That being said, I think that experience is hugely important, but only insofar as it meets up with the songwriters ambition.

For example, it doesn’t take much experience to inform something as superficial and ridiculous as “Red Umbrella” (take that Chris Lindsey!), or other songs that are purposefully cliche. If a songwriter feels that the strength of their song is that its vaguely positive and therefore relateable, uptempo, and cliche, than their youth or lack of life experience isn’t going to matter.

On the other hand, if a songwriter is more ambitious and is actually trying to write country music that gives people an insight into the human experience, rather than only providing a catchy 3 minute number to dance to/rock out to in the car to/drink cheap beer with buddies at a festival to, then experience is essential.

good writers of all stripes have the ability to pull the most out of their experiences, as well as the experiences of others (Ben C’s observation and empathy) and to take their observations and express them in a way that is uniquely accesible to others.

That’s my huge beef with most of the Nashville songs, these guys aren’t even trying to be good writers. They aren’t even trying to offer something interesting, unique, or “true”. Let’s set the concept of “songwriter” aside for a moment, and just look at what these guys are putting out as “writers”, as people who are looking at the world with their unique perspective, working to internalize as much as possible, and using their talents of expression to convey their discoveries and experiences to others. What Nashville songwriters are producing is constantly disappointing and boring.

That’s why I like Taylor Swift, I think that she is actually trying to be a writer and I think her songs are ambitious when one considers that small-town highschool was the sum entirety of her frame of reference.

Also, I think that it’s worthwhile to separate the concept of “experience” from age. I think that there have been enough talented young writers to show that a person in their early 20’s has had the opportunity to experience enough to write fully meaningful material, while I’m sure the guys behind a lot of Nashville songs are in their 40’s or 50’s and have managed not to learn much at all.

As I commented the other day about Ms. Underwood and her stating that she felt drained after her little writing symposium — experience???

Again, I am not a songwriter and will never claim to be. I just know a song that I like when I hear it….

Welcome to The 9513 Lori. I hope you’ll stick around and contribute more often.

I agree with JULIA’s comments about Taylor Swift. She’s got it … but wait until she’s 30. *raised eyebrow*

BTW, I’m new here and am totally diggin’ it. ;o)

For instance, Taylor Swift is so believable (and successful) because she simply writes what she knows based on things she has experienced. Ultimately, millions of other people have experienced those same feelings and relate to her songs - thus her success. The most “emotional” Taylor gets is whining about how a guy she likes, likes someone else. Not really tackling too many mature subjects.

Another example is Kenny Chesney. I’m not a fan of Kenny’s island-flavored Jimmy Buffett soft rock, but his concept album “Songs from an Old Blue Chair” probably features his best songwriting. Why? Because thats what he knows, and those are emotions he can tap into.

Personally, I prefer, and am more likely to believe, artists who have been there and lived what they write/sing.

Thomas Wolfe wrote about some of the seamier sides the 60’s too, but removed from the the action. He was able to sell it in a way that made you feel you were there. He had an ear for it without risking lige and limb.

Which is better?

Like the suffering artists myth that great art can’t come from someone that hasn’t struggled, it’s a little sadistic that we as consumers, demand such a high price from the artists to appease out idea of “authentic.” It’s not just bullshit, it’s sick bullshit…

My preference is for the Hunter style of Gonzo pirate journalism. You know he’s stared into the eyes of the beast, he has the scars to prove it…and for a time he lived to tell the tale. Until he pulled a Hemingway, that is. Yeah, I’m sick like that…

It’s not that writers can’t achieve authenticity in songs, it’s just that it’s less a prerequisite of success in most genres of music and literature to do so. Look at the top of the charts on any given day, there’s not a believable word uttered from the lot. It’s no longer necessary. Truth is unnecessary and is in many cases, detrimental for having a hit record.

I guess I don’t mind singers and songwriters bullshitting me, just don’t let me catch you at it!

Sometimes a song is better in third person. I don’t want to hear “Don’t Take the Girl” about Tim, I want to hear it about Johnny.

You don’t have to experience something to make a great song, maybe you’ve experience something similar, maybe you know somebody that’s experienced it, maybe you made it up but know people can relate. It’s not about experience, it’s about making people believe it when it’s sung.

A perfectly written song can lost all of its meaning if not sung by the right artist in the right way.

I think that songwriting can be derived from a number of factors including by not limited to experience, the ability to observe others or simple imagination.

A simple example would be Sugarland’s “Stay”, written by Jennifer Nettles. She was not an adulteress, instead, she heard Reba’s “Whoever’s In New England” and was inspired to write a track from the ‘other woman’s’ perspective.