh, that home thing, you just carry that.\u201d<\/p>\n

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\u201cThe number of times I\u2019ve prepared myself for being consumed by fame is hilarious.\u201d<\/p>\n

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\n\tThat\u2019s just everywhere you go. You are your own home. You can go anywhere, because you can come back. But it took me so long, and I don\u2019t regret the fear that I carried, because I think it made me cling to my own vulnerability. Telling the truth makes me feel safe. This no interest in artifice and telling the truth was something I clung to as a young artist, so I\u2019m just going to tell you the truth. So when I wrote \u201cLove Song,\u201d I was writing it to the record label thinking I was going to get in trouble because it was so obvious. I was saying, \u201cI\u2019m not going to write you a love song,\u201d and they didn\u2019t know. They didn\u2019t know! And I was like, \u201cWhat is this life?\u201d It\u2019s wild.<\/p>\n

\n\t\u201cBrave\u201d is this incredible LGBTQ+ anthem. When you\u2019re performing songs like \u201cLove Song\u201d and \u201cBrave,\u201d what goes through your mind about the young Sara who wrote these?<\/strong>
I love her. And I love those songs, because they\u2019re totally sincere. They\u2019re totally sincere proclamations of wanting myself and the listener to just get closer and closer to themselves, to trust that they are enough. \u201cI want to see you be brave.\u201d <\/p>\n

\n\tWhat I like about that lyric is that it\u2019s not about the outcome. It\u2019s not about winning. It\u2019s just like, can you find courage? Can you touch courage and hold that with you as you move through your life? Because that\u2019s the only thing you can really reach for. There\u2019s nothing that is guaranteed about an outcome. I mean, losing a friend. Sometimes we die at 40 or 48 or 52 or 16. There is no guarantee. So it\u2019s just about, how do you move through this life in a way that has integrity and generosity and kindness? That\u2019s really all there is.<\/p>\n

\n\tEarly on in your career, you opened for Maroon 5. What are your memories from those years?<\/strong>
Oh, my god, it was crazy. I saw cocaine for the first time. Went to use the bathroom at a party and there was a little \u2014 this does not even belong to the band. This was just one of those things where we\u2019re out. And I was like, \u201cOh, my God, that\u2019s cocaine!\u201d Couldn\u2019t believe it. Still never done cocaine, guys. I don\u2019t do drugs, except with therapists. [But] those boys were so wonderful to us. They felt like big brothers. They took me and my band on the road. They took us under their wing. They shared everything they had. It was really awesome. I could not get over seeing all the girls. There was literally a lot of throwing underwear. I was like, \u201cI thought this was like a trope that happened,\u201d but it\u2019s real. They just throw their underwear. \u201cDid you bring two pairs?\u201d is the first thing I think about. Because if you\u2019re wearing a skirt and you sit down on a surface, your vagina is touching the chair. This is where my mind goes.<\/p>\n

\n\tI\u2019m going to let that sit for a second.<\/strong>
<\/strong>You asked.<\/p>\n

\n\tWhere\u2019s the strangest place you\u2019ve ever heard one of your songs play?
<\/strong>Well, this is not exactly that, but it\u2019s making me think of one time I was getting a pap smear and I think it was the vagina. I\u2019m sorry to be talking about vaginas so much. No, I\u2019m not sorry. I was getting a pap smear, and the doctor said, \u201cSo you got any fun Broadway things coming up?\u201d And I\u2019m like, \u201cCan you get the instrument out of my body before you ask me about my summer plans?\u201d So shocked.\u00a0<\/p>\n

\n\tBed Bath & Beyond always. RIP. Do they still exist? And Home Depot. Any of the big box stores, really. That\u2019s my demo. Oh, my god. I had an experience where I bought a bunch of bras and then I took them back because they were expensive. I was living in Santa Monica. This was many years ago. And then my song came on the radio as this woman was mean mugging me because she\u2019s like, \u201cWhat crazy returns 10 bras?\u201d And I\u2019m like, \u201cJust put it back on my card, please.\u201d That\u2019s me.<\/p>\n

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\n\tWait, which song was this?<\/strong>
<\/strong>\u201cFairytale.\u201d I fully remember. Thank you for that. That\u2019s fun to revisit. She did not like how I had folded them. She was upset. Next.<\/p>\n

\n\tWhat would you say is your best gig ever?
<\/strong>Best gig ever. One of the best gigs was getting to honor Carole King<\/a> at the Kennedy Center Honors [in 2015]. There\u2019s so many things to tell you about this. First of all, because James Taylor played right before I played, and James Taylor played on the set piece that was a roof because he was playing the song \u201cUp on the Roof.<\/a>\u201d And I was playing \u201cYou\u2019ve Got a Friend,\u201d so James [exits] to the left and I come on. And James had asked me before the show, \u201cWould it be OK if I play along to \u2018You\u2019ve Got a Friend?\u2019\u201d So James Taylor is sitting in the dark, on the side of the stage of the Kennedy Center, just playing along. I was like, \u201cI can\u2019t believe this is happening to me.\u201d<\/p>\n

\n\tAnd then after me was Aretha Franklin. Aretha comes out and it\u2019s this legendary performance where she sang \u201cNatural Woman<\/a>\u201d and she hadn\u2019t sung it in so long, and Carole didn\u2019t know she was there. And Obama\u2019s crying because he had, like, a terrorist thing that day, and it was so intense. Everyone was on their feet. And Aretha carries her purse everywhere because that\u2019s where her money is, and she brought the purse and sitting on the piano. You can\u2019t make this shit up. It was the best gig.<\/p>\n

\n\tWhat\u2019s the worst?
<\/strong>I have a lot of those, too. One time I opened for Three Six Mafia at one of those college shows where they would do the spring concert. And they were like, \u201cWe want to appeal to the whole of our student body, so we\u2019re going to bring the little white girl with the ukulele and Three Six Mafia.\u201d Who have an Oscar, by the way. And I got flasks thrown at my head, and then I went into my bus and I cried.<\/p>\n

\n

\n\t<\/p>\n

\u201cI wrote \u2018Love Song\u2019 to the record label thinking I was going to get in trouble because it was so obvious. They didn\u2019t know.\u201d<\/p>\n

<\/p>\n<\/blockquote>\n

\n\tI\u2019m sorry.
<\/strong>That\u2019s all right. I\u2019m OK.<\/p>\n

\n\tYou just mentioned Carole King and Aretha. I\u2019m curious, growing up in Eureka, California, who was the first favorite artist that you really loved?<\/strong>
Oh, gosh. They come as a little pack. It was Indigo Girls, Fiona Apple, Tori Amos, Billy Joel, and Elton John. Obviously, I loved piano music, and I loved storytelling. But I think Fiona Apple was maybe the first artist that felt like a contemporary kind. She was a little bit older than I was. I just loved the way that she told stories.\u00a0<\/p>\n

\n\tI could talk to you for hours, from sleeping with the wolves to returning bras.<\/strong>
To who else I\u2019ve slept with!<\/p>\n

\n\tLast question. What are the most important rules you live by?
<\/strong>I really try to be kind. I think kindness is really essential. I really try to tell the truth. Where does this [saying] come from, where it\u2019s like, \u201cIs it kind, is it necessary?\u201d There\u2019s like these three \u2026 whatever. I came up with that. Is it kind, and is it necessary? Because sometimes I have a little bit of a penchant for telling the truth and it can be unkind, because sometimes no one\u2019s asking. But I really have learned so much from my beautiful husband, Joe, about giving people the benefit of the doubt. Just leave a little more space for grace. Maybe they\u2019re having a hard day, maybe it\u2019s not pointed at you. Just try to extend a little grace where you can.\u00a0<\/p>\n

\n\tThat\u2019s amazing.<\/strong>
Yeah. He sucks. [Turns to husband in crowd.<\/em>] Love you, honey.<\/p>\n<\/div>\n

\u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n

\u2018 Some details of this article were extracted from the following source www.rollingstone.com \u2019 <\/em><\/p>\n

\u2018 O artigo anterior foi obtido e traduzido do site internacional da celebrity.land \u2019 Source Link <\/em><\/p>\n\n","protected":false},"excerpt":{"rendered":"

A t this point in her life and career, Sara Bareilles has no time for anything that\u2019s not real. \u201cThe decade of my forties has been all about stripping away artifice,\u201d the singer-songwriter says. \u201cI don\u2019t want distance in my relationships, in my conversations, [with] fans, or the music. I don\u2019t want artifice. I think […]<\/p>\n","protected":false},"author":2,"featured_media":1808317,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_override_counter":[],"footnotes":""},"categories":[42],"tags":[],"class_list":["post-1808316","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-musica"],"_links":{"self":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts\/1808316","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/comments?post=1808316"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts\/1808316\/revisions"}],"predecessor-version":[{"id":1808318,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts\/1808316\/revisions\/1808318"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/media\/1808317"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/media?parent=1808316"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/categories?post=1808316"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/tags?post=1808316"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}