After toiling for years in Nashville, the Kentucky songwriter signed to John Prine’s record label and released a stunning album that gave voice to rural folk
The album’s centerpiece is “Kentucky, 1988,” a song she’s referred to as her own “Coal Miner’s Daughter,” and the story of her life. It’s also heavily about forgiveness and understanding, and the realization that struggle touches everyone. For Waldon, that was making peace with the people who raised her. “Your parents are not perfect people,” she says. “They are just as troubled and beautiful as the rest of us. I wouldn’t be the way I am now without them, even with the terrible things.
Accepting and embracing her roots has not meant, however, blindly following everything she’s known without question. Waldon was raised in the Southern Baptist church, and “Sunday’s Children” is a song about the warping of religion in the name of hate — and not a rebuke of the church as some on Reddit and otherwise have suggested . “We all want the same things, we all dream the same dreams,” she sings. “Don’t have to be just like you to understand universal truth.
“So many of my gay and lesbian friends grew up made to feel they were wrong for being who they are,” she says. “That they’re wrong, they should repent, they should pray. Some of these white supremacy movements are backed by religion, and it’s all just really absurd to me. Sometimes you are so extreme in your beliefs, you can’t see any other way. You put your ‘religion goggles’ on. But some people haven’t liked the song, and that’s OK.” She takes a sip of her tea and thinks for a minute.
In talking to Waldon about this or anything, Dolly Parton comes up a lot — not just as one of the most prolific songwriters, but for how she told her story and stayed true to where she came from yet always skirted expectations. Parton, too, has spoken openly about how she despises when religion is used in the name of discrimination and hate, even recently on the podcast“Dolly is still unmistakable country, but you see all types of people at her shows,” Waldon says.
“Hopefully people realize I am a lot more than a one-dimensional person,” Waldon says before heading into Nashville to pick up her van from the shop. “There’s always a lot of, ‘Oh, she’s a throwback artist.’ No, I don’t think that’s who I am. I’m making music now. For now.”
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