Rachel Syme

How do you write a song, Sarah?

How do you write a song, Sarah?

The New Yorker Radio Hour is a co-production of WNYC Studios and The New Yorker. Our theme music was composed and performed by Meryl Garbus of Tune Yards.

The New Yorker Radio Hour is a co-production of WNYC Studios and The New Yorker. Our theme music was composed and performed by Meryl Garbus of Tune Yards.

The Catholic Church was made for this moment. I think 2,000 years ago, the Catholic Church basically anticipated TikTok, Instagram, X. You don't have those little Swiss guard outfits and think they're not being photographed. Oil painting is not enough.

The Catholic Church was made for this moment. I think 2,000 years ago, the Catholic Church basically anticipated TikTok, Instagram, X. You don't have those little Swiss guard outfits and think they're not being photographed. Oil painting is not enough.

Reading about your first record deal, though, and how many co-writers they tried to put you with, there was a sense at the beginning maybe where they didn't let you follow your own nose or trust that you could be on your own. And I know that that was difficult. So I mean, how did you feel like you had the confidence then to sort of say, I need to be solo here?

Reading about your first record deal, though, and how many co-writers they tried to put you with, there was a sense at the beginning maybe where they didn't let you follow your own nose or trust that you could be on your own. And I know that that was difficult. So I mean, how did you feel like you had the confidence then to sort of say, I need to be solo here?

I think people sort of assume that Love Song was written out of that despair.

I think people sort of assume that Love Song was written out of that despair.

You know, that song feels so defiant. And I wonder, was it written out of despair or was it written out of the moment when you got through it and you were thinking, I'm on the other side of this and, you know, you guys can shove it.

You know, that song feels so defiant. And I wonder, was it written out of despair or was it written out of the moment when you got through it and you were thinking, I'm on the other side of this and, you know, you guys can shove it.

I know you grew up loving theater and getting to work on Waitress is your grand return to your early love of theater. So maybe we can start with your early love of theater and then clock up to Waitress.

I know you grew up loving theater and getting to work on Waitress is your grand return to your early love of theater. So maybe we can start with your early love of theater and then clock up to Waitress.

So you're approached about Waitress, Diane Paulus, and you are having this wonderful mind meld. You watch the Adrian Shelley movie, and how do you approach this project? I know the first song you wrote for it was She Used to Be Mine.

So you're approached about Waitress, Diane Paulus, and you are having this wonderful mind meld. You watch the Adrian Shelley movie, and how do you approach this project? I know the first song you wrote for it was She Used to Be Mine.

Do you like the workshop process for a new show? Because I know you just had your workshop for this and then it's like you have to go back and tear things apart, lose numbers, bring numbers in. I mean, is that exciting to you?

Do you like the workshop process for a new show? Because I know you just had your workshop for this and then it's like you have to go back and tear things apart, lose numbers, bring numbers in. I mean, is that exciting to you?

Do you feel like working in the theater sort of reinvigorated your love of the other side of the industry? Because you were saying, like, it's the hamster wheel, it's the hamster wheel. Do you feel like you felt revived?

Do you feel like working in the theater sort of reinvigorated your love of the other side of the industry? Because you were saying, like, it's the hamster wheel, it's the hamster wheel. Do you feel like you felt revived?

But music can be such a bridge. You know, I think about how many people I know that feel so strongly about the song Gravity, for example. I mean, how for you is music your way of sort of both channeling your own insecurity and all the things you're still dealing with and then trying to connect?

But music can be such a bridge. You know, I think about how many people I know that feel so strongly about the song Gravity, for example. I mean, how for you is music your way of sort of both channeling your own insecurity and all the things you're still dealing with and then trying to connect?

On Radiolab, a story about how the country's most brilliant doctors did exactly what they were supposed to do.

On Radiolab, a story about how the country's most brilliant doctors did exactly what they were supposed to do.

The question we'll ask is how did this happen?

The question we'll ask is how did this happen?

Find out on How to Cure What Ails You from Radiolab. Listen where you get podcasts or on the WNYC app.

Find out on How to Cure What Ails You from Radiolab. Listen where you get podcasts or on the WNYC app.

I wanted to talk about a sentence from your book that I wanted to sort of hear what you think about it now, where you wrote, nothing makes me more panicky and rage-filled than the worry that I've done something in order to position myself for business over art. And I wonder where you feel like the seaside is right now between commerce and art, especially as the music business is ever changing.

I wanted to talk about a sentence from your book that I wanted to sort of hear what you think about it now, where you wrote, nothing makes me more panicky and rage-filled than the worry that I've done something in order to position myself for business over art. And I wonder where you feel like the seaside is right now between commerce and art, especially as the music business is ever changing.

How are you fighting the good fight for art?

How are you fighting the good fight for art?

Well, I know you've had the chance to meet and perform with many of your heroes and, you know, Carole King and be mentored in the industry a little bit by the people that came before. Do you, you know, you're in your 40s now. We talked about that. Do you feel a responsibility to mentor younger artists at this stage?

Well, I know you've had the chance to meet and perform with many of your heroes and, you know, Carole King and be mentored in the industry a little bit by the people that came before. Do you, you know, you're in your 40s now. We talked about that. Do you feel a responsibility to mentor younger artists at this stage?

How do you write a song, Sarah?

The New Yorker Radio Hour is a co-production of WNYC Studios and The New Yorker. Our theme music was composed and performed by Meryl Garbus of Tune Yards.

The Catholic Church was made for this moment. I think 2,000 years ago, the Catholic Church basically anticipated TikTok, Instagram, X. You don't have those little Swiss guard outfits and think they're not being photographed. Oil painting is not enough.

Reading about your first record deal, though, and how many co-writers they tried to put you with, there was a sense at the beginning maybe where they didn't let you follow your own nose or trust that you could be on your own. And I know that that was difficult. So I mean, how did you feel like you had the confidence then to sort of say, I need to be solo here?

I think people sort of assume that Love Song was written out of that despair.

You know, that song feels so defiant. And I wonder, was it written out of despair or was it written out of the moment when you got through it and you were thinking, I'm on the other side of this and, you know, you guys can shove it.

I know you grew up loving theater and getting to work on Waitress is your grand return to your early love of theater. So maybe we can start with your early love of theater and then clock up to Waitress.

So you're approached about Waitress, Diane Paulus, and you are having this wonderful mind meld. You watch the Adrian Shelley movie, and how do you approach this project? I know the first song you wrote for it was She Used to Be Mine.

Do you like the workshop process for a new show? Because I know you just had your workshop for this and then it's like you have to go back and tear things apart, lose numbers, bring numbers in. I mean, is that exciting to you?

Do you feel like working in the theater sort of reinvigorated your love of the other side of the industry? Because you were saying, like, it's the hamster wheel, it's the hamster wheel. Do you feel like you felt revived?

But music can be such a bridge. You know, I think about how many people I know that feel so strongly about the song Gravity, for example. I mean, how for you is music your way of sort of both channeling your own insecurity and all the things you're still dealing with and then trying to connect?

On Radiolab, a story about how the country's most brilliant doctors did exactly what they were supposed to do.

The question we'll ask is how did this happen?

Find out on How to Cure What Ails You from Radiolab. Listen where you get podcasts or on the WNYC app.

I wanted to talk about a sentence from your book that I wanted to sort of hear what you think about it now, where you wrote, nothing makes me more panicky and rage-filled than the worry that I've done something in order to position myself for business over art. And I wonder where you feel like the seaside is right now between commerce and art, especially as the music business is ever changing.

How are you fighting the good fight for art?

Well, I know you've had the chance to meet and perform with many of your heroes and, you know, Carole King and be mentored in the industry a little bit by the people that came before. Do you, you know, you're in your 40s now. We talked about that. Do you feel a responsibility to mentor younger artists at this stage?