Following the stirring introspection of her previous single ‘Love’s The Only High’, genre-bending artist Anne Stott returns with ‘Palm Trees and Parking Lots’, a haunting, slow-burning ode to Los Angeles that doubles as a poignant meditation on climate crisis, personal accountability, and the fractures of modern life. At once intimate and expansive, the track underscores Stott’s ability to merge storytelling with activism, weaving emotion into environmental urgency with disarming grace.
Backed by a sparse, moody arrangement and a contemplative visual directed by Sacha Riviere, ‘Palm Trees and Parking Lots’ finds Stott looking inward to confront the collective fault lines shaping our world.
So with the new single out now, we sat down with Anne to discuss the inspiration behind her latest single, and what has been influencing her most over the years.
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Can you tell us a bit about your musical background and how you got started in music?
I grew up playing classical piano and singing in the choir. I spent some time in my twenties trying to find a respectable job that inspired me as much as making music (or acting) but, well, that didn’t happen. So I came back to singing and immediately started playing the guitar and writing songs. I played lots of clubs in downtown New York City. And from there started recording.
Who are some of your biggest musical influences, both past and present?
Patti Smith is a huge touchstone. Her passion and authenticity are a constant source of inspiration. I love Nina Simone and The Cure. I don’t know if current artists are influences or inspirations in the way that the artists we listen to as we’re growing up are. But I loved St Vincent’s last album. And Beyonce is blazing such a cool musical/cultural trail. Chappell Roan is phenomenal. And Gina Volpe’s last album Delete The World also slayed.
Are there any specific artists or bands that have had a significant impact on your music style or approach?
I am hugely influenced by the way that albums were prominent when I was growing up. Making room for a larger body of work. Thinking beyond singles.
And when I’m in the recording studio, I often find myself listening to Joni Mitchell or Tom Waits. I’m not trying to sound like them, but their music helps me connect to something essential within myself. They clear out the bullshit.
Could you share any memorable moments or experiences that have shaped your musical journey so far?
Busking on the street for five summers was definitely a powerful experience that taught me so much about relating to audiences and taking up space. I love a stage but you’re forced to dig deep when you’re on a street corner with hundreds of people passing by and you start to sing your song. Babies crying, couples fighting, music from cars whizzing by. It builds some serious performance muscle to play in and around all of that.
How do you express your personal experiences and identity through your music?
Honest answer? I don’t really know.
But songwriting is one of the only places in my life where I trust my own judgement almost completely. I’m not writing to please anyone else or compete with anyone else. Once an idea hits, I consider it my job to carry it forward as best I can and when I think I’ve completed the task (which can involve a lot of editing and tweaking), I’m good.
Have you faced any challenges or obstacles as a female musician, and if so, how have you overcome them?
Well, there’s the mountains of sexism from sound dudes and some inappropriate behavior from club owners. I think all of that is getting incrementally better, which is good.
Can you talk about your creative process and how you go about writing and producing your music?
I write down ideas whenever they come to me. They can come from anywhere. When the idea for my new single, Palm Trees and Parking Lots came, it was like everything stopped. I just needed to give it attention right away.
But sometimes you just have to sit down and start, whether or not there’s a spark. In general, I like to write new material in the mornings. Afternoons are better for editing. I’ll spend time on lyrics but I’ll also spend time just noodling on the guitar or piano, finding little snippets of sound or melodies that I like. I’ll record them so I can go back and play through a bunch of sonic ideas.
I really try to let ideas breathe. When I was first writing songs I put a lot of pressure on myself to finish them to kind of prove to myself I could do it. I got some songs I really love that way. But now my sound is more expansive and eclectic so the more room I give the songs to find their own way, the more deep and rich they become.
Recording my latest album, Watershed Synapse Experience, with Barb Morrison (Blondie, Rufus Wainwright) was a dream. They really got my sound and what the songs are trying to say. Their only agenda was to make each song the most and best version of itself it could be.
How do you hope your music will resonate with your audience, especially with other aspiring female musicians?
I can’t count the number of times I’ve walked off a stage in a bar and a woman I don’t know has told me she wishes she had the courage to perform. I want all women to know they can do anything. There’s a lyric in my song I Can’t Hide: “I want your dreams to all come true.” And it’s true. I want your dreams to all come true. And I hope my music helps people lean into their dreams.
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Watch the new video for Anne Stott’s ‘Palm Trees And Parking Lots’ below.