Adia Victoria Reclaims the South's Artistic Traditions on 'A Southern Gothic'

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Adia Victoria has been a vocal critic of whitewashing Black artistry. On her new album ‘A Southern Gothic,’ she reclaims the Southern experience

, by folding Americana heavy-hitters like T Bone Burnett, Margo Price, and Jason Isbell into her own world of collaborators, which includes everyone from Kyshona to the National’s Matt Berninger to expat Southern folk artist Stone Jack Jones.is a concept album of sorts that intimately traces a collection of hauntingly interwoven, character-based stories about people with deep connections to the South.

“What do we think about when we think about Southern gothic? What do we think about when we think of Southern literature — usually Black Southern writers are hemmed out of that,” Victoria says. “You have your [William] Faulkner, your [Eudora] Welty, your [Flannery] O’Connor, but it’s not common you’ll see Alice Walker included in that list as well. I wanted to include myself in the history of the South.

But as with all of Victoria’s work, the singer-songwriter tinkers with and deconstructs those tropes. “There’s never anything that’s not multi-layered with Adia,” says friend, collaborator and poet Caroline Randall Williams. “So even if there is something that could be a cliché sentiment on its face, you know by virtue of it being on her record that she’s doing something sideways with it… There’s always a twist. There’s always some subversion.

One example of Victoria’s Southern subversion comes on the stunning highlight “Whole World Knows.” The song opens with the idyllic Southern imagery of a preacher delivering a Sunday morning sermon, until, just three lines in, Victoria reveals that the preacher’s daughter is injecting herself with dope just outside the service. “How could you most belong to that community? By being a preacher’s daughter,” she says.

 

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