In celebration of Asian American and Pacific Islander Heritage Month, Atwood Magazine has invited artists to contribute a series of essays that delve into themes of identity, music, culture, inclusion, and more.
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Today, American-Canadian singer/songwriter, mother, and wellness advocate Tara Beier shares her poignant essay, “I Bring My Own Thread to the Folk Tapestry,” as part of Atwood Magazine’s AAPI Heritage Month series. In her writing, Beier reflects on her experiences as a biracial woman in the predominantly white realm of folk music, addressing issues of invisibility, identity, and exclusion while discovering strength in resilience, motherhood, and authenticity. Through her narrative, she claims her space in the genre – not only to be acknowledged but also to contribute to its evolution for future generations.
Tara Beier’s music fuses alternative folk and Americana, often focusing on themes of grief, healing, and self-discovery. Raised in Vancouver by a Canadian mother and a Filipino father, she pursued classical piano for over a decade before earning a degree in criminology. Now residing in Los Angeles and Joshua Tree, her work has been highlighted in prominent publications such as Rolling Stone, Billboard, and The New York Times, with her song “Hero in This Stage” chosen for President Biden’s inauguration campaign.
Her third studio album, ‘Mourning Doves of Joshua Tree,’ produced by Steve Stout and released under Manimal Records, encapsulates her personal experiences of loss and renewal. As a mother of twins conceived via IVF and founder of the wellness brand LOVENDAR, Tara is a proponent of mental health, spiritual wellness, and environmental restoration, using her music and platform to foster healing and transformation.
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by Tara Beier
When considering my role in the folk music scene, I often feel like an outlier.
Folk and Americana have historically been dominated by white artists, particularly in North America. As a biracial woman – half Filipino and half English-Scottish – who was brought up in Vancouver, British Columbia, I seldom encountered anyone who resembled me represented in this genre. My presence in folk music feels akin to swimming upstream, but I’ve managed to transform that push against the tide into resilience.
My father, a Filipino immigrant, is central to my connection to my Asian heritage. He arrived in Canada with nothing and through determination built a successful business. He rarely spoke about the impact of being a man of color on his opportunities – I’m unsure if he ever allowed himself to reflect on that. He simply persevered and worked hard, despite the challenges he faced. That quiet strength is something I carry with me. Early in my artistic journey, someone told me, “You’ll have to work three times harder than other artists.” At the time, I didn’t fully grasp its meaning. However, now, nearly a decade later, I understand its weight. I’ve received immense support from fans, venues, and fellow musicians who listen without preconceived notions. Yet the gatekeepers – the labels, the media, and the major influencers – have often overlooked me. Despite achieving critical acclaim, performing in prestigious venues, and garnering media attention, the industry has frequently kept me at a distance.
Tara Beier © Jessica Castro
Being a woman of Asian descent in folk music means continually being perceived as “different.”
There have been instances where I've felt like an outsider – not solely due to my appearance, but also because my artistic expression didn’t align with expectations for someone who looks like me. When people see an Asian face, particularly in North America, they often presume I must have grown up abroad or belong to a different musical tradition – R&B, K-pop, hip-hop. However, I was born in Vancouver and my influences include Joni Mitchell, Leonard Cohen, and Neil Young. Folk music is woven into my cultural identity, regardless of how my appearance might suggest otherwise.
I was raised in a culture that, while seemingly polite, often felt subtly exclusionary. In Canada, there seemed to be a silent resistance – a passive discomfort with differences. People seemed unsure of how to engage with someone like me – a woman of color crafting folk songs. Ironically, I found more breathing room when I relocated to the United States. Though it is far from perfect, America felt more outspoken, more open to discussions about identity. I became a U.S. citizen in 2024, and I embrace that identity with pride – as a woman of color, a mother, and now, an immigrant who has made this country her home.
Motherhood has also become an unexpected thread in my creative journey. As the mother of twins, I’ve had to challenge the notion that motherhood diminishes artistic expression. Rather, it has enhanced mine. The chaos, beauty, and intensity of raising children have enriched my creative voice, adding new dimensions to
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Singer/songwriter Tara Beier presents her essay titled "I Bring My Own Thread to the Folk Tapestry," in which she reflects on her experience as a biracial woman traversing the predominantly white realm of folk music, featured in Atwood Magazine's AAPI Heritage Month series!