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In one of the few five-star reviews we've had so far this year, Sandra McCracken's recently released In Feast or Fallow "presents us with perhaps the most beautiful, poignant collection on this side of the century," as our critic wrote. Five-star albums don't come around every day, so we wanted to ask McCracken to tell us a little more about the project, how it came about, why she loves hymns, what "blended" worship looks like, how motherhood affects her songwriting, and what her husband, fellow folk singer Derek Webb, brings to her own process of making music.

Sandra McCracken

The press notes say you asked, "What are we afraid of?" in 15 different ways on these 15 songs. Please elaborate on that.

Sandra McCracken: After making The Builder and the Architect in 2005, and realizing that there are churches and communities who are singing these songs, I wanted to make these melodies more sing-able, and the content more relevant. I've noticed lately how pervasive the fear-driven "news product" is on our culture, and the church community is not immune. But we have great hope in the promise of the gospel, in the freedom of the Spirit, and in a God who C.S. Lewis tells us is not safe, but good. We have to combat fear with freedom at every turn.

Some of the things I wrote about are personal reflections or stories of the people I love—fear of economic crisis, of losing your job, of having a baby, of not being able to have a baby, of raising a child in 2010, of Obama's political change, fear of not having any political change, fear of doubt, fear of spiders. The list is endless. None of these fears are fictional. And none of these fears are a match for the love of God.

You've used the metaphor of a farmer's crop rotation when describing this album. How does that metaphor relate to your own life, and to the album?

McCracken: On one level, my life rhythms swing between touring, writing, recording, and resting. These pendulum swings often leave me wondering what is normal. I am always straining to find balance of energy—input vs. output. This week I feel spiritually skinny, and yet outwardly I just released an album of content-rich spiritual songs. It's funny how that goes sometimes—your "virtual" life can be exploding with activity while you sit in a quiet house with the kids on an ordinary Tuesday. But I digress …

The methodology of leaving the land fallow intrigues me. It is known by organic farmers as an effective farming practice. Leaving a field to rest for a season actually makes the soil more productive the following year because the nutrients are able to replenish. In human experience, setting aside first-fruits, or lighting a Sabbath candle, or even just taking an afternoon nap demonstrate small effects of this same renewal and restoration. It is a simple, and counter-cultural, idea in our 24/7 world.

On another level, the metaphor of crop rotation also says something of the larger narrative of life seasons for me in terms of being an artist who has made both singer-songwriter albums and (now two albums) that are just hymns. I see this cycle as sort of a fallow for one side of my artistic expression, and a feast for the other. This rotation gives me a chance to explore many different aspects of the same plot of land.

How has motherhood affected your songwriting in recent years?

McCracken: I have to be more efficient when I work these days. I am learning not to place my kids and songwriting against each other in competition. If I do that, the child will always win out and I will resent them for it. Songwriting and other aspects of my work make me a sharper more energized caregiver. And being a mother makes all my senses and creative instincts more keen and focused. Each benefits the other, as long as the balance is right.

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