Jenny Parrott

I had just received a call from the owner of the Small House asking if I would open the next night for an Austin-based singer, Jenny Parrott. The answer, of course, was yes. Though I had been in that house on a weekly basis, when I arrived for its first house show, it looked completely different. The front parlor and connected dining room had been transformed into a stage, complete with colored lights and a backdrop and ready to seat the masses. 

Jenny herself greeted me as I entered to set up. And she greeted almost everyone who entered over the next few hours. Though a stranger to all, Jenny was at once like an old friend. She smiled, hugged, laughed, and visited with the crowd as if they were familiar, and so they were. 

When she took the stage an hour or so into the night, I could not have expected what was to come. Jenny took us on a musical journey that was shocking in the best way. Her voice and light filled the house with a compelling energy, not one could look away. That night was, in fact, magical. 

Jenny returned to Macon recently to perform for us in our annual summer music festival, Bragg Jam. Later that week, we found ourselves again in the Small House at the hospitality of our friends Braxton Clark and Elliot Fernandez. We caught up over dinner and wine and I am happy to share a piece of our conversation here.

Cheers to Autumn’s Siren of the Season, Jenny Parrott.   

Rachelle: How was Bragg Jam?

Jenny: It was definitely one of the crazier lead-ups to a gig I’ve had in years. Because we drove so far to get here that day. We started driving from Lafayette, Louisiana at 5:30 in the morning. When we got in, we met up with Elliott and it was so nice to see a familiar face. Our stage was at Just Tap’d and the set we played was so fun. The audience was super energetic and wild. Lately, I’ve been trying to get people to sing with me as much as possible and Macon was just ready. Didn’t need to be asked twice. 

R: I remember you did that when I saw you at the Small House. It was really fun and brought such a positive, communal energy.

J: When I am doing my best on stage, that is my best me. My best me wants everyone to feel like they have a voice and that they can use it to create harmony. Both musically and spiritually, if you will. 

R: So this is your third time in Macon. What is your impression?

J: There is a pretty amazing culture happening here. Elliott, Braxton, you, and those I’ve met here are making it happen. The theater scene is cool. The music scene is cool and really developing. It’s a place people want to come. Two of my friends flew in from Austin to come to Bragg Jam and hang out. So we went to other shows after my gig. They go to so many festivals and they loved Bragg Jam. To me, they were here before I was, so when they said they loved it I knew that meant it was chill and fun. They don’t like those crazy festivals where 19 year olds are wearing Indian headdresses and doing blow. They like chill, day-drinky kind. I mean, you can still get a little wild but no one’s completely bananas. 

R: I like that impression! There is a lot that can happen in this town and sometimes it just depends on the day. Sometimes people catch us at our worst and I hate that because there really are so many good things here. So I’m glad you’ve seen the fun and culture and that has informed your impression of Macon. 

J: America is a really tough place right now and it’s full of contrasts. Macon is part of America. I know what you’re getting at. I think it makes it even sweeter sometimes when you do find a counterculture pocket. 

R: What does it mean to you to be southern?

J: To realize that all of America is complicated and has duality. Perhaps the South is most famous for injustice and a legacy of duality and oppression. And it’s such a contrast with the natural beauty and folk-lore. Me deciding to be a power southern women means I get to play a part in that culture with the choices I make, how I act, what kind of community I am building. We have to feel empowered by that as opposed to defeated by the history.

R: What are some advantages to being a woman in the industry?

J: Since we’ve been able to identify to disadvantages in the patriarchy and the infrastructure, now when you do see women playing music… I feel like I go up to every single female musician I ever meet on the road and I try to network. That is not something I do with the men because there’s so many of them. I feel like people are being more proactive about creating more bonds. 

R: What are some ways you’ve found to cultivate those bonds?

J: I started Lady-Jam a few months ago. It is a night of collaboration that I host in my living room. I just get cheap snacks and tea and I invite every female artist I meet over. The rules are to bring something to jam on, a song you wrote or a song you’re learning. The other rule is you’re supposed to participate in everyone else’s song. It’s all about building each other up. 

R: I remember when I opened for you how special you made me feel. 

J: You are special! 

R: Who is the primary southern, female voice in your life?

J:  Brennen Leigh. She lived in TX for ten years and now she’s a Nashvillian. Leigh is an amazing guitarist, incredible voice, incredible song-writer. She can play the guitar like mad and the mandolin the same. But also, Cary Ann Hearst from Shovels & Rope. She sings her ass off and harmonizes like crazy. I met her once and she was so kind. She was building me up, which is everything. And Bernice Johnson Reagon. She founded Sweet Honey in the Rock, a modern-spiritual group. She did a lot of social justice work in the 60’s. The spirituals she writes sound like they’re from the 1800’s but also modern. She is incredible.   

R: What do you wish people knew about southern womanhood?

J: They should bow down to it. They should let it exist in whatever form women want it to take. 

Siren Summer 2019

Nancy Cleveland