Like those singer-songwriters, Jordan was adored for vividly recreating personal traumas in her music, to the point of fostering a devoted (and potentially toxic) following that crowded out all appropriate personal boundaries. And then there was the cult of personality surrounding Jordan, which resembled similarly intense fan bubbles around other young woman indie artists such as Phoebe Bridgers, Mitski, Lucy Daucus, Julien Baker, and Clairo.
Snail mail game tv#
There wasn’t an opportunity - a tour, an interview, a TV appearance, a streaming video performance - that she seemed to turn down. Snail Mail was fixture at indie festivals and music websites.
She seemed to be working awfully hard at an age when most people are doing bong rips and playing video games. She really is going to take over the world.Īs impressive as Jordan was, however, I also couldn’t help feeling a slight twinge of concern.
“It’s mostly the categorization of Snail Mail being this woman-centric rock outfit that has everything to do with my age, gender, and sexuality, and nothing to do with the music… feels like a pat on the back that I don’t want, for things I can’t control.” “I’m just a songwriter before anything else,” she said. While she was appreciative of the hype that greeted Lush, a surprisingly classicist ’90s guitar rock throwback, she was also refreshingly skeptical of the media narratives already being projected upon her music. She was funny, self-possessed, and seemingly wise beyond her relatively young age of 18.
When I interviewed Lindsey Jordan of Snail Mail in 2018 I was - like the scores of other music journalists who spoke with Jordan upon the release of her debut Lush - thoroughly charmed.
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