Interview: Will Wood Continues to Slouch On - Atwood Magazine

      An auto-cannibalistic rat, some flaming pants, a fateful journey through Missouri, and a handful of unclaimed timeshare vouchers later, Will Wood is officially back. The avant-pop musician shares the “true” story he recounted during his last tour with Atwood Magazine.

      by guest writer Caitlin Hsu

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      2econd 2ight 2eer – Will Wood

      An auto-cannibalistic rat, flaming pants, a fateful Missouri trip, and several unclaimed timeshare coupons later, Will Wood is officially back. When I last covered the avant-pop artist in January 2023, he had just released a live album called In Case I Die and announced an indefinite hiatus from his career. Fans held onto hope for his return, while others speculated it could be his final album.

      Another year and a half went by with little communication from Wood aside from scheduled Patreon updates and podcast features. Then, in July 2024, excitement among the fanbase grew: three new live recordings appeared on streaming platforms, a re-edited version of his 2020 release The Normal Album was released, and a new tour named Slouching Towards Bethlehem was announced, set to kick off in the fall with 31 stops across the country.

      Those fortunate enough to attend the limited-capacity, cabaret-style performances experienced shows that seamlessly blended concert and one-man play. Dubbed “Slouching Towards Branson” — referring to Branson, Missouri, often dubbed the “Christian Las Vegas” — the narrative unfolds Wood’s adventures in the Midwest during his break. Key players in this story include a romantic partner Wood reconnected with years prior, a rat named Casper intent on eating her own injured foot, a fudge shop owner with a questionable sense of humor, an Irishman who nearly coerced the couple into a timeshare pitch, and perhaps some form of divine intervention symbolized by a pair of flaming pants.

      On the surface, it’s a humorous monologue complemented by piano and ukulele renditions of Wood’s genre-defying hits. On a deeper level, it explores themes of personal growth, self-actualization, and a cynical artist’s rekindled passion for his craft. Toward the end, Wood fondly recalls an impromptu mini-concert he performed in Illinois — his first public show in nearly two years — a pivotal moment that sparked his return to music.

      Unless something unforeseen occurs, Wood mentions that a filmed version of Slouching Towards Bethlehem will be available on streaming platforms in 2025. For now, we invited the enigmatic artist to share as much or as little as he desires.

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      :: connect with Will Wood here ::

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      A CONVERSATION WITH WILL WOOD

      Atwood Magazine: Your tour’s name is inspired by Joan Didion’s 1968 essay collection, Slouching Towards Bethlehem. Why Didion and why this particular book?

      Will Wood: A musician I respect brought the book to my attention, and I found myself resonating with some of the anxieties Didion conveys. Although we're vastly different in many respects, we both share a cynical view and are creative individuals grappling with a rapidly changing world.

      Didion discusses aspects of the psychedelic movement that I hadn’t encountered before. Sure, Thompson critiqued Learyism but remained part of the drug culture. Didion offered a clear, critical viewpoint that I didn’t find in Wolfe or Kesey, who were more focused on the movement’s spirit. While I embrace the idea of peace and love in the face of chaos, Didion's portrayal of Haight-Ashbury as if it were hell resonated with me in a unique way.

      I’m around the same age she was, and I feel just as frightened by the cultural shifts and the evolving world as she did. Slouching seems to reflect themes of loss and the anxiety that accompanies uncontrollable change. Like she mentions in the preface, I’ve been “paralyzed by the conviction that writing was an irrelevant act” because, as she observed, the world I knew feels nonexistent. Much like her, I've had to “come to terms with disorder.”

      What does that phrase signify for you?

      Will Wood: I think it conveys a sense of surrender and acceptance, even amidst what appears to be the chaotic end of all we hold dear or know. There's little one can do to control the world or alter its course from potential ruin. It also means relinquishing emotional investment in feeling understood, recognizing that I’ll encounter parts of my career I may despise, and accepting that whatever narrative emerges from my life will ultimately become a story — learning to let a higher power take charge, even if I doubt its ability to care for me as I wish.

      During your two Halloween shows in New Jersey, you surprised audiences by reuniting with your band, the Tapeworms, for the first time in five