Whitney Mongé and Seattle Symphony Release New Album

By Bekah Sandy

As the singer-songwriter and guitarist grew up watching her mother, Rhonda, sing the blues across the region, she learned to love music in this city. While Mongé’s music reflects this background, she has become known for layering various genres to produce emotional and earnest songs designed to evolve the listener. 

“My intention is purely to create something humanity can connect with on the soul level,” she said.  

She did this and then some on her soon-to-be released album, Whitney Mongé Live with the Seattle Symphony. The new release features 12 of Mongé’s original songs orchestrated by award-winning composer Andrew Joslyn. Recorded during the fall of 2020 with the Seattle Symphony at Benaroya Hall in the concert that launched the Essential Series, Mongé and the orchestra presented a socially-distanced and live-streamed concert to provide comfort to music-lovers. 

Mongé recently reflected on her album’s release, her collaboration with the classical music world, and the power of music during uncertain times.  

Q: Why was it important to you to provide a musical experience for Seattle during the pandemic?  

A: It felt like the Seattle music industry was still trying to figure out what was going to happen to us all. This performance felt like a beacon of hope. At least, it did for me. Music heals all things, and music creation with depth is imperative for our society’s evolution. 

Q: How would you compare performing at Pike Place Market to headlining at Benaroya Hall?    

A: It was a huge difference playing in Benaroya Hall versus playing on the streets of Pike Place Market! Although there was still no captive audience in Benaroya this time, it felt like that was where I was supposed to be this entire time. I loved busking, but it always felt like people didn’t understand my full potential. Playing in Benaroya Hall made me feel as if I had nothing to prove and that I was seen and valued by my community. 

Q: How did the collaboration with the orchestra come about? What were your first thoughts when the concept was being considered?   

A: Andrew and the Symphony reached out to me in June 2020, asking if I would be interested. I was super excited, but to be honest, I was experiencing the hardest time of my life. My mother just passed away, and it was difficult to be upbeat for such an amazing opportunity. My mom was a blues singer in the Spokane area, so I grew up with it playing daily in our house and watching her perform with her band. As the summer went on and the arrangements came to life, I felt like this was something that my mom would’ve been so proud to witness. When I stepped on that stage, I was playing for her.  

Q: How would you describe your experience collaborating with the Seattle Symphony?   

A: It was incredible! From working with Andrew Josyln to the entire production crew, I experienced professionalism within my field that was like no other. Everyone treated me like a rock star and valued my participation as they figured out all the kinks in making this performance happen. It was extremely memorable to play in an empty Benaroya Hall, and although I always thought my debut there would be in front of a packed audience, it was almost dream-like hearing the silence and acoustics. I wouldn’t have it any other way! 

Q: How did the pandemic affect the way you view music and its role in a community?  

A: It showed me that we as musicians truly shape our community's moral compass. We set the tone for those around us. We are essentially a whole vibration and the ultimate catalyst for change.  

Q: What do you hope people feel when they hear your music?   

A: I hope people feel light when they hear my music. I don’t mean fuzzy feelings, but rather the essence of life, which is light. I consider myself a permission-giver — permission for others to express themselves and experience all the wonders of this reality without fear.  

Q: Do you think that the pandemic showed you anything that will have a lasting impact on your creative process?   

A: The pandemic showed me the value of my music. When you represent yourself like I do independently, there is no pay raise or boss saying “good job” or “you get a bonus.” The only barometer is the events you are part of, and to me, playing with the Seattle Symphony was the ultimate “good job” of my career. There is only up after this. 

Q: What was it like working with Andrew Joslyn to create new symphonic arrangements for your works?  

A: Working with Andrew Josyln was a dream come true! I’ve known Andrew for a few years, and I’ve always had a vision of working with him in some way. I’d send him a stripped-down demo of just me and my guitar, and then he would build the orchestral arrangements on top of that. I did have a say in how things came out, but for the most part he arranged what he felt like creating for my music, which I think was fun for him as well. We share similar musical inspirations like Sting and Bill Withers, so everything he sent me was amazing and fit perfectly.  

Q: Why is cross-genre collaboration important to you? What can be gained by removing the boundaries of genre in these sorts of collaborations?   

A: Cross-genre is so important because we get to introduce listeners to a different style of music. I love classical music but rarely would my music be on a classical station or medium. Now it is. Genres are funny. I don’t really identify with one or the other, hence my genre dysphoria throughout the years, but I am aware that it’s more for the listener to get an idea of who you may sound like. So instead of describing my music with a genre, I like to use the concept of who would be on my radio station if my music was on one. The answer for me is Ray Lamontagne, Tracy Chapman, Brandi Carlile and Damien Rice. 

Q: What was your favorite part of your performance?   

A: All of it. I loved all of it! But I really felt like in the performance, we hit our stride in the setlist with the song “Out.” 

Q: What is your experience with classical or symphonic music? Is that a space you always aimed to occupy? Or was it more of a pleasant surprise along your musical journey?   

A: I’ll never forget my first experience with classical music. I discovered Beethoven’s Ode To Joy in grade school and could play it by heart at the age of 7 on the xylophone. Then “Moonlight Sonata” and “Für Elise” became my favorites when I began learning piano. My mother also played piano, so classical was a big thing in our home growing up as well. Tchaikovsky’s Nutcracker is by far my favorite Christmas album! 

The album Whitney Mongé Live with the Seattle Symphony is set to be released on all major streaming platforms on August 27, 2021; iTunes pre-orders to be available August 22, 2021. Select songs will be available on a limited-edition vinyl album, which is anticipated to be released at year’s end; vinyl pre-orders to be available August 18, 2021.