Off the Charts
Musician Kat Goldman shares adventures from her career, with a side of unfiltered reality, in her new memoir.
Kat Goldman has enjoyed success as one of Canada’s most revered singer-songwriters. And yet, like so many soulful singers in the folk genre, her journey was anything but easy. Goldman has faced many challenges, missed opportunities, and even freak accidents in the career she has carved out in the music scene since the 1990s. She began her performing career by busking in Harvard Square and singing in Toronto coffee houses, and has since gone on to release four critically-acclaimed albums, along with having her music featured in film and television. Recently, Goldman has crossed over to books, penning a part-memoir, part-guide to being a singer-songwriter. Off the Charts: Advice and Adventures from my Almost Fabulous Life in Music is candid, honest, and funny, laying out the hard road Goldman travelled to make a name for herself in Canada’s folk music scene. We spoke to Goldman about the transition from writing songs to writing books and how music is helping her navigate the pandemic.
When did you conceive this book and did you know that it wouldn’t be an ordinary memoir?
I started writing a similar book about sixteen years ago on a trip to Mexico. It had the funny bits about what not to do in a sound check, and how to find your look. But it really came together two years ago, when a fan of mine asked me to write a blog about my experiences as a songwriter for his music website. I called it “The Disgruntled Songwriter.” Each blog described the ludicrous scenarios I’d find myself in throughout my music career. At the end of each piece, I’d leave off with advice for the beginner. When my publisher accepted the manuscript, it was only half written. He asked me to include more about my personal journey. And so it became more of a memoir. If it’s not ordinary, that’s because nothing in my life has been that way.
“You need to have such a thick skin to work in this business, and artists are typically sensitive people. I got hurt a lot. But writing this book was a great way to laugh about it.”
The book’s honest portrayal of being on the road as a musician really brings the reader along on the journey, showing the stark reality of starting out as a singer-songwriter. Was it tough revisiting the early stages of your career?
It was actually cathartic. I’m finally able to look back at the past with different eyes. I was young and naive when I was putting out my first albums. There was no manual for how to do it. I was really on my own.
It feels good to be in a stronger and more enlightened place now. You need to have such a thick skin to work in this business, and artists are typically sensitive people. I got hurt a lot; experienced a lot of disappointment and rejection. But writing this book was a great way to laugh about it. I don’t take things as seriously anymore. I’m not as eager for attention, or accolades from my music. Ego seems to me like it’s more of a thing for younger people.
The structure of your book is very anecdotal in style. Would you say that your approach to writing Off the Charts is similar to the banter with your audience that you speak of in the book?
You’re right. My way of storytelling in the book was very similar to when I banter on stage. It came very naturally. People used to say I had a flair for witty banter. I used to make notes about what I was going to say in between songs and tape them to my guitar. But once I was up on stage, it would just roll off my tongue.
How was the book writing experience and can we look forward to another publication from you?
I loved every minute of the writing for this book. It never felt like work. It was challenging at times, but a joy throughout. And yes! I’ve already begun a second book . . . something I hadn’t expected until my publisher asked me if I was thinking of starting a new one. I was floored. I didn’t really see myself as a book writer, until the publisher showed interest for a second one.
How has writing Off the Charts been different from your songwriting process?
The writing of the book was quite formulaic . . . not like songwriting doesn’t have a structure—it does, but I used my knowledge of essay writing that I picked up at school, when I did a degree in English Literature at age 40. My main goal was to be funny but within the framework of the essays. Songwriting is definitely a different process for me. Maybe it’s dreamier.
How was the book writing experience and can we look forward to another publication from you?
I loved every minute of the writing for this book. It never felt like work. It was challenging at times, but a joy throughout. And yes! I’ve already begun a second book . . . something I hadn’t expected until my publisher asked me if I was thinking of starting a new one. I was floored. I didn’t really see myself as a book writer, until the publisher showed interest for a second one.
Your book was released in the middle of a pandemic. Has your art been affected by the coronavirus as well?
I’ve found it very hard to write songs in the “Pandy.” For some reason, I can’t come up with any lyrics! I’ve found it hard to find the words for what we’re going through. That said I have more melodies than I know what to do with. I record them all onto my computer. I figure it’s not my time right now to be writing music. There are tons of other songwriters out there who are writing their songs and I applaud them. I think as songwriters, we have to pass the torch to one another. Some of us are writing about this; others are on “pause.” I see it this way: someone else is going to write the songs that are meant to come into this world right now. It’s their turn. I believe there is a collective unconscious with songwriters.
What songs or artist have helped you get through this uncertain time?
It’s been hard for me to listen to music this year. My brain feels like it can only handle simple things (like watching back-to-back episodes of My Lottery Dream Home). That’s just been my way of coping. I went through a period of listening to the “Whatever’s For Us” album by Joan Armatrading. I think she’s such a creative and gutsy artist. I also listened to a couple of Jimmy Webb songs for about a month. I was so struck by “Wichita Lineman” and “Macarthur Park.” They feel very nostalgic. They’re massive, epic songs. But mostly I’ve found it more comforting to watch re-runs of Homeland on Netflix. It’s strangely soothing. Claire Danes does such an amazing portrayal of a complex character who suffers from bipolar disorder. I admit I’ve become a bit of a Netflix zombie.
What do you look forward to doing when the lockdown is over—touring your book or touring your music?
Touring my music is not something I enjoy now. I have some arthritis, so carrying guitars and driving long distances to play to four guys in baseball caps doesn’t hold allure. Instead I’ve been making little comic videos to promote the book, and posting them on YouTube, Facebook, LinkedIn, etc. “Tour, Shmoor!” I say. Why not stay at home instead, where you can wear your red fuzzy robe and do everything from your computer? When this is all over, I’m having a great, big party where we sing John Denver tunes into the night.
