Quick Q and A with Sarah Blacker
 by Kathy S-B  ·  11 September 2011

Mark my words. Sarah Blacker is a name that you will be hearing more and more. Remember that you heard about her here first and then write and tell me how much you appreciate the tip. Sarah has a helluva voice, great guitar (and uke) technique, and a terrific on stage presence that will leave you wanting more.

Check out this video that I took of her at a recent Boston Area Coffeehouse Association showcase. Listen to some of Sarah’s music and learn more about her on her website.

You are a certified music therapist. For those readers who don’t know what that means — could you try explaining your work with children?

I currently work with children and teens with Cerebral Palsy in group sessions at an elementary school in Boston. We use co-active music making within instrument, movement, and singing songs to work on fine and gross motor skills through holding, playing and manipulating instruments and moving to the music both independently and with assistance; communication skills through vocalizing, learning words, and receiving immediate response from peers or the therapist to the responses they offer within the music; and cognitive skills through playing on cue, recalling song lyrics, or learning specific “parts” within a song. I also work with in and outpatient children and families at an inner-city hospital wherein we work on socio-emotional goals of self-expression and building community/decreasing isolation through songwriting, improvising, and singing preferred songs or playing preferred instruments in individual and group scenarios. I have also worked extensively with individuals with Autism and other developmental disabilities in conjunction with Mass General Hospital, the Doug Flutie Foundation, AFAM, ARC, YouthCare, and in my own private practice, Rumble Bee Music Therapy. Within some settings, I also train and supervise Berklee College of Music Music Therapy practicum students. Music Therapy is success oriented, flexible, person-centered and transferable to any age group in a variety of settings!

You also do some charitable work with the Music Drives Us Foundation. Do you have any memorable experiences working with autistic children?

I have so many memorable experiences based around my learning how to be a therapist, what my preferred methodology is, and how I related to individuals. This being said, the most memorable experiences are those wherein an individual exhibits significant growth after a period of time, and together we get to celebrate within a music-making context! I have seen individuals with Autism find their voices through vocalizing, approximating words, and then beginning to speak! I have also felt the deep connection music establishes between people, without any words, only sound. I thoroughly enjoy making music with children with Autism because they are often so unique and charismatic, and music can allow them to really express themselves without boundary, but within the innate structure and form that rhythm, melody and song form posses. It challenges them to charter new territory, but to stay safe within the walls of a song.

When did you first start writing music?

I remember writing songs in my friend Dina’s basement when I was in elementary school. We would hit record as soon as one of us had a melody in mind, and then come up with harmonies to each other’s creations. Our words were regularly about love, loss, and yearning . . . apparently we tapped into something we thought we knew something about ;) In high school, at age 16, I wrote songs for a jamband I was in with a group of friends, by creating words and melodies. When I turned 17, I finally got my first guitar, a classical guitar for $75 from Florence, Italy, and immediately began writing 3 or 4 songs a day. Songwriting is how I learned to understand myself and the world around me, and it’s also how I taught myself to play the guitar.

Which one of your songs are you most proud of?

I would have to say, currently, ‘I’m Like a Train, My Lord,’ off of my newest CD, Come What May, is what I would always play first when asked to play a song for someone. It’s not the song’s hook, nor its succinct 3 minute structure that makes it what it is, but that seemingly everyone can relate to how the song feels. I typically write with metaphor, so that a listener can relate with their own respective. This song is a perfect example of this. It’s one of my most honest songs too.

You’ve been compared to many greats like Joni Mitchell, Natalie Merchant and Regina Spektor. I can see those comparisons — but perhaps the likeness to Regina Spektor’s work hits home most for me. Have you ever covered any of those wonderful ladies’ songs?

I cover her songs in my bedroom, and typically on the piano. I haven’t gigged much with the piano outside of my room, but I adore her ‘epic hook’ writing style where each part of the song is interchangeable and so very catchy! I do cover Joni Mitchell’s ‘Blue,’ and it’s one of the scariest songs I play because of the incredulous shoes I must fill!

What plans do you have for the near and far future?

The near future holds recording a new EP of 6 or 7 songs, and creating an innovative line of merchandise to take on an October tour to the southern US states along the east coast with my new percussionist, Shaysh. We will be performing mainly house concerts and festivals, and also some exciting Halloween shows in the mountains of WV, and PA!

In November, I have been invited to perform at a festival and several other art galleries and house concerts throughout the UK and Germany, so am thrilled to be heading overseas for my first time!

The far future includes a tour to Israel, Shaysh’s home country, a trip to SXSW, and hopefully my dream — touring with Ray LaMontagne! But that’s still a dream!