“Is there anything that she can’t do?”

I asked myself this question when reading about singer-songwriter Rachael Sage.  Since founding her label MPress Records two decades ago, the NYC-based folk-pop artist has steadily released a slew of vibrant, dynamic albums, maintains being an incredible visual artist, and has been a former ballet dancer who performed with the New York City Ballet on the resume. A self-described “cancer thriver”, Sage is a philanthropic advocate who has raised money for various causes, including Foundation For Women’s Cancer, WHY Hunger, American Refugee Committee, and National Network For Youth (NN4Y).

Sage has recently dropped Another Side, a completely reimagined version of her applauded record, The Other Side. The songs encompass entirely new acoustic instrumentals and Sage’s intimate melodies.  Special guests on the remixed tracks include folk artist Crys Matthews, along with Trina Hamlin (harmonica), percussionist Quinn (Tracy Chapman), Americana vocal duo Annalyse & Ryan, and Nashville singer-songwriters Amy Speace and Grace Pettis.

Today, Sage has shared the video for Albatross (Reimagined).” Amidst colorful, fractured urban landscapes and the yearning improvised movements of an expressive contemporary dancer, Sage sings the question most of us have been prompted to ask in these tumultuous times: “What does it mean to be human? / What cruel misdeeds cannot be undone…”.  Helmed by first-time director Pearl Flanagan, filmed by Mike Flanagan, and edited by John Shyloski, this clip may be Sage’s most artful and thought-provoking video yet.

Sage said in regards to the video: “This video was really exciting to make for a variety of reasons, including working with a first-time female director – Pearl Flanagan. I was actually slated to have her husband Mike – a longtime collaborator – direct, but a few weeks before the shoot he sent me a message and said, ‘Pearl absolutely loves this song, and has some terrific ideas for the video. You two should chat!” It was an unusual way to begin a creative partnership, but he was absolutely right, and her passion and creative energy really impressed me when we spoke. From there, the three of us had a few brainstorming sessions about the imagery we all felt could work well – including the idea of cityscapes being projected onto a performance – and we ended up shooting everything in one long, ambitious day running around NYC. It was a dream team, and I really hope listeners enjoy our collective vision for ‘Albatross’.”

“Is there anything that she can’t do?”

As we talk you are about to have some shows in the UK. How’s the trip going?

All is well! I just completed a whirlwind tour with UK pop artist Will Young, who has such a gorgeous voice and was incredibly warm and welcoming, so that was a treat.

Now we’re about to do a run of sold-out shows with sibling pop duo Hue And Cry at some really gorgeous theatres all over the UK, so I can’t wait! These shows will feature a trio with my longtime, brilliant harmonica player Trina Hamlin as well as a brand new addition of Austin-based percussionist Katie Marie – who’s recently toured with Paula Cole and Sophie B. Hawkins – so that’s very exciting!

What is the difference between a show overseas and here, if any, in your opinion?

I think the main difference is that the UK has zero problem with cross-genre bills and really embraces eclecticism. I’ve been in lineups with R&B, Americana, Blues, and electronic artists, and over there, “music is music” is a creed they genuinely embrace, which makes for a wild ride for an artist like myself. In the U.S., bookers and agents are a little more conservative in that regard, and if the match isn’t overtly similar, stylistically, it’s less apt to happen. That said, I love performing equally for all audiences, and humans are humans! What I enjoy most is trying to really key into what any given crowd is most responsive to and forging that connection via the musicianship, the banter, the energy and humor – however it can happen.

The UK is also so small that the music scene as a whole feels rather intimate; everyone knows about all the venues in various cities and towns and may even send a friend down to see me if it’s an hour or two away.  I also think there’s something about the UK and its unique history with female artists like Kate Bush, Lulu, and so forth that makes their audiences particularly amenable to my style. I definitely get a bit spoiled over there!!

I’m always fascinated by how people find their way towards loving music. What was the moment that sparked you?

While I can’t recall a time when I didn’t love music – especially my Dad’s doo-wap and Beatles albums –  I distinctly remember when my Mom took me to see the Broadway show “Oklahoma” when I was about three. I came home and played the score on the piano. I’d been noodling on the piano already for a few months. Still, there was something about seeing the visuals, the acting, the characters, dance, and hearing those melodies that pulled it all together for my little mind, and a very big lightbulb went off. I knew without any doubt I wanted to be part of that world – to make my own songs, to play whatever else I heard, and to generally follow that spark!

I hope this is correct, but did you record a jingle for Crystal Light?

I sure did! For much of my 20s, I was a jingle-composer, singer, and voice-over artist and did my best to balance trying to be an artist – honing my own songs, and style, and playing gigs – with musical work in whatever arena I could find. Early in my adventures, I met a fellow named Frank Aversa at a party who asked me to sing on a Crystal Light jingle, and while that particular spot didn’t end up “winning” the account, I was later brought in to sing and speak on the one that did. It was a surreal and fascinating entry into a world I knew very little about. Still, I quickly realized it was basically akin to acting, combined with my developing skills as a music producer…so I took to it very quickly and did a lot more of that sort of thing before, eventually, my touring endeavors took over. I’ll always be grateful for what I learned about arranging, collaborating and working on a deadline, during that time in my life!

What was the driving force behind going back and reimagining The Other Side?

I’ve often released acoustic versions of songs in the past, but generally, that methodology just involved muting electric elements and essentially doing deconstructed mixes. In this case, I was really excited to totally reimagine the arrangements top to bottom, having toured behind the songs and enjoyed how they evolved once I’d been sharing them with live audiences. Additionally, I felt like since the original versions were created during lockdown with us all masked up and socially distanced and essentially taking “calculated risks” to be collaborative once again, it was fun to approach the process with a bit more lightness and in a relaxed, wholly positive energy, almost like the first version was made while we were holding our breath and the second while we were exhaling. I hope that feeling comes across!

What was it like to revisit the songs after having been in the world for so long?

Well, all things considered, they were only out for a year when I rolled up my sequined sleeves to reimagine them but it was a very rich, dynamic year so it just felt like all of that relief, resolve, and sheer joy to be able to let loose and connect freely again was a kind of new fuel that merited my attention. I had so many listeners also ask me along the album release tour for The Other Side if I had an album that sounded more like what they’d just heard – which were live versions heavily leaning into strings, piano, and acoustic guitar. That was also a very positive encouragement to re-conceive these songs in a way that felt more reflective of how they’d evolved and connected with live audiences.

Reimagining the album, did you find it a tough assignment for yourself?

The things I find to be most “tough” tend to be normal day-to-day tasks that I have trouble focusing on, like paying bills on time, remembering where I put my keys, or making doctor’s appointments—ha. Projects that are inherently creative are where I feel most joyful and expressive, so while I certainly have a strong work ethic in the studio, no, I don’t think it was difficult per se…

What were the recording sessions like?

They were very relaxed and laid back really! I was able to have local friends like Annalyse & Ryan come by at their leisure and add harmonies, and when we needed breaks, we could just take a quick walk out my front door, grab a coffee, or whatever. It’s nice to not be “on the clock” during the creative process – and I hope that sense of coziness and ease comes through the recordings.

You have toured with some amazing artists ranging from Rufus Wainwright to Shawn Colvin. What did you take away artistically from being around them?

I have been so fortunate that so many of the artists I’ve toured or collaborated with have been as kind and encouraging as they’ve been musically inspiring. I feel like from Rufus, I took away that he lives and breathes his music very organically and is so utterly himself that the leap from being offstage with his family and a little dog running around the venue and jumping up to soundcheck, telling stories, and just being brilliant is very minimal. He is able to make it look effortless because he is confident but also lets the music just flow. With Judy Collins, I have always been in awe of her grace toward her audience – how very much she adores them and they her. Her musicianship is consummate, but her sense of humor and stylishness put everyone at ease, and her storytelling is delightful. Marc Cohn asked me immediately to sing harmonies, so from him I certainly learned to be well-prepared! Howard Jones is someone who “walks the walk” and is as compassionate and curious in life as in his songs. All of these individuals are still as lit up by what they’re doing as ever, and it’s been inspiring to be around so many of my heroes who continue to evolve, to grow artistically, and to be so thoughtful and appreciative to their professional teams and to their listeners. 

One of the more profound things I take away while I read about you is your tireless efforts to give back. Did you always see yourself wanting to be an advocate for the many groups you’re involved in?

Thank you so much for noting that! I appreciate it, though. To be candid, I always feel like I’m not doing enough. So, I will certainly continue to draw guidance and inspiration from so many of my peers in the indie music community who shine their lights with so much energy and insight. 

As far as where the impulse comes from to advocate, I supposed it’s partly how I was raised. I was always encouraged to speak up against injustice and to rally around whatever causes sparked my empathy and sense of compassion. Throughout the years, I’ve been drawn toward issues including LGBTQ+ rights, homelessness, women’s health, and many others, but with so much chaos and violence in the world, I find that it can be overwhelming to know what step to take first and in what direction. There have been many occasions when I will poll my own label team or close friends for ideas of how to help in a particular crisis, and it’s very humbling to be around people who are mindful and well-informed in ways that I may not be. I’m always learning how to make more of a difference!

You have accomplished so much in your life. What is your next big challenge?

My next big challenge is always the one right in front of me – and so for this week it’s preparing for my upcoming UK tour with Hue And Cry, and then after that it will be working on my next album, which is about halfway completed. Oh – and getting more sleep!