Before embarking on a music career, Emily Scott Robinson worked as a social worker. The two occupations, she says, really overlap with who she is as a person. Talking from her home outside of Telluride, Colorado, Robinson shares that being a performing artist and playing shows has “a similar quality of service to it and connection that being a social worker did…”
“One of the things I loved about being a social worker is being able to help people,” she continues. “[Music] brings me a lot of joy and purpose. I get so much feedback from people that my songs help them. That’s the most important and meaningful thing that my music could do in this lifetime.”
On January 30, Robinson will launch Appalachia, her third release on Oh Boy Records and her fifth album overall. Its 10 tracks reveal her uncanny knack for conveying empathy, comfort, and compassion through a set of songs that explore topics such as a friend’s suicide, a grandparent’s death, her own divorce, and the destructive effects of Hurricane Helene on her home state of North Carolina.
Robinson recorded Appalachia with producer/musician Josh Kaufman (Bonny Light Horsemen, Josh Ritter) in late April and early May of 2025 at his Dreamland Recording Studios, near Woodstock, New York. Having loved his production work on Anaïs Mitchell’s 2022 self-titled album, Robinson wanted to work with him. “I want to make my version of what [Mitchell’s] record is,” she explains. She was thrilled that Kaufman not only was available to produce the album, but was also very excited about working with her.
Robinson’s road to becoming a singer-songwriter began when she was 14, when she went to a “super hippie summer camp,” as she describes it, in northern Michigan. There she fell in love with acoustic music she heard the counselors play at night during “mellow time” – songs by folks like Cat Stevens, Joni Mitchell, Dar Williams, and Ani DiFranco. After camp ended, she learned to play her mother’s old classical Yamaha guitar. Robinson loved to sing, but only played cover tunes whenever she would perform at coffee houses and open mic nights.
Her life changed, in many ways, when she took a Planet Bluegrass Song School workshop in 2014 while working as a social worker in Colorado. Besides learning about the art of songwriting, Robinson also discovered how to make a living as a musician. She quit her social worker job the next year and didn’t look back. “I felt such a strong sense of connection and purpose when I sang for people. Their response was so powerful, and I just thought this really feels like something I should pursue.”
That Robinson has a gift for words feels like a genetic inevitability. Her mother worked as a journalist and her father taught English. As she describes it, Robinson learned how to tell and edit a story from her mother, and how to write in a direct and active style from her father. “My parents taught me how to write… that stuff is burned into my brain,” she states. “I’m my parents’ child.”
2026 represents a significant career moment for Robinson with the new album arriving in January and tours crisscrossing the U.S. throughout the year. She took time out from a snowy winter morning to speak with BGS about Appalachia and the roads she took to make her album.
It has been several years since your last full-length album, 2021’s American Siren. How did this album come into being?
Emily Scott Robinson: It took me about four years to write this record. These are the songs written in the aftermath of a lot of upheaval and change in my life. I went through a divorce in 2021 and then moved away from Telluride the next year. And even though I didn’t move that far – I moved about an hour away – I left the only community that had really been home for me for about a decade.
And there were a lot of endings that felt really sad. Both my grandmothers passed away. [But] I also became a parent. I am now engaged to my partner, who has a nine-year-old son. And that has been amazing. So, my life kind of completely changed. These are all songs written in the thick of that – and [the] surrender and joy and grief all happening at once.
Was there a song that really kickstarted this album?
The first song I wrote for this album – and then it was the only one I had written for like a year and a half – was “Hymn for the Unholy,” which is, of course, the opening track. And that felt like my anthem. I wrote that song [when] I was going through this divorce. It was New Year’s Eve and I just couldn’t even fathom this whole movement of setting plans and goals for the new year when so many things felt like they were ending or becoming really unsure for me. It was the only new song I had for quite a while. And then, in about the last year and a half, I wrote almost all of the rest of the songs.
“Appalachia” I wrote right after Hurricane Helene hit Western Carolina. There were a couple songs that I wrote at a writer’s residency in Texas, [including] “Time Traveler” about my grandmother who passed away. I wrote “Cast Iron Heart” on another songwriting retreat. “And Bless It All” was really one of these songs that emerged that I wrote really quickly, like an homage to this chapter of life [about] raising a kid [and having] parents aging – like my generation is now doing the same.
“The Time For Flowers” is a song that you had for a while. How did that find its way on the album?
“Time For Flowers” is on here because it’s a song that has never lived on a full album. A lot of my fans would come up to me after shows and go, “Which record is ‘Time for Flowers’ on?’” … I released it in 2020 in the summer [during the pandemic as a single] and it grew legs and traveled far and wide. People started to perform it at funerals and with their choral groups and they started to sing it in church and ask for arrangements. It became a song that meant a tremendous amount to a lot of people.
I put a lot of heart and a lot of craft into that song. But the song has taken on its own life and that’s really beautiful for me to be a part of. And it means a lot again in 2025, to people who are living in what feels like an increasingly dark time. I wanted to put that on the album and to sing it in the way that I perform it at my shows, which is just acoustic.
I felt like, on this album, there was a feeling of expressing compassion and forgiveness and reassurance. A message of “finding a sense of strength” not only for yourself, but for listeners as well.
The one cover on the album is “The Water Is Wide” and I was wondering why you chose that old folk song to include.
I love that you wondered that because, to be quite honest, I felt a very strong instinct to put this song on here and I didn’t really know why. Sometimes I just feel a deep sense that needs to happen and so I just trust it and do it. I love that song and I had planned on putting it on there. I think, if I were to explain it on a more logical or grounded level, I would say that I felt that song – as old as it was – still speaks in both a deep and a fresh way. The lyrics strike me as being fresh and a little unusual every time. And it felt very timeless but also fresh, and so I just was drawn to it.
Sometimes I write a song, or I put a song on the record, and I just go, “I will find out later why I had to do this.” But, genuinely, I’ll find out along the way why it is that that song begs to be on this record. Also, Josh Kaufman, my producer, was so excited when I told him I wanted to put that song on there. He loves old folk songs and making them feel a little bit new or breaking them down a little bit and rebuilding them. And so do I, so it just kind of felt like it fit.
“The Fairest View,” which follows “The Water Is Wide,” closes the album. It holds an old folk song vibe although listening to it, you realize that it’s not.
“The Fairest View” was actually not a song that even existed until the last 24 hours that we were in the studio. My friend [songwriter Lizzie Ross] and I have a mutual friend who died before we were in the studio together. He really loved music and had grown up in Western North Carolina. He died by suicide and we were really writing this song for him, and to him. … We finished it the night before the final day. We were in such a great groove of creative flow that this just made total sense
I sent [Josh Kaufman] this voice memo. I think it was like 11:30 at night. I was like, “What do you think about putting this on the album tomorrow?” And he goes, “I dig it. Let’s do it!” He said that there was nothing really like this on the record, but it felt like it still fit sonically, lyrically, and melodically.
What were the important contributions that Josh Kaufman brought to the recording process?
Really the magic of working with Josh – the thing I love the most – is when we first had our first conversation. We were talking about how we work in the studio and he said something along the lines of, “You know, you play the song and we all start just kind of experimenting and playing around on instruments. We’ll know it when we find it, because you can hear it and you can feel it in your body when you have found the thing.” And that for me is exactly how I work creatively and in the studio. I’m comfortable with that kind of workflow and so I was like, “Yep, that’s exactly how I want to work.”
There is a wonderful intimacy to your vocals. I got the feeling I was sitting on a couch and there you were singing from just across the room.
D. James Goodwin, who is the [album’s] recording engineer and who mixed the record, created a specific reverb treatment based on the room in Dreamland, based on the actual recording space. … He started to measure the exact EQ and decay of all these different points in the room and then created his own reverb setting that he calls “the Dreamland reverb setting,” which is just meant to sound exactly how it sounds in the room.
You do a great duet with John Paul White on the track “Cast Iron Heart.” How did he get involved on this project?
John Paul White is a great interpreter of songs, because he doesn’t put too much on them. This is like an acting principle, which is “the more you’re trying to act, the worse it is.” But if you’re allowing the song to come through you, and you’re not getting in the way of that and you’re being honest to that song, then that’s when the powerful performance really happens. And John Paul is experienced enough to really know that.
I knew that I couldn’t have somebody with a fully polished country voice singing this. I wanted it to sound like somebody who had lived. I know John Paul and I know that he has lived and he has a family and he’s been making music for years. He embodies the person singing the song – the actual voice of the narrator of the song – and it was such a gift that he said yes to this. He’s the sweetest, most generous artist and human, so that’s how he got involved.
This is your third release for Oh Boy Records – how did you get involved with them?
I got a message from Jody Whelan [head of Oh Boy Records and John Prine’s son] and he said, “We’re really big fans of yours at Oh Boy and if we can ever help you in any way let us know – we’d love to work with you.” And I was like, “Did I just get offered a record?”
I reached out to Jody and I said, “I would love to talk to you. I have a record that I’m about to make and we should connect.” I’m a huge fan of Oh Boy and John Prine. I signed a fantastically supportive and artist-friendly record deal with Oh Boy. And I go on the record to say that as often [as I can]. … I genuinely hit the jackpot when I signed the deal with Oh Boy. I love working with them. Their heart has been, and always will be, in the right place. I’m really, really lucky.
Are there things you hope listeners take away from the new album, or from your live performances as well?
I hope that people do feel fortified, encouraged, and hopeful when they listen to these songs because this record is about finding those bright spots and finding that hope in the thick of all the other parts of being a human. It’s about leaning on other people and finding that in relationships and in community. I also hope that this record will comfort people who’ve lost somebody they loved recently.
I want this record to be of service to people. I want it to reach them in ways that they need to be reached. I don’t want people to give up hope in this time in history or this time in our country. I don’t want them to give up hope in themselves and each other.
I think we’re increasingly in a corporate media landscape and a very engineered social media landscape that has a lot of voices that say there’s no hope; there’s no reason to fight, it’s too late. And I think the social worker in me and the political activist in me wants to yell, “That’s fucking bullshit!”
Photo Credit: Angelina Castillo
