"I was down with Lucinda Williams and Mary Chapin-Carpenter. We did an acoustic tour, just the three of us, three chicks and three guitars"
About this Quote
Rosanne Cash drops this line like a backstage snapshot, but it’s doing real cultural work. “Down with” is casual, almost hangout slang, a subtle way of flattening the hierarchy that usually follows famous last names. She’s not invoking lineage or legacy; she’s locating herself in a peer circle of women who don’t need spectacle to prove power.
The specifics matter: Lucinda Williams and Mary Chapin Carpenter aren’t interchangeable “female singer-songwriters.” They represent adjacent but distinct strains of American roots music - grit and literary bite on one side, polished narrative craft on the other. Putting them together frames the tour as a kind of coalition: different aesthetics, shared refusal to be minimized.
Then there’s the count: “just the three of us” followed by “three chicks and three guitars.” It’s a deliberate double-take. First she emphasizes intimacy and musical nakedness - acoustic, no band, nowhere to hide. Then she reclaims a word that can be dismissive. “Chicks” is the term you expect from a patronizing promoter; Cash uses it herself, with a wink, turning what could be reduction into branding. The parallel structure makes it punchy: three humans, three instruments, nothing else.
Contextually, it nods to a touring economy and a gendered industry reality: women often have to tour smarter, leaner, and in solidarity. The subtext is pride without pleading - a flex built out of simplicity, camaraderie, and the confidence that songs, and the people singing them, are enough.
The specifics matter: Lucinda Williams and Mary Chapin Carpenter aren’t interchangeable “female singer-songwriters.” They represent adjacent but distinct strains of American roots music - grit and literary bite on one side, polished narrative craft on the other. Putting them together frames the tour as a kind of coalition: different aesthetics, shared refusal to be minimized.
Then there’s the count: “just the three of us” followed by “three chicks and three guitars.” It’s a deliberate double-take. First she emphasizes intimacy and musical nakedness - acoustic, no band, nowhere to hide. Then she reclaims a word that can be dismissive. “Chicks” is the term you expect from a patronizing promoter; Cash uses it herself, with a wink, turning what could be reduction into branding. The parallel structure makes it punchy: three humans, three instruments, nothing else.
Contextually, it nods to a touring economy and a gendered industry reality: women often have to tour smarter, leaner, and in solidarity. The subtext is pride without pleading - a flex built out of simplicity, camaraderie, and the confidence that songs, and the people singing them, are enough.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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