Drawing on the timeless songwriting traditions of the 1950s and ’60s while embracing a modern emotional perspective, New Jersey singer-songwriter Steven Lemon continues to prove that a strong melody can say more than any elaborate production. His latest single, Still Goin’, explores the complicated reality of moving forward while still carrying the weight of what has been left behind.
TAGG caught up with Steven Lemon to discuss the enduring influence of classic songwriters, the emotional heart of Still Goin’, and how his upcoming album The Imprisoned Mind finds meaning in life’s unresolved moments.
- Your songwriting draws inspiration from artists like Buddy Holly, The Everly Brothers and Neil Sedaka. What is it about that era of songwriting that continues to influence the way you write today?
I think the biggest influence is the way that those old songs still directly affect the flows of my melodies. I don’t think about chords or music theory when I’m making the songs. I let the melody be the master and then color around them.
- Your music combines classic song structures with a modern emotional perspective. Have you ever felt pressure to update your sound, or has staying true to those influences always felt like the right path?
It’s easy to look at what is “hot” in the music industry and try to adapt, but I’ve found that when I do that it’s not genuine. Authenticity matters to me.
- “Still Goin'” is about leaving while still feeling emotionally connected. Do you think accepting those contradictions is healthier than trying to force yourself to move on quickly?
I think so. Things take time. Healing takes time. When the situation is big enough, I don’t know if there is such a thing as forcing yourself to move on quickly actually.
- You describe the song as exploring pride and resistance alongside longing. Was it important to show that people don’t always leave because they’re emotionally finished with something?
I think it’s the opposite actually. Kinda like being fired from a job… and then you storm out the door screaming “I quit!” Wanting to make it seem like you had control.
- This was one of the last songs written for The Imprisoned Mind. Did writing it help you understand the larger story of the album or did it change the direction of the record altogether?
All but two of the songs were written within a 28 day stretch… there were some other songs during that time too that I didn’t include, but maybe I will release them someday. Still Goin’ and In The Group were well after that, but they work collectively to resolve the tension I think.
- Your songs often let melody carry the emotion rather than relying on dramatic production. When you’re writing, how do you know when a simple arrangement says more than a bigger one could?
When a melody is strong, big arrangements are unnecessary. I’d like to think that a good song can stand alone with just a voice and a guitar. Bigger production usually makes everything better, but you can definitely go too far with it. Not to get too far ahead, but my next record is gonna be a lot simpler in production.
- The title The Imprisoned Mind suggests an album that explores internal struggles rather than external events. Looking across the record, what do you hope listeners recognise about themselves in these songs?
The cool thing about music and art in general is that it meets folks where they are at any given moment. I’d just hope that listeners are open to that. This record is most definitely on the darker side for me, but happiness returns.
