Fresh Air - Kristen Wiig

Episode Date: May 21, 2024

The SNL alum co-stars with Carol Burnett in Palm Royale, an Apple TV+ series about a former pageant queen who wants to break into high society. Wiig talked with Ann Marie Baldonado about working with Burnett, the rush of SNL, and co-writing the mega hit movie Bridesmaids. Ken Tucker shares three songs of the summer.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This is Fresh Air. I'm Tanya Mosley. Our guest is comedian, actor, and screenwriter Kristen Wiig. She was nominated for an Emmy for Outstanding Supporting Actress in a Comedy Series for her work on Saturday Night Live and received an Academy Award nomination for Best Original Screenplay for her 2011 film Bridesmaids. Now she stars in the new Apple TV Plus series called Palm Royale. Kristen Wiig recently spoke to Fresh Air's Anne-Marie Baldonado.

On the TV show Palm Royale, Kristen Wiig plays Maxine, a former pageant queen who wants more than anything to break into the upper echelons of high society. It's Palm Beach, Florida in the late 1960s, and everyone who's important belongs to the Palm Beach Country Club. Outsiders are kept out, but Maxine is determined to become a socialite living a charmed life. In this scene from the first episode, she sneaks in, tries to pass, but gets found out, questioned, and asked to leave. How did you get past security? I came in the back. There are no doors on the back of the

Pomeroyale? I never said I used the door. I used the wall. Most athletic. My athleticism is just one of my many positive attributes that would make me a wonderful addition to the roster of members here at the Pomeroyale. You will never be a member of the Pomeroyale.

It's a high bar, I know. But one I could surely reach just given the chance. As you know, to even start the membership process, I need another member to nominate me. And how can I get that if I can't get to know anybody? I'm just a really nice person new to palm beach looking to make a friend or two the palm royale represents safety in a rapidly changing world embodying that which is sacred refined companionship sanctity and a deep heart conviction that beauty is not dead. Maxine, like some of Kristen Wiig's other characters, is just trying to belong. She's an outsider yearning for acceptance, like Annie in Bridesmaids,

the movie Kristen Wiig co-starred in and co-wrote. Kristen Wiig was a cast member on Saturday Night Live from 2005 to 2012. Last month, she hosted the show for the fifth time. Her other movies include Ghostbusters, The Despicable Me movies, The Secret Life of Walter Mitty, Anchorman 2, The Skeleton Twins, and Barb and Star Go to Vista Del Mar. Kristen Wiig, welcome to Fresh Air. Thank you so much. I'm very happy to be here. Can you describe your character, Maxine? Oh, wow. Well, she definitely doesn't believe in the word obstacle. When she wants something, she goes after it.

And I think she has this sunny disposition along with that, which I think kind of confuses the audience as to how to feel about her a little bit. She's just constantly, you know, happy and always seeing the glass half full. But what she's reaching for is, you know, obviously from the outside, very shallow. Well, one thing about Maxine is she's very optimistic. It's like she has to be to get by. It could be argued that she is optimistic to the point of delusion. Is that something that you like?

Oh, I would agree with that. Is that something you liked or relate to, I guess? I mean, yeah, having a little delusion in there is always fun to play. But I think because so many people are trying to knock her down. I remember Josh Lucas would be shooting scenes. He's like, are we ever going to shoot anything where anyone's nice to you? Because it's really easy to just, you know. And I think a lot of the humor comes from that, too, especially from Evelyn, Alice and Janney's character, just not liking Maxine.

She's very mean to you. But it's so funny. Oh, and I should say that Josh Lucas plays Maxine's husband in the show. Yes, Douglas. Yes. And this show has a great cast, Alice and Janney, Laura Dern and her father, Bruce Dern. And Laura Dern was actually also is a producer on the project. There's Leslie Bibb and Carol Burnett. Carol Burnett plays the rich Aunt Norma Delacorte, who at the beginning of the show is in a coma.

She's unresponsive and living in a facility. And your husband, who is her nephew, she kind of disowned him when he married you. But you're trying to get back into her good graces, even though she's in a coma at the beginning. And in the first episode, we figure out that your character, Maxine, has been visiting Norma every day and has been using her clothes and her jewels to make her look to make herself look rich and like she looks the part. And I want to play one of the first scenes with Carol Burnett. Her character is unresponsive, but Maxine is still talking to her. I met a friend, Norma, an honest to goodness friend.

She's a member of the social set, an honoree at that. Can you believe it? I know it sounds so crass when I say it out loud. But I know that you know I have a vast amount of love in my life. A vast amount. Just hanging on gets harder as the years pass. I'm trying to do it with a smile. Norma, I really am.

I'm just tired. Stop it, Maxine. Pity is for the pitiful. It's unfortunate to have a scene with Carol Burnett that we can't hear, but in the beginning of the series, she is unresponsive. That's a scene from Palm Royale. What was it like doing those first scenes with Carol Burnett, but with her on the bed, like in the room, unresponsive? In this scene, you're actually lying in bed next to each other. And you're doing this whole scene with her there. I know. Well, it was so fun, because when we would cut and, you know,

wait for the next setup, I would just stay in bed with her and we would just talk. And it was like some of the nicest memories I have of the shoot, to be honest. You know, she's a legend and rightfully so. She's not just like unbelievably talented and funny and fearless. And I mean, she's so warm and so generous. The crew just like flocked to her. She's a light. And for me, you know, I grew up watching her show. It was really my intro into sketch comedy. And when we got Carol, we were like, okay, well, she needs to wake up. She needs to talk maybe sooner than we had planned because we can't, people will kill us. We have Carol Burnett and she's just laying there.

I think that adds to the excitement too a little bit. Like people know she's going to wake up. So I think people are kind of waiting for that. What did Carol Burnett mean to you growing up? Well, like I said, just the intro to sketch comedy, I didn't really know. I mean, I used to watch like the Mandrell sisters and like, hee haw, and I'm aging myself. But all of those old shows, I mean, I used to love like Martin and Lewis movies and, you know, Abbott and Costello, those really old comedic duos and shows. And there was something about the cast and how much fun they were having, whether they were laughing in a scene or not,

they just, you could tell they were genuine friends and there was something that was so I don't know appealing and I was like oh I want to do that and she's a woman at that time with her own show which was kind of crazy and she was having fun with her friends and that just I don't, there's something about that that I really admired, not to mention just her, you know, raw talent for characters. You just called her comedy fearless. And I feel like there are a lot of similarities between your comedy and hers. I think of some of her characters from the Carol Burnett show, like her spoof of Gone with the Wind, where she plays a Scarlett O'Hara character and she comes down the stairs with a dress made out of curtains and the curtain rods are still in there. It's like spoofing of like a spoof of a beautifully dressed woman. And she uses physical comedy and absurdity and like funny movements, slapstick. And I feel like that's similar to some of the characters that you play.

Do you feel like she's an inspiration to your work? Like spoofing glamour almost is something that I feel like you both do. Well, I mean, yeah, she's a huge inspiration to me. And I don't even know how I could approach comedy without thinking about her career and her show. And also just that there's not a need to be glamorous and always look, you know, good in a sketch where it's like the comedy sort of wins. Meaning like making yourself look like unattractive or to play sort of like, you know, a character that's so different from yourself. There's something really freeing about that.

And I saw her freedom in that when I would watch her, if that makes sense. Well, let's take a short break here and we'll talk some more. My guest is actor, comedian and writer Kristen Wiig. She was a beloved cast member on Saturday Night Live for seven years. She was nominated for an Oscar for co-writing her film Bridesmaids. Her other films include Ghostbusters, The Despicable Me films, Anchorman 2, and The Skeleton Twins. We'll talk more after a break. This is Fresh Air. This is Fresh Air. I'm Anne-Marie Baldonado, back with our guest, Kristen Wiig. She was a cast member of Saturday Night Live for seven years.

Her films include Bridesmaids, Ghostbusters, The Secret Life of Walter Mitty, and Barb and Star Go to Vista Del Mar. Her new TV series on Apple TV Plus is called Palm Royale. Well, you had planned to be an art teacher and you were majoring in art and you had to take an acting class. And during the acting class, you had an epiphany. And I was wondering what that class was like and what made you think, oh, this acting might be the thing I want to do. Well, my major was called studio art. I think I did sculpture, drawing and performance art. And I had to take like a acting 101, I believe was what it was called. And I really didn't want to take it because I'm not good at any sort of public speaking, any sort of speech or book report I ever had to give in school was the worst day of my life. And I hated it.

But I was like, okay, I'll just take this class and see what happens. And I really liked it. It was very much like a group class. There wasn't a lot of solo stuff you had to do. And I really fell in love with just being in an ensemble, I think. And I really liked it. And my teacher is really kind of what inspired me because I was, you know, I was in my early 20s and I was still kind of like, what am I doing with my life? And he had just encouraged me and was like, you should think about doing this. And I was like, what? I've never thought of doing this in my life. But there was something that kind of like stuck with me about it. And I was very aware that I was enjoying the class more than my other classes. Now, you majored in art, and I read that you were hired by a plastic surgery clinic to

draw post-surgery bodies. And the day before you were supposed to start is when you got the epiphany. Is that true? And what kind of job is that? It was, well, it wasn't drawing. It was like, yeah, it was like Photoshop. Like you could let show people sort of like before and after. And I have no idea how I got that job because I didn't, right, was not qualified. And yeah, it was like I was starting on a Monday and the acting class just kind of threw me. I mean, I was a confused 20 year old anyway of just like, what am I going to do? You know, that age where it's just like you're just lost. And I broke up with my boyfriend and like, you know, the whole

thing. And I remember being in my bathroom and looking in the mirror and being like, OK, because I have the theory that if you talk to yourself and look in the mirror, you can't lie to yourself. I was like, okay, if I could do anything in the world, what would I do? And I just said I would move to L.A. and try acting. And I was shocked, kind of, that that was what I was feeling. But that's what came out. And I went to this bookstore that I really loved going to. I can't remember the name. It's one of those sort of a psychic that was there. And at that time, I don't think I had ever seen anyone like that. And it was like 10 minutes for $10 or something. And I was like, oh, I want to go talk to this person. I think his name was Michael. It said $10, 10 minutes. I was like, I'm going to do it. And I sat down with him. And he wanted to like, hold a piece of my jewelry or something. And he was like, what are you doing here? And I was kind

of like, I don't know. He was like, No, what are you doing in Arizona? He's like, you should be in Los Angeles. He's like, you should be there by now. And I was like, what? And he mentioned like acting and writing. And I was like, okay, that's weird. And I went home and I like packed up all my stuff and I left the next day. And I drove to Los Angeles. Didn't tell my parents. Well, when you got to LA,A., what was your first move? You moved in with your friend and you started an acting class? I did. And I was at the Lee Strasberg Institute and I started there.

Like the acting class. The acting class. And it wasn't for me. I think I lasted a couple weeks and I found an apartment I I got a roommate it was on like Rochester Ave which I thought was a sign because that's where I'm from and I was like I'm supposed to live here and uh I moved in with a, she was a TV writer. And I don't know. It just, I got a job. I worked at a hot dog restaurant in Beverly Hills for a little bit.

And I think my next job was right when anthropology was, like, starting. And they were opening the store. The clothing store. Yes. It was, like, they were opening this clothing store yes they it was like we're opening the store called anthropology and it was santa monica and third street promenade and i got a job um helping to open the store and i worked there for a while and that was when i was like settled i was like living in santa monica working there i wasn't doing any acting at all. I just kind of like, I kind of gave up. I just was like, I don't, what am I doing? This town is full of people that are trying to do this. I have no experience. And I'm like 20 something years old. And I just,

I started working at anthropology and I did get into like the visuals there and because that's sort of like what I really loved and started doing that and like the jewelry department. theater where a lot of famous comedians got their start, including other SNL cast members like Will Farrell, Maya Rudolph. And what was the trajectory from anthropology to the Groundlings? Well, when I was in one of the performance art classes in Arizona, I met my friend Eric, who is still my best friend to this day. And he had moved back to LA. He worked at Anthropologie with me for a little bit to the groundlings and I'd never heard of it and he was like I just saw a show there I totally thought of you I think you should go see a show there and I saw I think it was one of their like Friday night like one of their sketch shows, but they have improv in there too. And I had never seen improv and I love sketch. And I was like, oh my God, that's what I want to do. It was, I saw it as something so different than just the regular sort of acting class or like moving to LA to act. It was like, oh, they're improvising, like they're making stuff up. There's no script. They're creating characters. Like it just seemed like I couldn't really figure out

what I wanted to do until I saw a show there. Can you describe what you learned at the Groundlings? I think people who are fans of comedy and of SNL know that a lot of people went through the Groundlings. But what do you learn there in particular? It's a long program, too. What are the tools that they give you? Well, you learn the rules of improv, and it really teaches you how to be a scene partner and what it means to to improvise so as you're going through the school you're really learning what what works and what doesn't because you're you're doing this stuff in front of your peers and teachers and you get feedback and you can either

hear laughing or not hear laughing um so you you really you learn, how to make people laugh, I guess. Is it like also breaking down what a character is, like sort of figuring out, like, because I know you develop some characters there that you brought to SNL. But is it like sort of breaking down what their movements are and like how they sound, that kind of stuff? Yeah. I mean, we would do improv exercises where you, you know, everyone's sort of walking on the stage together. Just sort of like weaving in and out. You're sort of in your own world, but you're all walking together. And the teacher will say like, okay, now walk, you know, leading with your hips. And you start doing that. And you're like, oh, this is like creating something.

Now start talking as that person who would sort of walk that way. And you kind of like you realize all the different parts that come with a character, whether it's like how your shoulders are or how you're what face you're making or, you know, how you can sort of manipulate your voice. I remember filling out these sheets for like, you know, where was your character born? What's your character's favorite song? Like kind of really creating this like human being. We're listening to the interview Fresh Air's Anne-Marie Baldonado recorded with Kristen Wiig. She stars in the TV show Palm Royale on Apple TV+. Coming up, we'll talk about what it was like auditioning for Saturday Night Live twice. I'm Tanya Mosley, and this is Fresh Air. This message comes from WISE, the app for doing things in other currencies.

Send, spend, or receive money internationally, and always get the real-time mid-market exchange rate with no hidden fees. Download the Wise app today or visit wise.com. T's and C's apply. I'm Fresh Air's Anne-Marie Baldonado and live from Philadelphia, it's Fresh Air Plus. Listen, I'm Leslie Jones. I'm the heavy hitter walking into the room. Trust and believe, I'd listen, give all respect to those ladies. But none of them was a comic like me. After the season finale of Saturday Night Live, we listened back to a few SNL audition stories from our archive on this week's Fresh Air Plus bonus episode.

Learn more and join for yourself at plus.npr.org. You auditioned for SNL two times. And you were first on the show in 2005. What were your auditions like? Do people at the Groundlings just get auditions at SNL? What is that process like? I was terrified because I had done sketch and most of my characters were in scenes with other people. I wasn't a stand up. So there wasn't a lot of like, just me on stage by myself at all. So I felt very nervous about that and I just kind of was like all right this is my chance and I just

wrote a little thing as many characters as I could do any impressions that I had it was mostly characters and just crammed them all in there and had the audition and went home and didn't hear anything and then uh so I just assumed that I didn't get it because no one was calling me. And then I heard, oh, they want to see you again. And my first thought was like, I literally did everything in that last audition. I've got nothing more. I don't have any other voices or characters. So I had to kind of come up with new stuff, which I think in the end ended up being good for me just as a writer and performer just to be like, oh, maybe there's more in there. And then how did you find out that you got the show? Well, the season started.

It was like September and I was watching the season premiere. The Los Angeles. Yeah. I was like, I premiere and he wasn't on it. The Los Angeles show. Yeah. I was like, I don't think I got it. And then it was after like the third show aired, I got a call or my manager got a call saying that they wanted me to fly out and watch the show and then start the next week.

And what was it like for starting there? And, you know, you didn't start at the beginning of the season. So it was already sort of up and rolling. I would think that that would have been scary. A scary way to start. everyone so well. Like, you can't even describe the bond that the cast creates on that show. And I could feel that when I walked in, but in an exciting way of like, oh, I, you know, I knew it was going to be my family. And I knew they were going to be my friends. And it was exciting. And at the same time, I was very much like, OK, I'm the new girl. I just want to try to do my best. And plus, I was on the show with people that, you know, I've been watching.

And it was like Maya and Tina and Amy and Will Forte and like all these people. I was just like, how am I now on the shows? It was very surreal. Well, I've heard you talk about your time at SNL and how you miss the part of your brain that you use there, that there was a certain math to it. Can you describe what you mean? Well, the week goes by pretty quick.

And there are a lot of little deadlines here and there, which I do better with deadlines. Like Tuesday night, for example, it's like, OK, you get in at, you know, I don't know, two o'clock and you stay till five or six in the morning and you want to write probably three sketches. So just knowing that that has to happen and scheduling with another writer or another cast member, it's sort of like this unpredictable sort of puzzle you have to put together and to get everything done by the time you get home. And then there's the rewrites and the time between dress and air when you've got this, you know, eight page sketch. And if you want to make it on air, you have to cut 30 seconds. And cutting 30 seconds is really hard because like each joke depends on the other one. And there's timing and things set up certain things.

And if you don't have this set up, is this joke going to still work? And I loved that. I don't know. There was something about that frantic panic between dress and air and knowing that you were going to do the sketch on air different than you had done it all week. I don't know. There was something so exciting about trying to figure that out. And I do miss that. And just the timing of it. So dress, the dress rehearsal happens earlier on Saturday night? Yes, at eight. Yeah. Okay. So then you do the whole show and then you have what an hour and changed an hour and a half oh i wish okay well i mean you have well actually yeah because

the it starts at eight and it's the dress rehearsal dress rehearsal is much longer than the live show there's it's i don't know maybe a half hour longer so you're over at like 10, 10.30. And then you go and get notes and try to rewrite stuff. And then you're in the chair, you know, getting your wig on and getting everything for the first sketch. And the show starts at 11.30. So it's all fast, but everyone's running around. So that's what's so fun about it. Like everybody. Now, you were a cast member for seven years.

And you've said that once you started to feel too comfortable there that you felt like it would be time to leave. Why did you feel that way? I mean, comfort is good. Can be good. But comfort's not SNL. It's not what it is. And I mean that in the best way because I think when you're constantly trying new things and honestly, like, nervous a little bit, it works because you're not sort of resting on anything you've done before. And the nature of the show is you have to come up with new things every week for years and that is really a scary concept and you never know what the show is going to be really until it's over because again you could be in

you could have a great dress and then literally not be in the show. So it's kind of like, you just have to get used to that unpredictability. And I don't know, I guess I just always felt like, once I really, really figured it out, that part of the mystery is what makes it magical. I don't know. Now, your last episode as a cast member was in May of 2012. And that show ends with a really sweet goodbye to you. The host was Mick Jagger.

And they did a sketch pretending it was like a graduation. And you get announced. And then they start playing She's Like a Rainbow. And you go on to dance with the cast members, including Bill Hader, Jason Sudeikis, Andy Samberg, and even Lorne Michaels comes out and dances with you. And I read that you didn't rewatch The Goodbye for a while because it made you too emotional. And I can totally understand why it's I would encourage people. It's a little too visual to play now, but I encourage people to look at it

and watch because it's so sweet. And you're all obviously moved and really loved working together. And cast members don't often get a goodbye like that. I'm not sure why. But can you if it's not if it's not too troubling, do you mind talking about that goodbye? I mean, I just talked about how you didn't want to watch it for a while, but. I know. I mean, leaving was one of the hardest things I've ever had to do. And a lot of times when cast members leave, there'll be a funny sketch at the read-through table or something, you know, sweet or goodbye or update or something.

And Colin Jost actually wrote that sketch. And I just kind of thought I was going to be at the table. I didn't really expect it to be in the show. And it almost didn't go in the show because we were cutting sketches sort of last minute. Like I was saying, just the frantic energy of the show. And it almost didn't go in the show because we were cutting sketches sort of last

minute. Like I was saying, just the frantic energy of the show. People are running through the hall saying like, you know, this sketch is cut, this sketch is cut, we're moving on to this. And everyone's like half already changed into something else. And I remember someone saying like, we're doing the graduation scene. I mean, we had rehearsed it and everything, but I still didn't know if it was going to be in the show until 11, 15 or whatever. No, what am I saying? 11, 25. And I was kind of out of my body.

It was so emotional for me and sweet and bawled my eyes out after I got off stage. And it was really one of the nicest moments ever. Well, let's take a short break here and then we'll talk some more. My guest is comedian, actor and writer Kristen Wiig. Her television shows and films include Saturday Night Live, Bridesmaids, Ghostbusters, and her new TV series, Palm Royale. The whole first season can be found on Apple TV+. More after a break. This is Fresh Air. The year before you left SNL, the movie Bridesmaids came out. That was in 2011. And it was a huge hit. You were the star and you co-wrote the film with your creative partner, Annie Momolo. You play

Annie, a woman whose bake shop went out of business and your best friend, played by Maya Rudolph, is getting married and is starting a new fancy life. She has a new fancy friend played by Rose Byrne. And Annie feels like she's being left behind. I'm going to play a much quoted scene. Here's the bridal party. They're on a plane going to Las Vegas for the bachelorette party. Your character is sitting in coach because she can't afford a first class ticket and Annie is nervous about flying so she takes something to relax and has

a drink and is pretty out of it when she visits the characters played by Maya Rudolph and Rose Byrne in first class. Hey buddy, how you doing? I'm good. I feel I'm so much more relaxed. Thank you, Helen. I just feel like I'm excited and I feel relaxed and I'm ready to party with the best of them. And I'm gonna go down to the river. Wow, it looks like somebody's really relaxing now. What are you guys talking about up here? We are, um... We're going to a restaurant tonight. I know the owner, so he's just coming.

You do? Oh. Helen is the enemy. Mm. Mm whoop. Let's go take a nap. What do you say? Miss, you cannot be up here. Hello, Grandpa. That's a scene from the 2011 film Bridesmaids. Now, this film is over 10 years old, and it's hard to remember that there was this whole narrative about how shocking it was that a comedy starring women was successful and funny.

And I will say that when I talk to my daughters, I have teenage daughters, about how this was what people thought, they don't know what I'm talking about. You know, they don't understand that people used to think that women were funny. That's good. Yeah, no, I think it's great. But what did you think about that narrative at the time? Like, what do you remember about it? I mean, I was so used to it. It was such a topic of conversation and I didn't understand it. I guess I understood sort of like the financialians and comedic roles in films and movies that have been successful. And it just kind of felt like so much of it was was put on the female

part of it. And it wasn't just seen as like a comedy. It was like it was it was so much about, you know, being a female comedy and like, oh, even guys will like it. It's like, well, yeah, why wouldn't they? I mean, girls watch, you know, guys. It was just so it's just weird. Now, one of the things that I love about this movie is its portrayal of female friendships how important they are and in some ways they're more important than romantic ones they can sometimes last longer and how difficult it can be when friends are in different life stages or different classes like when friends starting to get more money and another friend feels left behind.

It can be so hard and awkward. Was that something that you and your writing partner, Annie Momolo, wanted to address? I mean, we in that time that sort of like 20s, 30s, when people are finding their career and settling down, you do compare yourself to your friends. And like, wait, all of these people have this and I don't. And you don't think like, oh, well, my time's coming. That's okay. You're just like, what's wrong with me? Why? I feel a little left out. People start their life at different times or start, you know, different stages of their life, I should say. And I think also, our, my age group, there still was that thing of like, you have to get married at a certain time and have kids by

a certain time. And you just kind of got looked at a little like, well, what's wrong with you? Why aren't you? Why haven't you figured this out yet? And I think that's something that's really common. I think beloved comedians who play characters that people love are often expected to like always be like that. Like to be zany or on or say something funny. Do people expect that from you? And is that hard to deal with? Yeah, I'm not zany. They do. I mean, I don't know, probably people listening to this right now are like, where are the voices? I just and I think I disappoint people. But I it's just it's

a part of who I am part of what I do and what I like and when I'm in that zone. And when I went back to SNL a few weeks ago, you sort of just get into that place. But I think because socially I'm not as extroverted as people would think that I am. I just think I'm a little quieter sometimes than people expect. But I've definitely seen that look of disappointment. Invite me to a dinner party and I'm just sitting there. Well, Kristen Wiig, it's been great talking with you. Thank you so much. Thank you so much. Kristen Wiig spoke with Fresh Air great talking with you. Thank you so much. Thank you so much.

Kristen Wiig spoke with Fresh Air's Anne-Marie Baldonado. Wiig's new TV show is called Palm Royale. After a short break, critic Ken Tucker reviews new music from Sabrina Carpenter, Carsey Blanton, and Jessica Pratt. This is Fresh Air. Rock critic Ken Tucker reviews three new songs by three artists that preach about revolution, throwing a disco party, and attempting to define life itself. It's the music of Carsey Blanton, Sabrina Carpenter, and Jessica Pratt. Ken says each, in their own way, is a work of imagination and passion. Let's begin with Carsey Blanton. couple of friends watching the empire end I guess America is coming untied

half of my neighbors are living outside whoever don't break better than had a bed we're watching the empire end Carsey Blanton recently released After the Revolution, an album full of gorgeous protest music. That's a phrase I don't get to use very often.

Protest music tends to be strident or self-righteous or just bluntly angry. But Blanton, a folk singer with a rock attitude, knows how to construct songs with real melodies and storylines that don't obscure her messages. Her new batch of songs speak with both idealism and despair at the prospect of ordinary citizens rising up to make this place a better country. On the title song, she speculates on what the aftermath of such a revolution might look like. In a bed Walking through the war To the corner store

Everyone was poor and sad So I picked a fight Later on that night I was sick of fear and shame And I know it all could be your fault But I need someone to blame After the revolution We'll have a better life One of Blanton's strengths is her specifics, and my heart always swells a little when she gets to that couplet that goes, after the revolution, we'll have a better life, you'll be a better husband, I'll be a better wife.

I recommend every song on Blanton's album. A contrast in tone is the new song by Sabrina Carpenter, her bubbly pop hit single, Espresso. Some people are already calling this the song of the summer. I'm calling it catchy and not a little bit odd. Make him laugh so often. My honey bee. Come and get this pollen. Too bad your ex don't do it for you. Walked in and drink and shoot it for you. Soft skin and not perfume for you. I know I'm not going to do it for you.

That morning coffee, brew it for you. One touch and I'll brand new order for you. Now he's thinking about me every night. Oh, isn't that sweet? I love the goofiness of that line, I'm working late cause I'm a singer. I'm startled by the bald product placement of the line, I know I mountain do it for you. And I am baffled by the refrain, that's that me, espresso. Sabrina Carpenter became Disney Channel famous as an actor, and on Espresso, she and her producer Julian Bonetta are enacting a disco session circa 1979. Think Giorgio Moroder and Donna Summer, or Nile Rodgers and Chic. My third song has bigger ambitions. Jessica Pratt aims to define existence itself on this tune called Life Is. What you think it's for And I can't seem to say no

And maybe I've been insecure The chances of a lifetime Might be hiding The tricks of my sleep Used to be The greatest I've seen Time is fine, it's time to forget Time is fine, it's weird Cause I can feel my love

This time it all around And when you're falling off Keep both feet on the ground Cause as you keep on falling off On Life Is, Jessica Pratt deploys an echoing classic girl group beat and sings in the arched, declamatory tone of Marianne Faithfull or Nico. The effect is to reveal the warm pain that lurks just beneath a chilly exterior. No other song on Pratt's new album, Here in the Pitch,

comes close to the kind of immediate, sweeping drama summoned up by Life Is. Like the songs I've played by Carsey Blanton and Sabrina Carpenter, this is music that creates an entirely new world the moment the woman starts to sing. Ken Tucker reviewed new music from Carsey Blanton, Sabrina Carpenter, and Jessica Pratt. On tomorrow's show, singer-songwriter Maggie Rogers. She has a new album called Don't Forget Me. In 2021, Rogers felt burnt out and took a break from music to go to Harvard Divinity School. She's been using what she studied there to make life on the road more sustainable for herself. Don't Forget Me is her first album that isn't completely

autobiographical. I hope you can join us. To keep up with what's on the show and get highlights of our interviews, follow us on Instagram at NPR Fresh Air. Our interviews and reviews are produced and edited by Amy Salet, Phyllis Myers, Anne-Marie Baldonado, Sam Brigger, Lauren Krenzel, Teresa Madden, Thea Chaloner, Susan Nyakundi, and Joel Wolfram. Our digital media producer is Molly C.D. Nesper. For Terry Gross, I'm Tanya Mosley.