Episode #24 Tabitha Fair: Singer/Songwriter/Backup Singer to the Stars.
Welcome to Living A Vocal Life: A Podcast For Singers!
Welcome to the Living A Vocal Life Podcast, where I interview singers who have succeeded in creating a life in music. You’ll hear from vocalists of all genres, in different stages of their careers, including singers who’ve been on the Billboard charts and those who are teaching the next generation. What do they have in common? They're all performers with amazing stories to tell and experiences to share.
In our conversations, you’ll learn what inspired them to become a singer, the kinds of challenges they’ve encountered, and how they've overcome them. I'll also share what I've learned on my own journey as a singer and educator — practical tools and insights that will help you to live your best, most authentic vocal life.
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My guest this month is a singer and songwriter who’s led an extraordinary vocal life, Tabitha Fair.
Tabitha was born and raised in Oklahoma, the daughter of a preacher and a mother who ministered through music. By the time she was five years old, Tabitha knew she wanted to be a singer and have a career in music. And that she has, eventually garnering a record deal and becoming one of the A-list backup singers in the industry. She’s recorded or sung with Sting, Cece Winans, Lady Gaga, Travis Tritt, Celine Dion, Faith Hill, Wynonna Judd, Lee Ann Womack, Rascal Flatts, Rita Wilson, Amy Grant, Sam Moore, James Taylor, Bette Midler, Lenny Kravitz, Bruce Springsteen, John Legend, The Roots, Jennifer Hudson, Michael McDonald, Elton John, Mary J Blige, Snoop Dog — the list goes on and on.
Besides numerous recording gigs and tours, Tabitha’s been a regular on the prestigious Kennedy Center Honors, The Jimmy Fallon Show, and America’s Got Talent. She’s also sung at the inaugurations of Presidents Bill Clinton and Barack Obama.
An accomplished songwriter, Tabitha's received the Songwriters Hall of Fame Abe Ohlman Award. And she co-wrote a song with Carole King called “If We Get Through This,” which she later sang the lead vocal on in the movie “Sum Of All Fears” starring Ben Affleck and Morgan Freeman.
In our conversation, you’ll hear about her trajectory from gospel singer to 20 Feet From Stardom. Plus, we look at what life is like behind the curtain with some practical advice for singers on practicing and rehearsing for TV and touring.
Tabitha is a delightful human being. Talking with her, I could see why she’s been one of the go-to backup singers for all the heavy hitters with whom she’s performed. She’s got a strong work ethic and a voice that can sing anything, but she also knows how to take her bright light and shine it on others, supporting them both musically and energetically. I think you’re going to love her and our conversation.
“Really great songs will take you places. And a good work ethic. Write. If you’re a songwriter, write every day. As a singer, you have to practice every day to get your vocal cords strong and pliable. It’s just important to do your thing every day. ”
Links:
You can find Tabitha on her website and on Facebook or Instagram.
The songs from today’s episode are Soul-Full, A Man of His Word, If We Get Through This, and Fly (used with permission.)
Theme music for the Podcast was composed by John Smith. He helps me edit all the podcast episodes too. (Thanks honey!)
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Thank you so much for joining me on the podcast today. Tabitha.
Tabitha: This is going to be a lot of fun. I'm so excited.
Valerie: I'm excited to have you. I have so many questions for you about the practical aspects of your work, the nitty gritty of practicing, rehearsing, how you prepare for tours and so many more things. But first I'd like to dive into your origin story with a question I ask every singer I interview here on the podcast, which is what's your earliest memory of singing.
Tabitha: My earliest memory would have to be singing in church. Um, my dad is a pastor, my dad pastored smaller churches. So that's my earliest memory is singing in this little church in Tulsa, Oklahoma. I'm trying to remember the song I sang. It was probably like Jesus Loves Me, or something, like that, but that would have to be my earliest memory. And I remember just loving it. Even at that young of an age, I loved getting up there and of course getting all the attention.
Valerie: Right.
Tabitha: That's that's my first memory.
Valerie: How old were you?
Tabitha: I think it was four, maybe three.
Valerie: Oh, that's yeah, that's young. So you were surrounded by music from an early age?
Tabitha: My mom is a musician and singer and my dad played instruments. He played upright bass and regular bass. And, you know, my grandfather was also a musician and songwriter and an evangelist. And I come from a long line preachers and musicians and songwriters.
Valerie: So that was a big part of your life. Did you have siblings?
Tabitha: I'm the oldest of three kids. Um, I have a brother who's two years younger and then a little sister who's about seven years younger. They all sing and play music as well. They didn't go into it professionally.
Valerie: Yeah, you grew up singing together then.
Tabitha: We did me and my mom and brother used to have a trio and we would sing in church and go to different actually sing in different churches and, uh, do three-part harmonies and, and that kind of thing. And that's, you know, my mom just had that natural ear. She could pick out any song on the piano and she was always wonderful with harmonies. She was more into gospel music, Southern gospel, that kind of thing. That's really what I grew up with was Southern gospel. So lots of harmonies - third and the fifth and that kind of thing below and above.
And so, yeah, I just grew up with a lot of harmonies, a lot of, emotion and music. And, uh, when you grow up Pentecostal is what I, how I grew up. And so it was a lot of emotion involved in singing and worshiping and that kind of thing. And I think for me seeing that at such a young age and being involved in that at such a young age really helped me know how to connect to my own emotions, to my own artistry in a sense. Because the way I see it is, that for me, especially, is connecting to my higher power that connects me to other people, especially when I'm singing.
Valerie: So you knew you wanted to make singing your life's work by the time you were five.
Tabitha: Yes. I did. I just, I just loved music. I mean, I just devoured it when I was a kid. I listened to records over and over and over and over, you know, just to hear all the nuances and all the, what all the instruments were doing, what the vocalists were doing and listening to the lyrics of the song and who played on all the songs.
And, but of course, you know, there were certain artists that I was, that I was enamored with and I wanted to sound like them, you know. And I think that's what we all try to do coming up. We all try to sound like this person or that person. But I think that it kind of informs our own sound as we figure out who we are as an artist.
So, Yeah. So I just loved music. I just, I couldn't get enough of it. And I think that that's what you have to do if you want to, if you really want to pursue music, you have to just devour every kind of thing that you can get your hands on because that informs your musicality and who you're going to become.
Valerie: So who did you listen to?
[00:10:04] Early Musical Influences
Tabitha: I listened to, of course, when I was a little kid, we were only, we were only allowed to listen to gospel music. So..
Valerie: And look what happened later.
Tabitha: That, that's exactly right. So I listened to Andre Crouch and the Disciples. Um, I listened to the Rambo family, Reba Rambo, Dottie Rambo. Dottie Rambo is one of the most iconic, uh, songwriters in gospel music, even until now. I mean, she's, not with us anymore, but her music and her writing will go on and on and on. She's like, uh, I would, I would compare her to like Dolly Parton. Cause Dolly, you know, the way she writes is just like, it's very visual and she really pulls at the heartstrings. And that was the same with Dottie Rambo.
So, so anyhow, I grew up listening to her singing, and her writing and her harmonies and just made beautiful records. And, um, Amy Grant and just numerous contemporary Christian artists that I've had at this point in my career have met a lot of those people and have worked with them.
So, um, so you just never know, when you're a kid and you're listening to all this music and you're dreaming of what it's going to be like to sing in front of a lot of people, you can never really imagine, all the opportunities.
But at this point, in my life, I've gotten to meet a lot of my heroes and have them as friends and get to know them. So anyhow, it's been quite an amazing journey in that way. But those artists that I just spoke about, they tremendously influenced my style and, just really everything. Those were my earliest, um, people that I gravitated towards since I was only you know allowed to listen to gospel music. So..
Valerie: I think that, um, the music that we listen to when we're growing up is so influential because we're learning a language at that time. Right? So music is, just another language, and the more you're exposed to bigger your vocabulary. So when you do start putting your own music together, you have more to draw from if you've been immersed in lots of different kinds of music. Sounds like you had a wonderful immersion in gospel music when you were growing up.
So then you moved to Nashville when you were about 15. How did that come about?
[00:12:28] Nashville & Skyline Records
Tabitha: Well, um, I actually, I didn't move there at 15. I ended up doing my first project in Nashville when I was 15.
So I came here with my folks and I did my first project and that was with a record label called Skyline Records. And it was a small boutique label in Nashville, you know, more gospel-oriented, Southern gospel. And I think JD And The Stamps might've been on that label.
Some of the, like well-known Southern gospel groups, were on that label. And I just, you know, I just went in to do a project and the label really liked what I did. And he was like, well, let's sign you and let's put this record out on our label. And, uh, and so I was in like Targets and Walmarts.
But the funny thing is, and I would go out and I would do concerts and sing in a lot of different churches and sell my albums that way, uh, at the time. But there wasn't really any real promotion behind any of that stuff that I did at that point. I did all the promotion. I did all the, all the leg work basically, but they did put it out in the stores. And it probably didn't sell that many, but, you know, but it was distributed.
Valerie: So how did this record deal come about? I mean, I'm, I'm confused about how you got the project in the first place.
Tabitha: Well, so, you know, my dad's a pastor and he would have different people come to our church and hold revivals and that kind of thing. And we had this couple that would come and hold revivals at our church. They were the Darby's. That was their name, the Darby's. And they did a lot of, a lot of work here in Nashville.
Uh, and they specifically were on that label. Okay. And so that's kind of how it all came about. They were like, Oh, we want to help you. Um, we think that we should take you to Nashville and you should do this project there. And then one thing led to the next, to the next.
Valerie: Wow. So they heard you and then they took you... they were like, Hey, we hear something that's remarkable here. Let's get her to Nashville. And that's how you got with Skyline.
Tabitha: Yes. That is. Exactly. You got to have somebody that's in your corner. You have to have that person, that cheerleader who believes in what you're doing, I think at any level. So, and they were at that point in my life, they were there in that position to help me, to mentor me. And I find that you know, there's always been those people in my life. I mean, whatever level that I was at, who helped me. And I'm very grateful for all those people. And I, and I still have people in my life.
Valerie: Well, I heard you say, and I really believe this to be true as well, that relationships are everything. And not just the kind of phony relationships where it's like, what can this person do to help me? It's like real relationships with people who care about you and, uh, see something in you that they want to help you bring out some more, you know?
[00:15:21] Keith Thomas
Valerie: So let's talk about the record producer, Keith Thomas. Cause it sounds like from what I've heard and read about you, he was hugely influential in terms of relationships. And for those who don't know who Keith Thomas is... oh my goodness. He's a producer that's been nominated for I think a Grammy or Dove award 19 times.
And he's won almost half of those, uh, nominations for recordings of heavy hitters, like BeBe and CeCe Winans, Gladys Knight, Heather Headley. How did you meet him? And what kind of relationship came out of that meeting?
Tabitha: So, initially, uh, Keith had seen me in a few things. He saw me on a video with this artist named Vint CBO. And then he saw me on a television commercial here in Nashville where I was singing the spot. It was a thing for the local channel four-station that I did and it was like a jingle for them. And I sang the spot and I was on camera. And he saw those two things and he was just like, I've got to find this girl, you know? Yeah.
And so I get a call one day and I'm at home and it's Keith Thomas. He said, Hey Tabitha, this is Keith Thomas. And of course, I knew who he was and was such a huge fan. And when I heard his voice and him say that it was him, I was like, oh my gosh, this is amazing. And then he, says, I saw you on this commercial. And then I saw you in this video. And he said, I really, I, I love your voice and you have a great look. He said, I would love to have a meeting with you and talk to you about your career, and the next steps, and what's happening.
I want to know all about what you're doing. Yeah. So I think we might've even gotten together the next day and had a meeting. And, uh, of course, I was super excited about it because like I said, big fan. And, um, I went to the meeting and from that point on, I just started singing on a lot of the stuff that he was producing, like I sang on Amy Grant's things. She did this tribute to Carol King and I got to sing all the background vocals to Its Too Late Baby. So that was my first real shot getting to sing with Keith. And that was just tremendous. And then I sang on Karla Bonoff's project and a lot of other projects as well that he produced.
And then I guess, you know, Amy heard my voice on It's Too Late. And Keith was like, well, Amy's got this tour coming up and you'd be really great to get you on that. And before I knew it, Amy Grant was calling me. And she was like, Hey, um, I heard you on my project and Keith just loves what you do. And she said I'd like to have you on the tour. And so I was of course freaked out, you know, and I was... I would love that. So that, that happened.
And from that point, I would say, through Keith Thomas and Amy Grant, and all these different people, it just, my star started rising here in Nashville. And I, uh, I was singing on a lot of different record projects in town from country to gospel, to pop. And I think I was pretty in demand at that point here in Nashville. Things just really started happening and I was super busy and singing on a lot of, and then I, I actually have done quite a few tours with Amy since, since that tour. And sang on many projects with Keith. And I can say that Keith is a dear friend, and I just love that guy. I just think he is the classiest human being and just such a great producer and musician. It just, his, his ears are just phenomenal.
[00:19:00] What Makes A Great Music Producer?
Valerie: So what makes a great producer? First of all, a lot of people don't know what a producer does in the recording studio. So what does he do and why is he one of the best?
Tabitha: In order to be a really great producer, you have to have a really great musical vocabulary, like you said earlier. And you have to also know how to communicate to your musicians, to your singers. Plus you have to, you have to have a really, cool musical aesthetic. You have to have really great ears cause it's not just about going in and laying down on a vocal, going in and putting down on these instruments and whatever, it's about knowing how to do it and how to make it all come together and sound great. Sound cohesive.
You know, I think that if you're producing an artist, you have to really like know who the, who the artist is and know how to bring out the best in that artist, uh, vocally. And then in, and especially like if you're in the trenches, writing the songs with them and you're, you know, you have to really know how to get to that part of who that person is to draw out certain things.
Valerie: And it's probably different for every artist. Right?
Tabitha: Exactly. Because as we know, artists can be temperamental, we can be moody and, some are, uh, outgoing and some are not, some are just very inward kind of people. And so you just kind of have to know how to navigate, you know, a guy, a girl, a young kid.. Uh, you know, it's just all over the map. You've got to know how to navigate that part of it. But I think a great producer knows how to do that.
And even if maybe they might have areas that they're not as good at, but maybe they have people around them who are, you know. It's just like knowing how to corral the whole thing. And then, and then you get to the finished product.
And then when you've mixed the project, then you have to go and you have to get it mastered. And then you have to, you know, there's just so many, there's so many steps to getting to the end product.
Valerie: It's like magic when it all comes together. And there's a lot of stuff that doesn't. I mean, I'm sure you've been there too, where you're like really excited about a song, and then the recording of it just kind of falls flat. And then there's other songs where you think, eh, meh. But then you record it and it comes alive in a way that you didn't expect, you know.
Tabitha: It's so true.
Valerie: How old were you when this part of the Nashville story started?
Tabitha: I would say mid-twenties.
Valerie: So you did that project where you didn't move to Nashville and then you spent about five, six years kind of building up to this point?
[00:21:31] College, Music Theory & The Importance of Being Able To Communicate
Tabitha: Yeah. I went to, I went to college. I studied music. I went to Oklahoma City University and I studied, music theater. I got a really great education there. And I think that kind of thing you can take with you into your grave basically. I really believe that you know, because especially as a singer and as a musician, and I told you earlier that I've vocal coach as well. So that was huge, being able to take that into vocal coaching.
Valerie: Right. And that's very helpful. I mean, there are some artists who don't know how to read and write music, but, it sure makes it easier to communicate your ideas when you do.
Tabitha: It does, when you kind of know how to communicate your keys, in arrangements. Especially if you're sitting in with bands and you're doing that kind of thing. You go, Yeah. I'm going to do a, you know, whatever in the key of D and it, and then you know, how to you, you know how to lead a band a little bit better because you have more knowledge of, uh, of, of the fundamentals.
[00:22:28] Avalon & Becoming A Solo Artist
Valerie: So you're in your twenties, you're working with country stars like Amy Grant, Wynonna Judd, Faith Hill. Your career was on a roll. And then you co-founded one of the highest-selling contemporary Christian groups of all time, Avalon. Why go out on a limb with a new group when you're doing so well with artists who were already on top of the charts?
Tabitha: Yeah, I've always wanted to be a solo artist and an artist, but I went into music, not just with that one thing in mind. I went into music to do music, wherever it led me because music's in my bones and it's just who I am as a person. It is a part of my identity. It is me. So when I got to Nashville and I got all these different opportunities, I just went with all of them because that's who I am, I'm a singer.
And came along with Avalon, I was like, this is great. And so it just worked out really well. But then I got to the point to where I was like, well, do I want to be in a group? And I had some opportunities brewing for myself as a solo artist at that point. And so I really felt that I was not going in the right direction being in the, being in Avalon.
So I basically quit. I quit the band before Avalon became this platinum-selling huge act. But they were on their way. I knew they would do really well. I mean, because, because they had EMI behind them and they had all the right people behind the project from the producer to the manager to the record label.
I mean, I knew they were going to go somewhere. But I felt like I wasn't really ready for that because I knew really going into, uh, the Christian music industry for me, it was this way because I felt like being in that realm, was it almost like being in ministry. And I was like, I don't think I'm ready for that.
I... cause this point in my life, but there were a lot of changes taking place in me spiritually and kind of sowing my wild oats, even though I was married and getting all crazy. But I just was like, you know, I just don't think this is the right direction for me right now. And so I quit. But I kept doing my other things. And I had opportunities after that, that didn't work out where I had some offers for record deals and that kind of thing. But my life just didn't go that way as far as being a solo artist that did anything.
Valerie: So did you feel any sense of regret as you went down this other path and looked back and thought, did you think, oh, wow.
Tabitha: There were some opportunities I had that I think back on now that I have regret about, and I wish I would have handled them in different ways. But you handled them the only way you know how at the time. People do ask me, they're like, why, you know, you're such a great singer. I don't understand why you're not a household name. You know you hear that sometimes. And I go, well, I don't know. I don't know the answer to that. All I know is I did my best... and at the time.
I don't like to sit in regret. I just like to live in the now and move forward with my life. Um, and yes, there were mistakes made. Yes, definitely. I was just growing up and having to learn who I was and didn't know who I was yet. But all I knew is that I had... God gave me a gift and I was using it the best way I knew how and, uh, you know, and I think that's all you can do with the experience level I had with the knowledge I had at that point in my life I just, I, I went with whatever tools I had around me. That's what I drew from.
Valerie: So, what I'm hearing you say is that when you're in that part of your life and you don't know yourself real well, it's easy to get pulled in directions that maybe aren't the best because of the kinds of things that you think you want. Cause you don't know what you really want yet, you know, except to sing.
Tabitha: Absolutely. You're so right. That's it.
Valerie: And then, there's all the business stuff. I think the only regrets I have in the business just have to do with being inexperienced and not again, not knowing what the nature of the business was. Expecting it to be different somehow. There's a lot of people who are in the business for reasons that don't really match up with mine, um, with values that aren't really matching up with mine. And I'm, I'm wondering if that, if that maybe was what was going on there with you in your twenties.
Tabitha: I don't know if it was that. I think some of it was just, like you said, just not knowing yourself enough or thinking, well, maybe this person is the person that is going to be the right way for me to go. Because at that, at this point in time, I had a lot of opportunities, a lot of different people that I was doing different things with. And yeah, and I just, I did feel pulled.
So you do something over here and then you look over there and that person gets really angry with you because you chose this other situation, then they won't talk to you ever again. I've had that happen. And that's sad. That's a sucky thing that happens in careers and in situations because we're all human and we all do... we all make mistakes, you know? And I think that - I think it's important to have grace for people, but some people don't, some people just really take things very personal I don't want to be, I mean, I don't want to be like that. It just, it's just like, it just takes up way too much energy you know, you just do your best and you try to love and try to be sensitive to other people. And especially now at this point in my life, I just try to just be kind and loving and try to make the best decisions that I can with all the knowledge I have in my, in my back pocket right now. So..
Valerie: There's been a lot of roads that you've traveled since those days, like literally and figuratively.
So speaking of the road, you were in Nashville, but then you decided it was time to really hone your craft as a solo artist. And maybe some of these opportunities you're talking about were not there, they were in New York. So why leave Nashville? And, um, what did you learn when you went to New York?
[00:28:26] Moving To New York City
Tabitha: I think w uh, at the time when I did leave Nashville, I just felt like I had kind of reached my ceiling here, you know because I think you get known as something in the industry. Like I was known as a backup singer. I was known as... sang a lot of demos here in Nashville. I just, I was well-known here in this town.
I had a boyfriend that I was seeing and he had a place in New York. And so I would go and visit him a lot. And then at some point, he was like, well, you should just move here because you're getting some cool opportunities. And so I did, I took the plunge and I, I moved totally and completely to New York City and gave it my all.
And it was, oh my gosh, such a ride. I have to say, I mean, living there, New York City, it's, it's true. What they say, how it can eat you up and spit you out, kind of. It's just, it's just a very difficult place to live. Um, especially as an artist, but I had some of the most incredible musical experiences there and worked with some of the biggest musical icons in history.
Valerie: Like Sting, right?
Tabitha: Yeah.
Valerie: So you kind of left a lot of your relationships behind Did you have to establish new relationships? Did you already have some music business, um, or musician relationships?
Tabitha: I did. I had a few relationships there already. And so it really helped a lot. A songwriter in New York, his name is Jeff Franzel. I don't know if you're familiar with him, but he would come to Nashville quite a bit and do his demos here. And then I would end up singing on a lot of them. So he and I became friends.
And when I moved up to New York, he was like, Hey, Tab. I want to help you any way I can. So I put together, you know, my demo reel and all the different things I've done here. And he literally gave me about 20 names to send them to. And so I did. I put together the reel, I sent them to all those people.
And then I just started getting a lot of work. In fact, the singers in New York City, they were a little angry because this is what I heard through the grapevine that they were angry because I was getting all the work.
I started to get like all the work. And at one point when I lived there, I had five national jingles running at one time. So it was like, Yeah. So I was, I was really blessed with a lot of work with jingles, with shows, with just everything -demos. Yeah. Just things were really taken off for me there. But it was still really intense and really hard to live there. Um, because you know, this is the little Oklahoma girl slash Nashville, moving to New York City and having to navigate, you know, how to get around, the subway system, learn all that and just really grow up.
Really it forces you to know thy self. It's one of those kinds of places. And I did, I mean, I, I had to, really work on myself there.
Valerie: So how long were you there?
Tabitha: I was there 16 years.
Valerie: Oh my goodness.
Tabitha: A long time.
Valerie: That is a long time. Yeah.
Tabitha: But I wouldn't trade that for anything, because I think it really made me like it, like I said, figure out who I was. And, uh, I moved back here to Nashville about six years ago, and that has been wonderful. And that, that wasn't easy either because every place I've gone to it is like, you're starting over again and meeting, you know, making new friends and then becoming part of a new musical community and getting to know all those people and all those people getting to know you and know who you actually are as a human being.
And I think New York is cool in that way is because they're so accepting. I mean, you would think maybe otherwise, because it is that big kind of like hard city kind of vibe.
Valerie: Well, and those singers were kind of pissed off that you were getting all the work.
Tabitha: Yeah, they, they were not happy. Like how can she come here and get all this work?
Valerie: Yeah, but on the other hand, you're saying that the musicians generally are accepting. Is that what you're saying?
Tabitha: Yes, they were all just so amazing to me. Some of the people that I started working with there, like Willie, I don't know if you're familiar with him, but the bass player from the Letterman Show? Will, and his wife Sandrine, were some of my best friends, and they, they still are. I just think so highly of them as people. And...
Valerie: So you made new family there.
Tabitha: They just accepted me with open arms. They got me through some really harsh moments there - personal moments. Because of friends and my family and just, it just really got me through those moments.
Valerie: Can you give me an example without it being - if it's not too personal.
Tabitha: I was in a relationship with someone that was very toxic, I can't really go into much detail other than that. It was very toxic and it led me down some dark roads. And I had to get professional help during that time, some really good therapists to get me through that moment.
And I did get through it with the help of that good, great therapist and some antidepressants.
Yeah.
But mostly, like I say, good friends really got me through those moments. And they were, I would say the most difficult moments in my life, literally. To go through difficult moments in a city like New York City.
Oh my gosh. It's it's not easy. I always say it's like a bed of nails. Yeah. It's a bed of nails. It's like when you look down on that city, that's what it looks like. You know, I saw a photograph and it literally looked like nails. it is the concrete jungle, for sure, but filled with so much beautiful people and life. You have people from all walks of life there. And that's the one great thing about New York City is like, man, you just never knew who you might meet around the corner.
Valerie: Right. So many opportunities and maybe that's partly what makes people so accepting and open is that almost everyone's an immigrant there, right?
Tabitha: Basically.
Valerie: Especially if you're in the performing arts.
[00:34:32] Practicing/Teaching
Valerie: So if you don't mind, I want to shift the conversation to talk to you about working as a backup vocalist and songwriter, like the practical kind of aspects of it. So what does your vocal practice look like? What do you practice and how long do you sing every day?
Tabitha: Well, since I teach voice, um, sometimes working from 10 in the morning until six at night. Now that's not every day. Usually, because of vocal coaching, I'm warming people up like hours on end. So I'm having to sing a lot.
Valerie: What kind of warmups do you teach?
Tabitha: Um, I teach breathing exercises, uh, pitch exercises with numbers. I teach the lip bubbles and the lip trills and different scales with different consonants and vowels.
And when I teach a voice lesson, usually at least 20 minutes of vocal warmups, because I think those are super important to get the voice pliable.
Valerie: Yea, they are.
Tabitha: And everybody's at a different level. So you just have to kind of figure out well, who needs this, who needs that and work on those things.
Valerie: Right. There are a lot of parts. There are a lot of different parts of the puzzle.
Tabitha: There really are.
Valerie: From the physical to the mental, to the emotional too.
Tabitha: You feel like a therapist sometimes.
Valerie: Yeah, I totally get that.
[00:35:52] How Do You Prepare For A Tour?
Valerie: Speaking of physically, mentally, emotionally, how do you prepare for a tour?
Tabitha: Usually, you know, you get a buttload of music, you sit down and just carve - woodshed. I start learning, learning the material. And I just go down the list of songs that I know I'm going to be singing backgrounds to.
And then most of the time they'll say, well, you're going to sing soprano, or you're going to sing this or that. You'll take the altos track all throughout the whole show. Sometimes that could change because maybe this other person will be better on the alto on this song because their texture's, vocal texture's, better for that. Sometimes how I learn the music depends on who all is singing basically in the backup group.
But mostly I learn all the parts because it's just important to know all the parts, I think. Because you might, like I said earlier, you might have to shift down to the alto or maybe you'll have to shift up to the soprano on this, or maybe the tenor line on this other song. So...
Valerie: That's brilliant, Tabitha. And then you can hear their parts better when they're going by when you're singing with them, right?
Tabitha: Yes. And a lot of the situations That I've been a part of, I've usually been like the leader of the background section. So, you have to know kind of how to divvy things up.
Valerie: That was the other thing I was going to ask you, who's the leader.
Tabitha: Yeah. and when somebody else is the leader, then you just be respectful of their position and you just do what they tell you to do. I mean, that's just it. What I always say is, Hey, whatever part you want me to sing is fine. Whatever you think. That's kind of how I like to operate because I think, I can depend on Tabitha to come in and know her part, but if I need to shift her, she's fine with it. So, um, so I think that that's important to be malleable so that you're not just stuck on this one thing. I have to do it this way and that's it. Because most of the time things change.
Valerie: They need you to be flexible. Flexibility is a really important attribute to have, I think, as a backup vocalist. Because like you said, you don't know till you get with those other singers, what the blend is going to be like. And if the blend is better with you singing the top note versus the middle note, then that's what needs to happen. And if you've already learned the part then you're ready to go.
And you don't usually have very much time with people in person. Um, cause everybody lives in different cities sometimes. And I mean, there's always, you know, very little time for rehearsing.
[00:38:29] Rehearsing
Valerie: So let's talk about rehearsals because you've been to a lot of them.
Tabitha: I sure have I have.
Valerie: I bet you've seen such a wide range of rehearsal styles from totally off the cuff to those that are organized and down to the minute in terms of how they run. What does a well-run rehearsal look like and what makes a rehearsal work from the nuts and bolts of things uh, like you were just talking about in terms of notes and blend, to the attitude and energy you bring?
Tabitha: I think a well-rounded rehearsal is a result of preparation, but in order to prepare, you have to get your music before the rehearsal at a good amount of time before the rehearsal so you can really sit down and learn it and woodshed.
Valerie: How long a time do you like to have?
Tabitha: If it's a big gig, or big gigs, if it's a big tour? Yeah, I want to get that music a month ahead of time. Sometimes I don't get that luxury, but, uh, it's just so I can really learn everything and then you get to the rehearsal and if they say, Hey, we're going to change this arrangement, you'll be like, Okay. All right. But I know the song well enough.
[00:39:35] What Does A Music Director Do?
Tabitha: So, yeah, So just getting the material in a good amount of time beforehand, and then just having really good communication with either the manager or the, uh, the tour manager or whatever. You know, they send out emails and they give you all of the rehearsal... when it's going to be, uh, what time everything's going to start... And then once you get in there, the musical director is really good and they know what they're doing, and they are in charge of the rehearsal. And there's not a lot of chiefs. There's one chief and he's dictating, or he's telling us what to do, and then we all follow suit.
Valerie: So that's the music director's job is to know all the parts and get people to do everything that needs to happen for the show to go on.
The artists that you work with - do any of the music director job as well as..
Tabitha: Uh, not really. I mean... They hire someone.
Valerie: Yeah. That makes sense.
Tabitha: They hire someone. But with, with big artists to like, say like a Bruce Springsteen or Sting, you know, or James Taylor, they are such strong artists. Yeah, well, they've got the music director, but they also speak up and they say, Hey, let's try this or try that or.. They know the material so well that they can change things at the rehearsal. And so that's fine because they know exactly what it is they want
So, but yes, all, all those kinds of artists definitely have musical directors. And I think that even if you're starting out right, and you're, you're an artist and you're going out and you're doing shows, you designate someone in the band to lead the band. They're in charge of the band, kind of. You're in charge of the whole thing, you're the executive producer, but you got to have somebody helping you. So you designate whoever you feel the most comfortable with, whoever you feel can get the job done. Someone who's really invested in your artistry and in the material and someone you can trust to help you with that. It's probably going to be one of, one of your bandmates.
Valerie: And they better be able to communicate well, too, I think.
Tabitha: Yes. and have good people skills.
Valerie: And also kind of be a, like a librarian. I mean, there's so much organizing of music to do. Do they usually do that part too? Or does somebody else take care of the charts?
Tabitha: Depends on the person, whoever the bandleader is. Like, say..
I'll give you a scenario. So over the years, I've done the Kennedy Center Honors. I've done big shows like that, The Rainforest Benefit. And so those are big shows, a lot of moving parts. You've got your band and you have all your singers.
So with the singers though, normally, we don't have charts. We, we just have to learn the music. We call them head charts where you just listen to the harmonies and you underline lyrics. And in, you know, well, here's a three-part harmony, so I'm going to make my note that that's the case there. But with the band, they have to have charts.
Those kinds of gigs require charts because you have a lot of material and you don't have a lot of time to learn the material.
Valerie: Right. They're not going to memorize stuff usually.
Tabitha: Yes, exactly. So the scenario I'm talking about is Kennedy Center Honors. So Rob Mathis was our director. He would probably make charts for a lot of the band members. But in that situation, they do have somebody that they do call for charts.
But sometimes Rob would do it. Sometimes the chart guy would do it. It just depends. If you have an orchestra, then you have to have somebody that can write those orchestrations out. So it just depends really on the type of artists that you're working with and then how big the band is. And it's just, there's just a lot of things to think about. But most of the time the musical director will make the charts. Unless the artists, they decide I'm going to get so-and-so to, I'm going to pay this so-and-so person to come over, an arranger, to write out these charts.
Valerie: So the bigger the gig and the more work there is to do, the more it gets chunked out and given to different people. So, So, that it can all get done, especially for these TV shows that are so huge. Yeah.
[00:43:41] How Many Rehearsals Do You Get For The Big Shows?
Valerie: And then how many rehearsals do you end up having for some of these bigger shows? Like the Kennedy Center Honors? Is there just like one or two rehearsals and then you're there and you're doing it?
Tabitha: Basically. Yeah. Like Kennedy Center Honors, the same day that we fly in we start rehearsing. Basically that afternoon we start rehearsing and that's usually just the band and the singer. Well, the band will rehearse by themselves and then the singers will go to a room and we'll rehearse all the stuff. And then we'll come together later that day and we'll rehearse all, all of us will rehearse together.
Then the next day the artists all come in and they, sing with us that Saturday. Cause usually it's a Friday we fly in, we rehearse by ourselves. Saturday with the artists. And then Sunday, that is a camera blocking. That's all that stuff. And the artists come in and rehearse with us on-camera to get all the lighting and all that stuff on stage. And then that night... and they call those dress rehearsals. And then that night we do, the show.
Valerie: There's no time at all. Everything has to just be like clockwork by the time you get to that Sunday, quote, unquote, dress rehearsal.
Tabitha: So you basically have to be prepared like so big time when you get there, you gotta really know your part, just like no guesswork. Now, when you get there, you know, you could be, like I said, I could be singing soprano or I could be singing tenor. I don't know. That's why I have to learn all the parts and be, have flushed all the parts out well enough so that I can do whatever part they do.
Valerie: When you do these kinds of things, how many songs do you end up singing?
Tabitha: Usually for the Kennedy Center Honors, not that there were tons that we had to sing, but sometimes there could be eight songs. Or sometimes 10. Sometimes we could be singing in two different segments, depending on who they were honoring that year.
Valerie: That's a lot of parts, Tabitha!
Tabitha: It is. It's of parts, but boy, it was fun. It was so much fun.
Oh, I bet.
[00:45:36] How Do You Create A Great Blend With Other Singers?
Valerie: So what do you listen for to create a great blend with other singers, especially when you know you, maybe haven't worked with them before?
Tabitha: Well, pitch is super important. Tone is one of the most important things. Tone, pitch, dynamics, phrasing. It's like everything. It's all the musical layers. It's knowing where to sing breathy - when to sing. with crescendo here, decrescendo there. Oh, we're going to, we're going to sing this out. You know, we're going to project all this really. And we're going to sing with a lot of vibrato. Or no, we're all going to sing with straight tones.
In the room, I don't like to rehearse on microphones when I first get with the backup singers. When we all get together, it's like, let's, let's get our vibe in the room, and let's blend in the room first. And then by the time you get on stage with microphones, you've established that blend. Okay. So that's, like really important, I think, is to establish that blend.
And it's like, the sound is alive. It's like almost like another entity, that sound. And you're creating this atmosphere. So it's just, we have to look at each other. We have to communicate with our eyes, with our, with our bodies. It's just, that's how I see it.
Valerie: Because there's so much that you have to do in such a short amount of time. All your senses have to be online to, to be able to communicate what's going to happen next. And our bodies tell other people what's going to happen next. And if you're the leader, I would imagine you're probably really good at showing with your body what dynamic level is going to happen or those kinds of things. Is that, is that right? Am I, Am I, just...
Tabitha: Absolutely. It's uh, I definitely try to do that.
[00:47:22] Getting A Good Mix In The Monitors
Tabitha: So then you're, you're at the show and you're at this technical rehearsal you can't hear right your in-ear monitor. What do you do then?
I look at the monitor guy and I go, I can't hear. Or I'll walk over to the monitor guy. And I'll be very kind about it, cause you have to be. And I'll say, Hey, can you turn this up or that up? I can't hear this, or I can't hear that. And normally what happens, this is if you're in a rehearsal that's running well, is that they go around the room and they check your mix.
They will ask you, Hey Tabitha, Hey, how's your mix? What do you need? And I use in-ear monitors in most of these gigs. We all have our own mixes, which is great. But you're not using floor monitors cause sometimes those can blow your ears out.
So with in-ears, you can get whatever you want in them and you can have it as loud or soft or whatever.
So for me though, I like to hear a mixture of everything in my ears with myself, up in the mix. And I usually like to hear a good amount of keyboard, for pitch. And then I like to hear a groove. I like to hear that bass. And then I also like to hear with the drum kit, I like to hear a good bass drum. I like to hear just maybe a little snare, not much at all. Everything else is a little softer, but yet still present in my mix, so it's like a record almost. I like a full sound in my ears.
When you have those in-ears, you literally don't hear anything on stage. So you have to get those in-ears right. It's important that I hear myself above everything.
Valerie: And then the other singers, are they in the, in the mix?
Tabitha: Yes. So my voice up, and then theirs a little below mine I can hear the blend.
Valerie: Okay.
Tabitha: If you're in a group you have to hear each other. That's all there is to it.
Valerie: Oh, no kidding, horrible, horrible feeling not to be able to hear the other parts because then you're just..
Tabitha: Oh, yeah, you're just out. You're just out.
Exactly. you're just like flowing in the wind there. It's not a good feeling. So yeah. So a well-run rehearsal we'll make sure that everyone can hear properly. Then you're off to the races.
Valerie: And I would say too, that a well-run rehearsal means that everyone who's on that stage with you is quiet while you're doing this process. Because I've been in so many frustrating situations where it's like, people are talking or they're plinking on their instruments, or the drummer's hitting the snare drum. And you're like, Hey, I'm just trying to get my monitor right here!
Tabitha: Can't you see I'm getting a soundcheck here?!?
Valerie: Yeah.
Tabitha: But a lot of times that's another responsibility of the musical director too. He has to set the tone for whatever's happening in the room. And usually the music director is a strong personality and he will say, Hey dude. Hey, we're trying to get something going on here, you know, and they'll stop whatever they're doing. That's happened many times So, they stop and then everybody looks at them and they're a little embarrassed. And they should be!
Valerie: Especially if a guitar player. Oh, did I?
Tabitha: It's like, grow up, man. Aren't you aren't you a professional? you see..
Valerie: We're working over here!
Tabitha: Yeah.
Valerie: Ahh..,
Tabitha: Exactly..
[00:50:32] What Qualities Do You Look For In The Musicians You Hire To Back You Up?
Valerie: So when you're putting together a backing band for your own shows, what's your criteria? What are the qualities that you look for in the musicians you hire?
Tabitha: I like people that are, uh, probably like me. I don't know, but like we have, we are similar. And we have a kinship and we have a friendship. Um, and then on top of that, they have to be really good at what they do.
Valerie: Right.
Tabitha: Yeah. I just, I have to have that.. I have to have a bond with them.
Valerie: Cause you never know, you never know what's going to happen. And when you, when you're on stage, to know that they have your back and you have their back and everyone trusts each other and no one's ego's going to get in the way or all those things, it helps you relax into the music and then the music soars.
Tabitha: It's the best. When you're all firing on the same page when you're on stage. There's nothing better.
[00:51:25] Songwriting & Collaboration
Tabitha: So let's talk about songwriting and collaboration. How did you learn how to write songs and what's your process?
I started writing when I was a teenager. 15 maybe? I wrote a song for my first record that I did with Skyline. How I write is I definitely write from my own experiences, lyrically, -especially. Musically for me, melodies will just come. Sometimes the melody or sometimes the lyric will come first. Sometimes the whole thing will kind of spill out. It just depends. Sometimes the title will come first.
And like I said, and usually, it's something I'm going through or have gone through and I just need to get it out.
And then I also love to collaborate with people and co-write. In those situations, all those are so different. And I know that like, if I don't gel with the person, probably not going to gel with them in a co-write.
Yeah.
And you figure that out pretty quick.
Valerie: What are the different kinds of situations that you find yourself in with co-writes? I mean, I know you've had a lot of different experiences.
Tabitha: There are people I write with that I've never met in my life and you get into a room and you either gel or you don't.
Valerie: Who gets you into the room? Cause people are always like, well, I want to write songs, but I don't know how to find people to write songs with.
Tabitha: Uh, usually songwriting friends that I've worked with in the past. Maybe it's someone that I've done a demo for. Or some artists I've worked with or whatever, they'll go, Hey, we should write sometime and you go, okay, and then you make an appointment and you write with them. And then maybe they'll invite somebody else to the write that you've never met before. And they go, Oh, you'll love this person. Yeah, I write with them all the time. And then you get in a room with them and then either you gel or you don't, and sometimes you still get a song out of it. It just depends. I just meet people from all parts of the music, music industry in such different ways. I might meet them at a gig and they'll go, I know who you are and whatever, and let's get together and write something. You know, all the situations are different.
Valerie: As different as people are. And then you've got people who probably want to lead the writing. Cause you get, you get somebody who comes in with strong ideas and just needs a little help finishing the song maybe. And then there's probably other situations that you're in where it just starts from nothing.
Tabitha: And I do kind of like those kinds of situations where it just starts from nothing. Just like, what are you feeling today? Or you sit down at the piano or somebody sits down with their guitar and they start playing something and you start singing a melody over it. And then the whole song of starts flying out. That's really fun. I love it when that happens. I love it when a song just comes in 15 minutes, that's always awesome.
And sometimes they do come really fast and sometimes it's like pulling teeth. You're just like, ah, you know, it's aggravating. It's frustrating. And sometimes I'm not in the mood to do it. Sometimes it's just like, I'm gonna write and just like, I'm just not here. And, uh, a few times to get a song completed because could be me or somebody else just isn't in the headspace for it. And you just give each other grace for that and go, Okay, well, let's, reschedule and get together again and just try to finish it. I just think it comes when it's supposed to come. That's how I see it. I try not to force it so much.
[00:54:39] Songwriting with Carole King
Valerie: One of the people that's one of my favorite songwriters of all time is Carole King, of course. I think I was in middle school when her album Tapestry came out. What I didn't know then was how many hits songs she'd written for other people before that in the Brill Building. She's written, or co-written like 118 pop hits on the Billboard Hot 100. And you got a chance to write with her. That just blows my mind.
Tabitha: I was one of the lucky few, you know? I mean, like I said, when you're a kid and you're, coming up in your musical world, I never would have imagined that in my wildest dreams, that I would have gotten an opportunity to write, and meet, and hang out with Carole King. Never would I have imagined that.
I was so excited, you know. I was invited to this castle in the south of France and it was Miles Copeland's writing retreat. This was around all that time when I was really just excelling, just doing great stuff here in Nashville. And that was one of the opportunities I got was to do this writing retreat. And it happened that the last day of the retreat they picked me and Carole and this guy named John Parish to write together. I was shocked when they picked me to write with her, I was. But I just feel so blessed and fortunate that I got the opportunity to go to this retreat. And then the last day got to write with her. It was an amazing experience.
She came in and she had the idea, and that's the song title is If We Get Through This. And so she came in with that idea and me and John, we, of course, loved it. And she sang a little bit of it, played it. And we were like, yes, let's work on that. My part of the song was probably more of the bridge. Cause we all had our sections of the song that were us.
That's the great thing about Carole is she allowed us to be us She wasn't trying to take control or it has to be my way or the highway. You know, she, she was a phenomenal mentor. And we just all loved her. She just was one of us and she just had great stories and she was so nurturing and kind, and generous, so generous and so humble.
And then we wrote the song and we demoed it in the same day. That was really fun to get to work with her in the studio and have her produce the vocal. And we did the tracking and everything in that day. And then a few years later I got a call and they wanted to put that song in a film with me singing it.
So the film that it was in was Sum Of All Fears with Morgan Freeman and, Ben Affleck. And the song was in the movie and, and on the soundtrack and me singing it. And her son-in-law, at the time, Robby Condor, produced it. And, we had like the top musicians playing on it in New York City and the top singers in New York City, like Lisa Fisher was on the session.
Valerie: Oh, amazing.
Tabitha: It was just wonderful. Yeah, it was a wonderful experience.
Valerie: Wow, what a great story.
[00:58:39] Starstruck
Valerie: You've been on stages with some of the biggest stars in the business, performed at presidential inaugurations, The Kennedy Center Honors. You've sung for artists like Dolly Parton and Stevie Wonder. Do you still get starstruck? Do you still get nervous when you meet some of these people?
Tabitha: Absolutely. I still get a little, like, nervous around Sting, cause I'm such a big fan. What doesn't have a crush on Sting, you know? I mean, he's such a gentleman. And I love his wife Trudie too. She's a class act. They both are. They're just amazing, generous people. So yeah. I still get starstruck to answer your question. Absolutely.
But when I do, I try not to show much, I just, I just, I'm probably a little more quiet and reserved when I when get starstruck. I just sit back and listen and observe more than I talk. I still have respect and all that, and I'm not a big, like, I don't have to be the center of attention. I don't have to talk and have them look at me, me, me. No, I like to observe. I like to be a part of what's going on, but allow other people to shine too in those situations.
And I think that's really important as a person that's singing backup or you're on a big stage like that. You at some point will get an opportunity to shine, but you also allow other people to have their moment and applaud them when they get that moment. And I think that's so important to not be a person that is very consumed with yourself in those situations. I think you have to really have some humanity.
Valerie: I think that's why these people hire you, my dear.
Tabitha: Thank you.
Valerie: Because you, recognize that that's a part of it and you're there to support and to love the music and to show that love to the audience. And that's one of the reasons that I actually love to sing back up. I like to be in the spotlight sometimes, but I also like to be in that support role. It's fun to be able to shine that light on somebody else and watch them soar.
Tabitha: Yeah.
Valerie: And I love the blend of a good backup lineup. I think it's almost more fun than singing solo in some ways.
Tabitha: So a couple of years ago we did The Rainforest Benefit. And I think it was probably going to be one of the last ones that's going to be done. And so it's Sting and Trudie, they do this thing for the rainforests every two years. And normally it's at Carnegie Hall, but this last time they had it at The Beacon and the lineup of artists, they had, it was unreal. Right? Cause it's like the last hurrah.
They had Annie Lennox and Dave on the show. And they haven't performed together since The Eurythmics, broke up. But they're reuniting to do The Rainforest Benefit. And so we got to sing with them the whole time. And of course, Annie Lennox, oh my goodness, talk about a humble, sweet, lovely human being. I was so impressed by her, And her voice is unbelievable. I mean, girlfriend still sounds strong or stronger than ever. But she got up there and I'm telling you could just feel the electricity, you know when she's up there singing and we're singing with her and the band is kicking butt.
I mean, there's nothing better than seeing an artist or hearing your iconic person that you look up to so much and you get to back them up and you get to support them and help them shine in a moment that is like that. I have to say that was such an amazing feeling to be up there and getting to do that. That was just incredible.
Valerie: Unbelievable.
[01:02:09] Strategies For Stagefright
Valerie: When you do get nervous on stage, we're not talking star struck anymore,
Do you get nervous on stage? And if you do, what kind of self-talk do you do to get out of it?
Tabitha: If I'm not prepared, that's when I get stage fright. If I don't know the material that well, that's scary for me. But, even in those situations, it's usually not because of something I've done because I'm the type of person, I prepare. Usually, it's something that's just thrown at me before I have to go on stage or somebody's come in and they changed the arrangement or that kind of thing and then I have, then I'm flying by the seat of my pants. That can be a little scary, but I just go, well, you've done the work you learned it. It's just different. So just enjoy the ride while you're up there. Just do your best. That's what I tell myself. Just do your best.
You already know the material and nerves are good and you just have to sit in those nerves a little bit. And then you're out of it. You're singing with all your might, all your heart, the nerves go away. And you're just up there and you're, you're just talking to the audience with your voice.
Valerie: I heard you say that you're a perfectionist and now I understand why, because you want to be over-prepared so then you can say to yourself, I did everything I could to get to this moment, and this is what's happening.
Tabitha: Sometimes technical issues will happen and the sound is whack or whatever, and you've got to roll with it. You, can't let it show on your face. And that's what I would tell people, whether you're singing backup or singing lead, you can't make faces because people see your face up there doing that, and then they're distracted by that. If you don't make the face, most of the time, they're not going to know you're screwed up
Valerie: Absolutely.
Whenever I get to be an audience member and I'm seeing somebody sing that does make a mistake, I love it when they laugh about it. I mean, if it's mean a really obvious one and they're just like, Oh, look at that.
Tabitha: Exactly.
Valerie: There's been once or twice Stop the song and start over again. if I'm freaked out about it, I transmit that to the audience, right? And then they're freaked out for me and they feel bad for me and..
Tabitha: But if you just laugh it off, they're going to laugh with you.
Valerie: Absolutely.
[01:04:29] Let's Talk Touring
Valerie: So let's talk about being on the road. There's parts of it that are fun, but a lot of it's really hard. Have you ever felt lonely?
Tabitha: I love being on tour. I love it. I love traveling. I love being on the bus. I love sleeping on the bus. I love being on the bus after the show, and we're all talking about the show and I love all that. I love that community on the bus.
I think for me, the lonely part comes when I go home and then I have to readjust to being home. Especially cause I'm a single, I'm a single lady. So you've had this community and you've been on the bus. You're like family. It takes a minute to get used to being on tour. But once you get used to it, then it's like, it's on and I'm loving it. But then it coming home, man. That's when I have to like go, Okay. Just call some friends. Go do something. You know, let people know you're back. Cause you have to readjust to that. So for me, that's like kind of a lonely time is coming home.
[01:05:27] Regrets?
Valerie: Do you have any regrets about the life that you've chosen?
Tabitha: I, I, love what I do so much. I would say that, you know, I don't have children. I did not have kids. I do have hopes of marrying again and finding somebody really special. But I have been so career-driven that my career in a sense has been my child. So if anything, I would say that would be my one regret is not having kids.
Valerie: Yeah, children and the road, I don't know how people do it. I really don't. I mean, just being gone all that time and unless you are able to take your children with you and even then I don't know. That's a hard choice. I can understand why you chose not to try to do both.
Tabitha: Yeah. To me, it would be selfish to have a child knowing that I would be gone all the time and I knew that that's really what I wanted to do. I wanted to tour, I wanted to be an artist, and be about my musical craft. And so that's what I did.
[01:06:25] What Would You Say To A Younger Version Of You?
Tabitha: And what would you say to a younger version of you if you could go back and talk to her?
I would say really know thyself. I would say you don't need a relationship. You don't need a man in your life. I always felt like I needed a man in my life, but I would say all you need is you girl, that's all you need. And you, all you need is yourself and God. Make him first and do your best at every opportunity that comes along and take seriously the ones that are in front of you, the people that want to invest in you and in your career, really look at those things.
[01:07:04] Is It Harder To Make It In The Music Business Now?
Valerie: So do you think it's harder to make it in the music business now than it was when you first started?
Tabitha: Yes. Absolutely.
There's so many different things going on now in the music industry. One way that might not be as difficult is because of the internet, you can be seen and heard by millions and millions of people all over the world, all over the globe with social media, you have more opportunity in that way.
But I see that as being a little more fleeting, except for maybe like Justin Bieber. He was, he was able to do it. But it's fleeting because. Gosh, back in the day you had big record labels. You had artists who were developed and who because of their talent they were able to stick around and become a legacy act. You know, they had legs. But now, because of the internet and with television and with everything you can just become kind of a flash in the pan.
Valerie: It's all about next.
Tabitha: Yeah, It is.
Valerie: It's all about what's next. And people's attention spans are so short. to capture their attention and keep it, it's like a full-time job.
Tabitha: It really is. It's a full-time job. And with these artists coming up they have to have all these big numbers on their social media platforms and they have to put out content at least three times a day. You have to have big numbers before a label will even look at you. Young artists that come to me and they say, Hey, I want to get a record deal. I'm like, well, okay, then you got a lot of work to do cuz it ain't going to be easy, girl. Boy, it's not going to be easy.
[01:08:42] If A Singer Wants To Make A Life In Music, Where Should They Start?
Tabitha: So what would you say to the singers who are listening to this interview who feel called to make a life in music but they don't know where to start?
First of all, just work on your craft. Get that solid, get a real musical foundation. Because that will take you far. If you don't do that, you won't get around the corner. I'm sorry. It's just not, you know, you might for a minute, but you have to be well-versed as an artist. And then you have to get educated. You've got to find out all the things that you need to do.
Really great songs will take you places. Okay. And a good work ethic. And the mentality if you're, I'm not going to give up. And you put content out there, post stuff on YouTube, on Tik Tok, on just all your social media things. Put out music all the time.
I mean, it's just - make music as much as you can. Write. If you're a songwriter write every day. I mean, it's just important to do your thing every day. As a singer, you have to, you have to practice every day to get your vocal cords strong and pliable.
And then you have to... you have got to put yourself out there. You know, you might have to move to a different city to be a part of a musical community. If you want to be a country artist, then you should probably be in Nashville. Or if you want to be a pop artist, you have to be where the music is happening. Or you have to have someone working for you who have the connections and they can call people and say, Hey, you gotta check out this new artist I'm working with.
Either, you know, people or you know, people who know people.
You can't expect somebody else to do it for you. If you want it, you gotta go for it. You gotta do it. You gotta do the work. There's not a replacement for that. You have to put the work in especially if you want to have longevity as an artist.
Valerie: There is no point A to point B to point C. It's being at the right place, and at the right time meeting the right people, and being ready.
Tabitha: And get out there and play and sing as much as you can. I don't care what it is, just get out and sing. Even if it's to go to your local high school football games and sing the National Anthem. I mean, it's any, and all things to build your musical chops, your character as an artist, your, platform. It's not just one thing. It's everything. It's social media. It's getting out in your community. Being seen and heard. Cause you never know who's going to be out there listening.
Valerie: Good stuff, Tabitha really good stuff.
[01:11:17] Current Projects
Valerie: So what are you currently working on? What's been happening for you since the pandemic hit? This has not been an easy time.
Tabitha: Well, it has not. No, it's been challenging for sure. And as far as like playing out live and all that, that's almost been non-existent although it's now coming back. Through the pandemic, I did work on a dance song. And they put it out this year. It's a song called Fly and I did it with DJ Macau. He and I wrote Fly together. We worked on that through the pandemic and it was released and did pretty well on the charts. So I did that.
As of now, I'm going to Greece in June with Desmond Child and we're playing a show at the Parthenon.
Valerie: Woah! That's going to be cool!
Tabitha: I'm so excited. Yeah. And I know Rita Wilson's doing it. And there's other artists that I can't really say yet because I don't know who all else is going to be a part of the show. But it'll be pretty awesome because some of the artists will be artists that have cut his songs and he's had so many hits with so many iconic artists. So they'll be there and I'll be singing back up and maybe even featured on a song or two, who knows.
But, uh, yeah, so I've got that coming up. And I'm going to be writing another song with DJ Macau. And, he, and this other guy named Robert Eibach. Robert is an award-winning or Grammy-winning producer. And so DJ Macau and myself are going to write with him a new dance single for this year.
I also am, uh, the vocal producer for a church, called Cornerstone Church here in Nashville. So I work with the worship team and on the worship team. And so I, I'm very busy with that as well. And..
Valerie: And you're teaching.
Tabitha: Yes. Absolutely.
Valerie: So where can people find you?
Tabitha: You can me on iTunes and Spotify and all the digital platforms. So you can find me on there. Um, and on my Instagram.
Valerie: I'll make sure and have all the links on my website so that people can go there and connect with you and listen to more of what you've done and also see video of you singing because it's a treat.
I've really enjoyed talking with you today, Tabitha and I so appreciate you sharing your experiences with our audience here. I hope we get a chance to connect again
Tabitha: Me too. Maybe we'll get to sing together. Who knows? Me too.
Valerie: Thank you for listening to this episode of living a vocal life for complete show notes and a transcription of my conversation with Tabitha, you can head to my website, Valerie de sings.com. There you'll find videos of Tabitha performing and links to all her social media pages and website. And if you're a.
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