Kathleen Edwards’ career has been established with hard hitting lyrical work and a simple, but biting sarcastic tone. She was immediately thrown in the pile with other country-rock legends, and without a doubt; Edwards’ lyrical work is on the evolutionary chain from Emmylou, Dolly, and Patsy, but I always felt this distinction was a bit disjointed. Why does Edwards’ need to be thrown in with the “Women who Rock” category?
Edwards’ characters struck me as those who were at last fed up with the ass holes that plagued their lives. Without a doubt, track one from her first album Failure “Six O’Clock News” is an absolute gem. When Kathleen screams at the end that “I can’t feel my broken heart.” I do think of Emmylou and Dolly and Patsy because I know her character is absolutely destroyed by the narrative of her boyfriend (and father of her child) lying dead on the avenue from the piercing wound of a cop’s bullet, I also wonder if it’s sometimes because it’s the end of something that should have ended long ago. Edwards’ characters are filled with this deep sadness, but there is always a subtle hint of brutal irony and sarcasm in her characters. Although Patsy, Dolly, and Emmylou share this irony; theirs is a hidden, almost a wink. Kathleen is tired of the wink. Edwards can work a bunch of angles at once and she’s developed this presence throughout her career.
Edwards’ newest album, Asking for Flowers demonstrates this lyrical complexity. She’s a storywriter and a pretty damn good one. Her ability to turn dialogue and demonstrate symbolism all the while holding universality in her lyrical work demonstrates a songwriter who understands songwriting is a shared experience between author and listener. This is a universal sign of good songwriting. Guthrie, Dylan, Springsteen, Waits, Petty, Earle, and Tweedy get this. However, Edwards’ does this while balancing the complexities of telling the same sort of stories from the woman’s point of view. It’s the trick that makes her one of today’s finest songwriters.