EP Review: Good Woman

Whanganui-a-Tara based singer/songwriter Michaela Tempers gives us a well-rounded and thoughtful debut with her six-track EP, Good Woman – set to drop on November 5th via Home Alone Records (French for Rabbits, Urbantramper, Eb & Sparrow, City Oh Sigh, etc). It’s a tidy collection that melds skilful poetic storytelling with nu-folk and a hint of classic rock as it explores the emotional terrain of womanhood through themes of trauma, resilience, and introspection.

According to her press, Tempers’ musical journey began at age 16 after watching a scratchy old vid of Dylan’s It Ain’t Me, covered by folk legend Joan Baez. Inspired, she taught herself guitar and vocals, and set about writing for herself, influenced by 60’s and 70’s folk heroes. But as she headed into her late teens, other priorities took over.

Then after a long hiatus from music, Tempers returned to songwriting while studying for a Master’s in Creative Writing at Victoria University of Wellington. With the academic world reigniting her creativity spark she began penning music that reflected both her early influences and favourite contemporaries such as Frazey Ford, Laura Marling, and Julia Jacklin. The result is a new body of work that encapsulates elements of history, mythology, religion, and sexual politics, woven together with fluid lyrical poetry.

Her voice is rich and expressive. Sometimes vulnerable, even lilting or fragile. And that sells the songs so well. Efforts, no doubt encouraged by co-producer French For Rabbits’ Brooke Singer, who has her fingers all over this collection. Whether it’s irony, grief, or deep contemplation, Tempers sings with pure sincerity. Tempers’ live performances are known for their emotional intensity and intimate atmosphere. Live, either solo or with a full band, she brings a raw sincerity. That, I think, mirrors the vulnerability in these recordings.

Speaking of which, EP was tracked at Birdwood Studios in Pōneke/Wellington and The Surgery in Newtown, Wellington, also featured contributions from local legends Chris Armour (guitar), Dayle Jellyman (organ), Hikurangi Schaverien-Kaa (drums), Phoebe Johnson (bass), Lee Prebble (additional recording), and Carl Saff (mastering).

And so to the music…

Forest Fire is a bit of a circle back to her 70’s folk-faves. It’s a relationship song of course. But also dark and meditative. Built around the concept of a wildfire. A metaphor for transformation and regrowth. Out of the embers. Like the Eucalyptus, a rebirth from pain after the violence of the flames have died out. “You burnt me to the ground / I see that now / Looking back I see just how / Pain has made me better”.

Good Woman is a grief-laced anthem inspired by witnessing an abusive relationship. “He took her like a dagger to the eye / I watched it all / I watched it all / It’s hard to make a good woman cry.” Those lines are chilling. Tempers’ voice is almost choked with fear with the emotional weight. The gritty vibrato is both victimised and empowering. So, there’s a point. The message clear. “I think about how / Her body breaks / Her body takes time / Her body is not yours baby / It’s not mine.” Every man should listen and take heed.

Higher Ground (not the Stevie Wonder version) is a gentler love song. A delicate country folk number. Mostly a guitar, picked and strummed. And behind the scenes a bit of slide and snare. I almost took this for a Nadia Reid tune. Especially as I was reminded of her trademark warbling. But no, this is very much a Tempers’ tune. There’s a positive theme here – emotional endurance. The song gives thanks to a redemptive partner: “Life’s gone and f***ed me up / So I’ll say it loud / You bring me to higher ground”. It looks future forward with optimism. “See my mother in the kitchen / Her daughter by the door / And you, baby, were in the backcountry / Our baby on the floor…”, or “I write love songs in the morning / I write love songs in the day / I’ll sing to you tomorrow / If I make it through today”.

Rolling in a swaggering waltz Tempers brings out a few historical ghosts to cloak herself, whilst challenging society’s moral expectations and its fictions of virtuosity throughout Saintly. “I am a heroine going slowly / I am a hundred years of war / I am Henry the eighth of England / with his back against the wall” – but – “I feel saintly in my bedroom / Your breath against my throat / I feel saintly in the supermarket / Slinging back a coke”.

This song has some wonderful imagery. Like this gem: “Joan of Arc came after the show / Wearing neon, holding a microphone / Said: I am not a statue, I will never be a stone.” This felt very much like a bit of Cohen, without the famous blue raincoat. And for more check out the surrealist, cutout animated video that accompanies the song and challenges the differences between goodness and authenticity.

In comparison, Nothing To Lose gives us some upbeat groove and a percussive flavour. A positive vibe to tackle its themes of anxiety and emotional vulnerability. Final track, The Plane, is another contemplative effort, reflecting on ambition, happiness, and again, grief. Life is life. Death, it seems, is still death. “The thing is / I’m happier than I’ve ever been / but my friend is dying / and water is still water / didn’t I know? / didn’t I know that this is how far we’d go?” I’m not sure if this is a real or metaphorical death referred to here. But either way, there’s calm reconciliation.

Good Woman is a beautiful, introspective statement. And she’s bold, too. Unafraid to speak her mind. To attack life’s complexities, society’s fragile paper tigers and moral dragons, with her poetry adding to the sharpened sticks of her arsenal. Her voice and musical vision establish her as a striking new presence in our ever growing and evolving folk music landscape — honest, rich, insightful.

To experience her live, and you should, check out Michaela Tempers with a full band when she performs this EP and other material November 13th at San Fran.