Joanna Sternberg on artistic evolution and self-discovery.

In a candid and introspective interview, singer-songwriter Joanna Sternberg takes us on a journey through their musical evolution, sharing insights into their creative process, the impact of their surroundings, and the deep-rooted influences that have shaped their unique sound. Hailing from Manhattan Plaza, a place teeming with artistic energy, Sternberg's musical path has been marked by exploration, perseverance, and self-discovery. Sternberg's musical journey began at a young age with classical music. Piano lessons at the tender age of five were followed by a self-taught foray into guitar and electric bass in middle school. However, it was the double bass that truly resonated with them during their time at LaGuardia, a performing arts high school. The instrument seemed to come naturally to them, providing a sense of accomplishment and establishing a solid foundation for their future endeavors.

While Sternberg initially pursued a classical music education in college, their passion for jazz persisted. They soon realized that the rigid structure of classical music college wasn't the right fit for them, and they made the bold decision to drop out and transfer to jazz college. This pivotal move set them on a path where they would immerse themselves in the world of jazz, playing gigs and accompanying singers, while continuing to refine their skills as a bass player. However, it was their desire to sing their own songs that truly drove Sternberg's artistic evolution. Despite initial reservations and being told they couldn't sing, they found their true voice with the help of a singing teacher. This breakthrough led them to write their own songs, inspired by the influential singer-songwriter Elliott Smith. Sternberg initially hesitated to perform their own compositions, preferring others to sing them, but eventually found the courage to share their heartfelt creations with the world.

Manhattan Plaza, the vibrant artistic community where Sternberg resides, played a significant role in shaping their music. Reflecting the diverse musical landscape of New York City, the building brought together musicians from various backgrounds, from Broadway to jazz to classical. The constant presence of fellow musicians in their daily life fostered a sense of camaraderie and support, providing a much-needed sense of belonging during their school years. Sternberg's creativity extends beyond music into visual art. With a love for cartoons and drawing, they often find themselves sketching while listening to music. This artistic outlet serves as a balance to their songwriting, providing a calming and introspective space. Drawing and songwriting complement each other, allowing Sternberg to channel their emotions and find solace in their creative pursuits.

Can you tell us about your musical journey, from classical to jazz to writing your own songs?

I started with classical music. When I was five, I took piano lessons, and then in middle school, I started playing guitar and electric bass by teaching myself and listening to different kinds of music. Then I went to LaGuardia for high school, which is a performing arts high school – and I learned double bass there. I started accelerating very fast with how good I was at the instrument, and for some reason, it was easier for me to play than all the other instruments; and I felt like I finally was good at an instrument.

I went to classical music college – but the whole time I was still playing jazz, and then I realized I could not handle classical music college. After a year I had to drop out and then transferred to jazz college. I started playing lots and lots of gigs accompanying singers, and I couldn't help but start learning the words to all the jazz standards. I wanted to sing myself, but everyone said I couldn't sing – and I was singing in a weird voice that was not my real voice. I was singing in a weird voice, and it was out of tune, and it wasn't happening.

So, a singing teacher at The New School gave me singing lessons and she helped me find my actual voice – and then I trained it to be in tune (as best as I can). Then I started writing songs because of Elliott Smith. I always wanted to write songs, and I had written songs; but they were always joke songs, they were never actual songs, cause I was too shy to write an actual song. But then, after hearing Elliott Smith, I was more inspired than I was shy. At first, I wanted other people to sing them, cause I was too scared, but then I wanted to sing them, and now I still do.

How did your time spent in Manhattan Plaza influence your music?

Well, Manhattan Plaza influenced my music because it's very much like New York City: like Broadway, jazz, even classical – all the music I love. There are musicians everywhere. The floor I live on has two other bass players besides me, and I took some lessons with both of them. It's very cool.

Also, it influenced my music because at school I didn't really have any friends – but I had friends from the building because we all went to preschool together and still lived there, so they were kind of stuck with me.

So at least I sort of had company sometimes, which, which is probably very good for my mental health, to sometimes get to hang out with. That was really great, and the neighbors are fun. It's just a very, very unique place.

Also, there's practice rooms in the basement. I would go in there for hours till 5:00 in the morning, writing songs and practicing. The building is great because there's an elevator and I'm always carrying my bass and all this stuff and guitars. That's amazing, too, and I could list more things… Charles Mingus lived in my building. There's all this cool stuff like that, about the legacy of my building. It’s annoying to name drop, but you know what I mean: it's a magical thing to feel like the ghost of Charles Mingus.

What inspired you to write songs on your latest album ‘I’ve Got Me?’

Well, I guess it's all just been inspired by my feelings in my life.

That's a perfect answer. Can you tell us about the experience of recording your debut album and playing all of the instruments yourself?

Yeah, the album took a long time to come together because I needed guidance, and I should have asked for it earlier, but I finally did it and literally from the moment we started, it was amazing.

It was just a perfect fit of working together. It was so amazing because I was really nervous – I didn't know what to expect.

How did working with producer Matt Sweeny impact the sound of your album?

It was really great. Matt Sweeney and Daniel, who is the engineer and owns the studio, which is now closed, but hopefully will open again, they both are really; really sensitive listeners and they know what I'm trying to do – and they know when I'm not doing it. They know how to coach me into doing it without making me feel bad, so that was really helpful to feel safe. I didn't have to second guess myself. I could just play my songs. I was in great hands, so I didn't have to do anything else then be myself.

Do you think that working with Sweeney impacted the sound on the album?

Yeah, I mean it changed everything.

First, what I had ready was the songs and the arrangements, but I've learned the hard way – that that’s not enough. So basically, he curated the entire thing: if I had an idea to add something and it wasn't such a great idea, he would say that and I would realize he was right or he would have ideas and I would love his ideas – and it would pretty much always be awesome.

So mainly it was like the difference between, you know, climbing a mountain with a safety rope or without one.

Can you discuss your family’s influence on your music?

Well, yeah, my family is really, really, really amazing in terms of music. My dad's an amazing songwriter, musician, and singer. My mom has just amazing taste in music, and also, in my family there's lots of amazing people I'm related to, people who have passed away. They were all in the Yiddish theater.

My grandpa was in the Metropolitan Opera; my grandma was in the Yiddish theater. She was, in my opinion, my favorite singer ever, really. And then her brother was in the Irish theater. He was  a huge star, Moishe Oysher. Their singing was just another level of music really. That always inspired me.

My aunt is an amazing singer, and my cousin's amazing singer too, so the singing was very intimidating to me, but the music was always there, and I very much knew that that was what I could do fluently.

What was your experience opening for Conor Oberst on tour?

Well, it was so amazing because first, it was my first tour. Second, it was Conor Oberst, and third of all, he asked me himself.

So, if Connor Oberst wants you to do something that helps a lot. I couldn't have impostor syndrome because it's like, no, he wants me here to do this. His whole band was so nice. They all knew it was my first tour and they treated me like the little sibling, and they were all so courteous and lovely, and it was just amazing: a dream come true.

Can you tell us about your visual artwork and how it relates to the music?

Well, I really love cartoons and I really love to draw while I listen to music. I get the same feeling from drawing comics as I do from writing songs. Writing songs is more of a high energy activity and then drawing is calmer, so as Matthew says, it's good for me because it keeps you alert... I forgot the word he used, but it basically meant that it gives me momentum, which I realised is very true. It also really helps me because I get really down on myself about songwriting or singing or something, and then I'm like, oh, but I could draw sort of. It’s nice to have those two things to go back and forth or if I can't draw something, I'll write a song. It's good to have those two things if I'm hard on myself about one of them: they balance each other out.

Also, it's free art for the album you know, we don't have to hire anyone to do art for the album covers and stuff. Well, it's not free because I'm lucky you guys, the label has given me a lot.

How have the artists who lived in Manhattan Plaza before you influenced your work?

OK, so the main one is one of my close friends, Joe Cohen. He's a guitar player who lives in my building. He's one of my favourite guitarists ever and is one of the main reasons I started having any musical confidence at all. We’ve played lots and lots of gigs together. We've played together so much, and he's encouraged me and I've learned so much from him. I'm very lucky to be his friend – and he's just in my building.

My friend Jean Yellen lives there. He's one of my favorite country singers. He sounds like he's from Kentucky, but he's just a Jewish guy from New York City. He’s my favorite country singer, and he lives in the building. So many amazing musicians live in the building, so that's always inspiring. Also, if they ever needed a bass player for a jam session, they would just see me and be like, hey, you want to come downstairs and play? That's always great.

Can you describe your creative process when writing a new song?

Well, I guess it comes in a couple of different ways.

The first has only ever happened once: which was in a dream, and it's the song on the record called “She Dreams”, so that was kind of lucky, but then it never happened again. It’s very annoying because I was like, oh, it's easy. All I have to do is go to sleep, but yeah, that's one of the ways.

Another way is I'll noodle around on the guitar or piano, and I always tape record while I noodle, and then if I like anything, I'll try to turn it into a song. So that's another way, and it usually takes a while because I do it in parts, or I have to keep going back to it to make sure it's good. It's hard to kind of tell if you're just in a good mood and liking what you're playing, or if it's actually a song.

And then another way, which is the most annoying way, is I'll be walking on the street, and I'll hear a song in my head over and over and over – so I record it into my phone and then it stays in my head usually or it disappears and I have to go back to hear it. But it's usually at a very inconvenient moment, like on the train, or I'm late for something and I have this song in my head that I realized I'm writing.

The fourth way is to combine that with the second way. I'll have a part, I'll use part of a noodle and then part of a song that I came up with in my head, and the fifth way, I guess I'll say is just like all those three ways combined.

How do you want your music to impact listeners?

I guess the most important thing to me, and the reason that I ever believed in it, was people started confiding in me that it helped them in very serious ways, which is why I do it.

Can you discuss the themes and emotions that you explore in your songs?

Sure, I like to explore when I’m feeling embarrassed, feeling lonely, feeling nervous, feeling scared, feeling paranoid. Pretty much every negative emotion.

How do you balance vulnerability with strength in your music?

Oh, I don't know. I hope I do that. I guess it's vulnerable just to do it. I guess everybody who does anything in front of an audience is vulnerable. So I guess by default, everybody is vulnerable.

What do you love right now?

I mean, come on, Vanderpump Rules.

What's your favourite part about it?

Well, everyone thought the show was over. There was nothing, no drama left. And then suddenly, what happened this season? Scandal just shook the globe and it's still shaking the globe – and there's so many funny things going on around it because people are doing podcasts and interviews and all the cast is like coming back to life in a really cool way.

What do you hate right now?

Now, well, I guess I do hate moths. Because that's what I was scared of on the tour. That's the only thing that stopped me from touring, but yeah, I'm just so scared of them.

I can't even describe how scared I am of them, so basically, that's the only thing in my way.

Name an album you’re still listening to since you were younger and why it’s still important to you?

Sergeant Pepper's Lonely Hearts Club Band. It's just, I mean, everyone says it's the best Beatles record, but that doesn’t exactly mean it is – but I’ve listened to it from the age of like being born till now and I still love it just as much, or if not more.