“A Woman’s Place Is on the Road”: An Essay by Xanthe Alexis for Women's History Month - Atwood Magazine

      In celebration of Women’s History Month, Atwood Magazine has invited various artists to contribute essays that explore themes of identity, music, culture, and inclusion.

      Today, Nashville-based artist Xanthe Alexis offers her unique insight on balancing motherhood with a career as a touring musician, emphasizing the importance of Mothers' voices on a global platform in a special essay for Atwood Magazine’s Women’s History Month series.

      Xanthe Alexis is known for her powerful voice and captivating lyrics. The enchanting presence around her relates to her origins in the Superstition Mountains of Mesa, Arizona. Her upbringing was enriched by the mystique of diverse cultures, fostering her sensitivity to the spiritual realm. She also faced the challenges of being treated as an outsider in America. Activism became her outlet, especially during the peaceful protests for Water Protection at Standing Rock, as well as her role as a Natural Healer in her community. Introduced to artists like Linda Ronstadt, Joni Mitchell, and Ella Fitzgerald by her mother at a young age, she began songwriting shortly before her sister passed away from heart disease, deepening her understanding of pain and the necessity for a language to express human emotions.

      A dedicated nurturing force, Alexis collaborates with her mother at their healing center in Colorado Springs. Her acclaimed 2020 album, ‘The Offering,’ was her heartfelt contribution in song, intended as guidance and comfort during challenging times. Currently, she is working on her third studio album, Lover’s Mark, scheduled for release in 2025, featuring music legends Jimbo Hart and Jeff King.

      By Xanthe Alexis

      I began my journey in music as a backup singer for a nationally touring group. I was focused on mastering life as a musician, being the only woman among a band of misfits. I was not pampered; I transported equipment and slept on dirty van floors. My determination and drive pushed me to learn my craft in an environment where I often felt out of place. Meanwhile, my two young sons were at home. I had to carefully consider my choices to pursue music, justifying each step as I had responsibilities to fulfill—bills to pay and mouths to feed in a single-parent household.

      Finding a woman in the music industry who is self-sufficient and independent is uncommon, and a mother in that environment is even rarer. At times, my roles as a mother and musician felt contradictory. Society expects mothers to stay at home and discourages them from dreaming too big. Yet, I was out there hauling gear, making short trips, returning in time to serve as a waitress or whatever job I could find to prepare food for my family, take my sons to baseball practices, and stand firm against those who deemed my aspirations selfish or unreasonable for a woman with children. I pressed on regardless.

      In 2020, I released my critically acclaimed album, The Offering. At that time, my sons were home with me due to the pandemic, providing a unique opportunity amidst the isolation. I was able to conduct interviews and promotions from home while we navigated our new reality together. It gave me a chance to share my story, and none of my supporters judged the efforts it took to reach an audience. I often reflect on the artistic contributions we miss from women and mothers who feel their voices should remain private, sometimes even within their own homes. This realization fuels my ambition to continue pursuing my place in music, seeing my motherhood as an integral part of my identity rather than an obstacle.

      My sons are now adults, and I have channeled my passion for nurturing into CelloTree Arts Presents in Nashville, Tennessee. In addition to touring, I co-host a home concert series with my best friend, Sarah Clanton, and her partner, Andy Beckey. We gather national and international artists in an environment that prioritizes creativity and encouragement. I often feel as if my journey is only just beginning.

      Then I think of that young woman with children at home, washing her face in a gas station bathroom, and I’m grateful she never gave up. – Xanthe Alexis

      Connect with Xanthe Alexis here

      Stream: “Moon” – Xanthe Alexis

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