It was in December 2022 that The Staves celebrated the 10th anniversary of their debut album Dead & Born & Grown – a strange and beautiful period in the lives of sisters and band members Jessica, Camilla and Emily Staveley-Taylor, making their fourth album All Now with the same organic vulnerability as that first record: except now everything was different, and they kind of were too.
All Now emerges, bold and bright, from a period of quiet, which followed a period of chaos, for the band. When Good Woman was released in 2021, to positive reviews, it felt like “an echoing silence” to share such a cathartic album with a world shut down. So The Staves had to retreat, again, and actually wrestle with everything they had been through.
“There was a delayed reaction to trauma and these big changes out of your control,” says Jess of the period that came after Good Woman, as the band – like the rest of us – were forced to sit with their thoughts, but also still processing the death of their mother and other seismic changes: Emily takes a backseat on this album (while still contributing vocals on a handful of tracks) to focus on motherhood, while Camilla reckoned with her own mental and physical health issues – chronic pain and a series of operations due to Endometriosis began to take an increasing toll.
“It all culminated in making me feel extremely alienated,” says Camilla. “Suddenly your body is doing something completely out of your control – depression reared its ugly head again and it sparked an identity crisis. It was a turning point.” So The Staves did what they know how to do best, and got back to writing. The idea was to go against most of what they’d been doing for the last few years by going back to basics and focusing almost solely on each other and their guitars as a starting point.
It began with Jess, navigating this new landscape by harnessing her creativity on her own at first in the studio in Hackney at the end of 2022, slowly luring Camilla back to the next chapter of The Staves, before reaching out to super-producer John Congleton (Sharon Van Etten, Angel Olsen), who the band had worked with on Good Woman, to help them figure out the next step in the studio. “After this feeling of slow motion for a couple of years, it suddenly accelerated wildly towards the finish line,” the band say of the weeks that follow: packing up and heading to LA to meet Congleton and musicians Max Hart and Tamir Barzilay to bring to life what this next album really could be.
The result? An album as rich and honest as all the most profound music by The Staves scattered across albums for the last decade, calcified here into something special. There’s the buoyant nostalgia on ‘After School’, a love letter to Emily from her little sisters “looking back on the simpler times” and reflecting on those teenage days shuffling into that one bedroom with the CD player to play the new Sheryl Crow album. “That late ‘90s period was just fucking fun,” says Camilla. “We thought Emily was the coolest, so we thought we may as well go full throttle with a really joyful song.”
