Show Me may be the first album Thao has released without her band The Get Down Stay Down since 2011’s Thao & Mirah—which, as the title suggests, wasn’t really a solo album either. But this new release still relies on collaboration, whether it be the co-production of Tune-Yards’ Merrill Garbus and Nate Brenner across the LP or its individual songs’ guest contributors, which include Neko Case, The Linda Lindas, and Black Pumas’ Adrian Quesada.
Beyond that short list of cast and crew, Thao is open about the broad range of artists she referenced across these songs, including the guitar work heard on late-’60s soul artist William Bell’s aching singles, the straightforward lyricism of Jason Molina, and the group vocal arrangements employed by both Talking Heads and Bad Bunny. She also cites her collaborator Quesada’s trippy experiments in bolero on his solo material, not to mention the trip-hop grooves of Massive Attack which also peripherally fuels the guitarist’s boleros psicodélicos.
With Show Me out this Friday via Kill Rock Stars, pre-order the record here and check out Thao’s full slate of influences below.
Rosalía, “Motomami”
I love this track and this production so much. When I went hook fishing on my DFAM drum synth I was thinking of “Motomami” (the hook became the main riff of “Sick of the Times”).
William Bell, “I Forgot to Be Your Lover”
Classic—one of my favorites and a perennial go-to. I was thinking of the rhythm guitar (and all rhythm guitar parts in soul songs) when I was writing “Show Me.”
Massive Attack, “Teardrop”
For just beautiful groove and melody and emotion, such a testament to how well and simply these components can work together when each is mighty.
Songs: Ohia, “Just Be Simple”
I love songs about regret, and I love plainspoken lyricism that just guts you. “And everything you hated me for / Honey, there was so much more / I just didn’t get busted.”
Talking Heads, “Road to Nowhere”
One of my favorite Talking Heads songs. I love the group energy and wizened optimism marching into dark times (that's how I interpret it). Definitely was thinking about this song when writing and recording “Fossils.”
Bad Bunny, “DtMF”
That group vocal section, oh my goodness—the most life-affirming thing I’ve heard in ages. I sent it as a sonic reference to my engineer Eli Crews for the end of “Fossils.”
Adrian Quesada, “El Muchacho de los Ojos Tristes”
Such a beautifully performed song—I was thinking about Adrian's entire album Boleros Psicodélicos when I was writing and tracking “Nguyen Nguyen Lose Lose.” Coincidentally and to my great delight, Adrian is featured on guitar on this track, as well. And I recorded it at his studio in Austin, Texas. I’m a huge fan of his.
Orchestra Baobob, “Kelen Ati Leen”
Orchestra Baobob is one of my favorite bands of all time. The guitar tones and playing of Barthélemy Attisso are so inspiring to me—his arpeggiated style is my favorite kind of playing.
LCD Soundsystem, “New York I Love You, but You’re Bringing Me Down”
I love the emotion and the full-band feel, and the clarity and presence of James Murphy’s vocals in the mix. Such a treat to hear this dimension. Definitely thought of this for the last song on the album, “Show Me.”
John Coltrane, “A Love Supreme Pt. 1 Acknowledgement”
I love the power and meaning in repetition of lyrics—each cycle with a heightened sense. I was raised Buddhist, and chanting and mantra is very important to me. Sometimes as a songwriter I might feel the pressure to say something different instead of saying the same thing, even when I mean to say the same thing. But then I remember the end of this piece, when “A love supreme” is repeated over and over again, and you don’t want it to be anything else. It’s perfect because it’s repetitive—it feels like spirit transcending, and the phrase can only uplift and be uplifted by repetition.
