Why Tracy Chapman's Music Would Make a Great Soundtrack for a Musical
- Alexia Rowe
- Apr 1
- 6 min read
We all know the song "Fast Car," which has given Tracy Chapman a bit of a resurgence after Luke Combs covered it and it blew up in the country world. But nothing beats the original, even if the lyrical content perfectly fits a country song. Luke Combs' reaction to sharing the stage with Tracy at the CMAs says everything:
Fangirling aside, when saw this performance on TV with my mom watching nearby, she was like, "This would make a great musical theatre song." And now thinking about it, a lot of folk songs in general would make good musical theatre songs (Girl from the North Country, anyone?) because a lot of them tell stories or commentate on current life stuff, much like art is supposed to and usually does. And so do some songs from other genres. With this post though, I'm going to analyze the lyrics of a few of Tracy's songs that I feel would fit great into a musical, and also commentate on her musical style. Who knows? Maybe we'll have a Tracy Chapman jukebox musical in the future, much we've already done with Bob Dylan, Alanis Morissette (Jagged Little Pill), Carole King (Beautiful), Green Day (American Idiot) and even Kelly Clarkson. And if you don't know who Tracy Chapman even is, you've been hiding under a rock.
Songs by Tracy Chapman That Would Work in a Musical
Fast Car
Of course I'm going to start with "Fast Car." Everyone knows within a few seconds of hearing the opening guitar melody what song it is. And it's so simple, with just a guitar and her voice. I will admit though that I hadn't given much thought to what the song was really even about until I was at a writing conference and someone was hosting a session about music (sounds like it has nothing to do with writing, but yes, dear reader, it does; it's basically poetry in song. Open your mind).
Lyrically, the song is about a couple (well, they become one later) who want to get out of the one-horse town they grew up in to make something of themselves, and the only way they can is with this fast car that one half of the couple has. The narrator strikes a deal with them, convincing them that they can both get jobs and live a life that their town can't provide and, as the chorus suggests, that they are destined for such things. She's motivated to leave the town so as not to end up like her alcoholic, divorced, jaded and probably underemployed father who also shared the same sentiments. Unfortuantely, her new job in the city echoes that her working-class life, only now she's taking care of her partner rather than her dad. She wishes for more. Kind of like a grass-is-greener-on-the-other-side situation but with a dash of disappointment.
Book report aside (which may have been useful if you live in the Stone Age without access to YouTube or a TV), this song sounds like the kind of 11:00 number in a musical where a couple has been fighting and so this is the final beckoning before they decide to stay together or split up. Or what Myrtle Wilson would be singing if a composer was licensed to use this song in a musical version of The Great Gatsby. You want to reminisce on the good times, but the current reality doesn't match your dreams or what you need now. And I think "Give Me One Reason" echoes the same sentiment, but is more hopeful of the relationship improving than "Fast Car" is.
Talkin' Bout a Revolution
I relate to this song greatly, living in America and all in the age of capitalism. But it's nothing new to me. Being a third-culture kid who grew up in South Africa, where there's a lot of poverty, we got it drilled into our heads to take the elective subjects that would allow us to major in subjects that would make a lot of money. And at my specific school, even though it was theoretically possible (we were to choose one subject from each column and Art and Drama were in different columns), we were highly discouraged from taking both artistic subjects. Me being heavily right-brained and achieving this feat without it affecting my grades clearly found a way to revolt against the education system because other like-minded students followed suit afterwards.
In terms of this song though, since it's from the 80s, families depending on welfare, unemployment and donations was more prevalent in less-affluent areas and to some degree influenced by the politics of the time. And we've been standing up for and protesting for equity since the dawn of time. But it would definitely make sense to use it in a musical now because even people with full-time jobs are starting to protest the standard 9-to-5 and selling your time to someone else for an amount of money that they decide you make. This is our version of the revolution. It's so subtle because we still have to contend with the opinions of previous generations in terms of our definition of what constitutes a successful life. It would make a good song in a Newsies-esque musical where there is some protesting about classism involved.
Some Honorable Mentions
Baby Can I Hold You: This song details a relationship that where the balance of caring about the other person's wellbeing and loving them is definitely one-sided. The narrator wants the person to reciprocate their feelings, tell them all the sweet nothings they need to know, and while she's willing to do it for them, it seems they can't or won't. Perfect song for a character with a secret or perhaps unrequited crush. Or a long marriage that has staled.
Crossroads: It's very similar to the songs I described in detail above, where the narrator wants to revolt against established ideals. Only in this case they also want to revolt against these "demons" and "devils" controlling their life, possibly referring to money and having to chase after it (more money, more problems, as the saying goes). It could also refer to consumerism and other toxic ideals the previous generation tries to impart on us regardless of it they work. I envision someone signing their soul to the devil when they sign a contract they didn't read, like an artist selling over the rights to their work for promised fame and success that doesn't always come. Only it sounds like coercion.
For You: The perfect love confession song, full of the butterflies in the stomach, tripping over words, and getting lost in constant thoughts about them. Works for all ages since falling in love is universal and relatable.
Change: Lyrically I'm getting a lot of villain redemption arc vibes from this. Someone's urging the villain to think about if they were forced to face God, believe in the power of love, and think about the effects of their actions, not just on other people but also themselves. They could end up alone or be forced to suffer from their lack of conscience until it forces them to be confronted with their own actions. The villian in the musical doesn't necessarily have to be on the same level as Loki. He could be an ordinary person driven by greed or popularity. It's a little on the nose, but I feel like this song would also apply to most people in positions of power, like politicians, for example.
As you've seen above, Tracy Chapman's songs contain rich storytelling like in "Fast Car" and emotional depth, making them ideal candidates for musical theatre adaptations. The lyrics in her songs reflect hope for shifting societal challenges and expectations, which is what theatre has historically been used as a vehicle to address. As I've mentioned in the article on how the indie music world can be a great resource for musical theatre composers, working with a genre as thought-provoking, instrumentally sparse and lyrically truthful as folk can serve the emotional themes of a musical well. And since folk music speaks the truth of the world where pop music provides an escapism from it (and we need both in the music world), these songs can be used to speak the characters' truths, expressing their innermost thoughts where words alone cannot.
And notably, since Tracy already composed original music for the late Athol Fugard's "Blood Knot," this shows she can integrate music with theatre, further supporting the potential of her songs in musical theatre.
Since this post is getting long, I'll wrap up here urging you to listen to more black folk artists including Tracy wherever you listen to music. And sharing this post, and subscribing at the bottom of this page to get more posts like these in your inbox. Because true change in the arts starts when armed with knowledge.
Stay educated,
Alexia
