December 6, 2025 • 15 mins
American folk rock artist Suzanne Vega launched onto the global music scene back in 1987.
Almost 40 years on, Suzanne is still making music. Her latest album ‘Flying with Angels’ receiving rave reviews - Rolling Stone referring to it as the best album of 2025 so far.
With the album out, she's hitting the road and heading back to New Zealand in September next year – touring Auckland, Wellington and Christchurch.
Suzanne Vega joined Francesca Rudkin ahead of her return to our shores.
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Episode Transcript
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Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudkin
from News Talks.
Speaker 2 (00:11):
Edb Helluca was a huge hit for American folk rock
rock artist Suzanne Vega, launching her onto the global music
scene back in nineteen eighty seven. Almost forty years on,
Susanna is still making music. Her latest album, Flying with Angels,
received rave reviews, with Rolling Stone referring to it as
the best album of twenty twenty five so far. With
(00:32):
the album out, Suzanna is hitting the road. She is
heading back here next year during Auckland, Wellington and Christchurch.
Suzann Vega, good morning, Thank you so much for your time.
Speaker 3 (00:42):
Oh You're welcome.
Speaker 2 (00:43):
You released Flying with Angels earlier this year. Rolling Stone
said it was one of the best albums of the
year so far. It's had rave reviews. How satisfying is
it to get that response after being in the business
for so long.
Speaker 3 (00:58):
It's very satisfying. I was very happy, especially because this
album took about ten years to to get it together
and to come out with the new songs. So I'm
really thrilled that it's been so nicely received.
Speaker 2 (01:17):
As you mentioned, it's been a while. I mean it
is the tenth album. The last one I think was
around twenty sixteen. That process. Then, in creating music, are
you always writing and creating or do you take breaks
from it things?
Speaker 3 (01:35):
Well, my career has spanned a lot of different types
of disciplines. I've done other things that what I've been
doing in the last ten years, for example, was I
had a one woman show that ran off Broadway and
then also had an opening down in Texas. So it
wasn't as though I got a break from writing songs.
(01:59):
I kind of did, but I was also doing this
theater piece, so that took up time. The theater takes
a lot of time, and it's a little more communal
than just sitting up there with your guitar and playing
by yourself. So yeah, it took a while to get
that done finished. And then just as I turned around
(02:20):
to start writing songs again, we had the pandemic. So
that's also what took a lot of time to get
through that and feel confident about writing again.
Speaker 2 (02:31):
When you talk about theater and of being more communal,
is is that an enjoyable I know that you collaborated
with a lot of people throughout your career, but is
that a nice change to be in that kind of
environment as opposed to a solo artist.
Speaker 3 (02:43):
Yes, for the most part, you know, there is something
to be said for sitting alone in a room with
a guitar and just relying on your own confident instincts.
So it took a little adjustment to working in the theater,
where you have a director, you have a lighting designer,
you have you know, the people with the theater who
(03:04):
want to make sure that you're doing the right thing.
So that's you know, But I can do both, and
I'm happy in either situation.
Speaker 2 (03:13):
The first track on the album is Speaker's Corner, and
you describe sort of a permanent state of emergency. The
lyrics are all those full of wind and air who
howl in rant and raves, screaming out distorted facts about
the souls they save. I mean, it feels very much
like a song that relates to the world at the moment.
Speaker 3 (03:35):
Yes, and it's one that I wrote about two years ago,
thinking that by the time this album came out that
the song might be considered old fashioned or not really
relevant anymore. But instead we've gone the other way, so
now it seems to be more relevant week by week,
especially over here. I mean, I would be reletive. It
(03:55):
would be relevant in almost any century, really, because you
always have those kinds of people who are trying to
stir up the trouble. But it's particularly relevant right now.
Speaker 2 (04:09):
Chamber Maid came from a dream you had about Bob Dylan,
and I love the song, and I'm wondering, is what
is it about an experience or something go through that
then makes you want to turn that into a song.
Speaker 3 (04:25):
Well, I woke up with not only the thought in
my mind that I was Bob Dylan's chambermaid and I
was going to tell her story somehow. I mean that
in itself is sort of remarkable. I don't wake up
every day like that. You know.
Speaker 2 (04:40):
I have a lot of dreams that we wouldn't turn
into songs.
Speaker 3 (04:43):
Yeah, exactly. Most of my dreams are a lot more
prosaic than that. But I also had the melody and
the music going through my head. So this seemed like
just a great big push, like get myself to this.
In fact, this very desk where I'm sitting now is
where I sat with my guitar and pulled out my
book of Bob Dylan chords. I wrote the whole thing
(05:07):
in about an hour and fifteen minutes.
Speaker 2 (05:10):
Does that happen often, Susanne, that you'll wake up with
such clarity around a song.
Speaker 3 (05:16):
It happened twice on this collection of songs. It happened
with the Chambermaid Song, and it also happened with Flying
with Angels. It was almost as though I got a
directive saying write a song called Flying with Angels, and
I woke up going, no, I won't, I don't want to.
(05:36):
To me, it sounded too country, sounded like a country song.
So then I the little voice in my mind giving
me the direction, said, if you were going to write
a song called Flying with Angels the way Suzanne Vega
does it, you know, try that. So I thought, okay,
I won't just dismiss it out of hand, because you know,
(05:58):
I thought it was a little corny. But when I
actually wrote the song, I thought, okay, this is something
that really speaks to the moment I'm living in, and
it ended up being the title track.
Speaker 2 (06:09):
Isn't that the joy though, of writing a song that
you don't necessarily know where it might in That it's
that whole creative process. It's a journey, right and not
quite knowing where it might land.
Speaker 3 (06:22):
That is very astute of you to say that, because
not all people understand that. I think some people think
you get the message first and then you write a
song that has that particular message, which would really be
very boring, you know, to have a message and then
write the song that says that same message. I really
love a song that has surprises or weird twists. That's
(06:45):
why I love Bob Dellen because his songs are so
startling and so unpredictable that and yet familiar somehow, you know.
So I am a big fan of having a surprise
ending or the twist of phrase that takes you somewhere.
Speaker 2 (07:06):
You're regarded as a poet as much as a storyteller
and a songwriter. Where did that storytelling, that that poet
inside you come from?
Speaker 3 (07:20):
My guess is that it always was there. I think
it's something that you're born with. It's a way of
seeing things. I think I've always seen things in metaphor
another name for that is seeing things in pictures. And
I did definitely had that sort of that's the way
I think and feel. But the other thing that really
(07:42):
helped me was having brothers and sisters, because I was
the oldest of four, and one of my earliest tasks
that I was given was to take these kids and
do something with them. So I practiced keeping them amused,
and that meant singing to them, or telling stories or
(08:02):
making jokes or doing anything that would keep them engaged
and amused. And I can tell you that were not
always an easy audience, because if they found me too boring,
they would fight with each other or just leave the room.
Speaker 2 (08:14):
I love it, So they were your first audience. It's
always good to have a tough audience first up, isn't
it Stance sort of levels of expectation.
Speaker 3 (08:22):
Exactly right, And I think it gave me good instincts
actually as to how to keep an audience amused and
what to do and how to approach, how to approach
them because we're all sort of little kids in our hearts.
Speaker 2 (08:34):
We can definitely find storytelling in poetry and pockets of
music these days, but just in general, do you think
it's something that we're losing in music?
Speaker 3 (08:44):
Uh? No, I think that there's I think there's always
been a strand of music that's like pop music, popular music,
and then there's always the poetic storytelling vein of music.
You know, maybe the stuff that was thought of as
(09:07):
pop music one hundred years ago, maybe now we would
look on it and see it for for all the
crafting that went into it. You know, there was a
time when ten panale music was considered just like hokey
stuff done by hacks, you know, but that's not true.
I mean, actually the people who did ten penale music's
(09:29):
were great craftsmen, and they it was popular, but that
didn't mean that it was bad. So I don't know
how to answer that. You know, it depends on depends
on what you listen to, what you like. But one
thing I can say for sure, and that is that
(09:49):
music created by AI is really bad. I just want
to put that out there.
Speaker 2 (09:55):
It's okay. I think if you listen to it, you know,
you would eat one hundred percent agree with you. My
geest is Susanne Vegas Susan tom Steinah is a song
that is still going strong with many remixes and samples
I found in I'm old fashioned. I keep all my
CDs in vinyl, and I actually found my copy of
(10:16):
the Tom's Diner remixes and by done by so many
different people and things. How do you feel about that?
Do you enjoy seeing what people do with your music.
Has the longevity of a song like that surprised you.
Speaker 3 (10:29):
Yeah, very much. It's been amazing. Even from the first remix,
which was of course done by DNA. They provided my
little song with a bed of rhythm, and then that
a chorus that I never would have thought of. You know,
to me, a chorus was something you work on and
(10:51):
you know, has lyrics other than da da da da.
But you know that's okay. They saw it differently and
there it was fantastically successful, So I thank them for that.
And it's it's because it's so simple, it's become completely contagious,
so people can take it and make it their own thing.
(11:14):
And I love it. I think it's really cool that
I am now part of the world in that way.
Speaker 2 (11:19):
Because when I went to look for the CDs, I
found them in my sixteen year old daughter's room and
I imagined I was talking to you and she was like, ah,
love Susan Ba again. She goes, oh, here are the CDs,
and I'm like, okay, thanks. And I wonder whether when
you entered the industry whether you expected that an almost
forty years time, a sixteen year old girl in New
Zealand would know all the lyrics and know your songs.
Speaker 3 (11:42):
Let's just say that the people I loved at sixteen
were those kinds of people. I mean, I love Leonard Cohen,
who was considering an old old man back and when
I was a teenager, and so he wasn't popular, but
there were certain people who knew who he was, and
so I wanted to be one of those people, one
of those people that people would seek out. It's not
(12:07):
really a generational thing. It's more like there's a certain
stripe of person through the generations that will seek out
my music because it's interesting to them.
Speaker 2 (12:16):
That is well put, that is very well put. I
also want to talk to you about Luca. You wrote
that story from the viewpoint of a boy. In recent
years you have admitted it was based on you as
a child, who after so long, have you finally admitted that.
Speaker 1 (12:34):
Well.
Speaker 3 (12:34):
I had a very enterprising young man who wanted to
do a podcast and he approached me. And the interesting
thing about him is he was not a journalist. He
was a historian and he was doing a podcast for
the Museum of the City of New York. And he
approached me and he said I want to do this
(12:55):
interview with you, but I want you to know that
I know that you are Luca. And I know this
because I saw your stepfather's memorial online. So I thought,
oh my gosh, this guy's really done his homework. And
I just made the decision right there that this would
be a good moment to come forward with the truth.
(13:16):
I felt over the years that continuing to pretend that
there was this boy, I mean, there was a boy,
his name was Luca. He did live upstairs for me.
He was not abused. So that's the story I always told,
leaving out my part in it, you know. So I
thought it started to feel like a lie. It started
(13:37):
to feel like over the years, times have changed and
people talk more about all kinds of abuse. It's more humanizing,
and I felt that it was the honest thing to do.
Speaker 2 (13:51):
So, Sam, we're very excited you're returning to New Zealand.
You're back here near September. You were last here in
twenty eighteen, of course before the pandemic, but before that
it was about the twenty five year gap, So we
are delighted your coming back. Do you enjoy it touring
in New Zealand?
Speaker 3 (14:08):
I love New Zealand. I'm familiar with it because well
Neil Finn works a lot with my ex husband and
Mitchell from who is the father of my child. So
I have a special feeling in my heart for New
Zealand not only because of that, but because it's a
beautiful place and I love the spirit there and the
(14:32):
natural world and you know, it's it's a place I
like to go to.
Speaker 2 (14:38):
And Susan, when you tour, do you focus on the
latest album or do you, you know, play music from
throughout your entire career.
Speaker 3 (14:48):
I play music from my entire career. You know. We
mix a lot of the older stuff. We try and
mix in the new ones that make sense, the ones
that people will get and understand, the ones that people
are excited by, and there's been quite a few of
them from this new album. So we've been thrilled with
the response so far to the tour.
Speaker 2 (15:10):
Suzan Vega, thank you so much for your time today.
It's been a delight to talk to you and meet you.
Speaker 3 (15:13):
Thank you so much, Thank you, thank you for having me.
Speaker 2 (15:17):
Suzan Vega is heading to Wellington, Christchurch and Auckland next September.
Tickets are on sale.
Speaker 1 (15:22):
Now for more from the Sunday Session with Francesca Rudkin.
Listen live to News Talks A B from nine am Sunday,
or follow the podcast on iHeartRadio
You're listening to the Sunday Session podcast with Francesca Rudkin
from News Talks.
Speaker 2 (00:11):
Edb Helluca was a huge hit for American folk rock
rock artist Suzanne Vega, launching her onto the global music
scene back in nineteen eighty seven. Almost forty years on,
Susanna is still making music. Her latest album, Flying with Angels,
received rave reviews, with Rolling Stone referring to it as
the best album of twenty twenty five so far. With
(00:32):
the album out, Suzanna is hitting the road. She is
heading back here next year during Auckland, Wellington and Christchurch.
Suzann Vega, good morning, Thank you so much for your time.
Speaker 3 (00:42):
Oh You're welcome.
Speaker 2 (00:43):
You released Flying with Angels earlier this year. Rolling Stone
said it was one of the best albums of the
year so far. It's had rave reviews. How satisfying is
it to get that response after being in the business
for so long.
Speaker 3 (00:58):
It's very satisfying. I was very happy, especially because this
album took about ten years to to get it together
and to come out with the new songs. So I'm
really thrilled that it's been so nicely received.
Speaker 2 (01:17):
As you mentioned, it's been a while. I mean it
is the tenth album. The last one I think was
around twenty sixteen. That process. Then, in creating music, are
you always writing and creating or do you take breaks
from it things?
Speaker 3 (01:35):
Well, my career has spanned a lot of different types
of disciplines. I've done other things that what I've been
doing in the last ten years, for example, was I
had a one woman show that ran off Broadway and
then also had an opening down in Texas. So it
wasn't as though I got a break from writing songs.
(01:59):
I kind of did, but I was also doing this
theater piece, so that took up time. The theater takes
a lot of time, and it's a little more communal
than just sitting up there with your guitar and playing
by yourself. So yeah, it took a while to get
that done finished. And then just as I turned around
(02:20):
to start writing songs again, we had the pandemic. So
that's also what took a lot of time to get
through that and feel confident about writing again.
Speaker 2 (02:31):
When you talk about theater and of being more communal,
is is that an enjoyable I know that you collaborated
with a lot of people throughout your career, but is
that a nice change to be in that kind of
environment as opposed to a solo artist.
Speaker 3 (02:43):
Yes, for the most part, you know, there is something
to be said for sitting alone in a room with
a guitar and just relying on your own confident instincts.
So it took a little adjustment to working in the theater,
where you have a director, you have a lighting designer,
you have you know, the people with the theater who
(03:04):
want to make sure that you're doing the right thing.
So that's you know, But I can do both, and
I'm happy in either situation.
Speaker 2 (03:13):
The first track on the album is Speaker's Corner, and
you describe sort of a permanent state of emergency. The
lyrics are all those full of wind and air who
howl in rant and raves, screaming out distorted facts about
the souls they save. I mean, it feels very much
like a song that relates to the world at the moment.
Speaker 3 (03:35):
Yes, and it's one that I wrote about two years ago,
thinking that by the time this album came out that
the song might be considered old fashioned or not really
relevant anymore. But instead we've gone the other way, so
now it seems to be more relevant week by week,
especially over here. I mean, I would be reletive. It
(03:55):
would be relevant in almost any century, really, because you
always have those kinds of people who are trying to
stir up the trouble. But it's particularly relevant right now.
Speaker 2 (04:09):
Chamber Maid came from a dream you had about Bob Dylan,
and I love the song, and I'm wondering, is what
is it about an experience or something go through that
then makes you want to turn that into a song.
Speaker 3 (04:25):
Well, I woke up with not only the thought in
my mind that I was Bob Dylan's chambermaid and I
was going to tell her story somehow. I mean that
in itself is sort of remarkable. I don't wake up
every day like that. You know.
Speaker 2 (04:40):
I have a lot of dreams that we wouldn't turn
into songs.
Speaker 3 (04:43):
Yeah, exactly. Most of my dreams are a lot more
prosaic than that. But I also had the melody and
the music going through my head. So this seemed like
just a great big push, like get myself to this.
In fact, this very desk where I'm sitting now is
where I sat with my guitar and pulled out my
book of Bob Dylan chords. I wrote the whole thing
(05:07):
in about an hour and fifteen minutes.
Speaker 2 (05:10):
Does that happen often, Susanne, that you'll wake up with
such clarity around a song.
Speaker 3 (05:16):
It happened twice on this collection of songs. It happened
with the Chambermaid Song, and it also happened with Flying
with Angels. It was almost as though I got a
directive saying write a song called Flying with Angels, and
I woke up going, no, I won't, I don't want to.
(05:36):
To me, it sounded too country, sounded like a country song.
So then I the little voice in my mind giving
me the direction, said, if you were going to write
a song called Flying with Angels the way Suzanne Vega
does it, you know, try that. So I thought, okay,
I won't just dismiss it out of hand, because you know,
(05:58):
I thought it was a little corny. But when I
actually wrote the song, I thought, okay, this is something
that really speaks to the moment I'm living in, and
it ended up being the title track.
Speaker 2 (06:09):
Isn't that the joy though, of writing a song that
you don't necessarily know where it might in That it's
that whole creative process. It's a journey, right and not
quite knowing where it might land.
Speaker 3 (06:22):
That is very astute of you to say that, because
not all people understand that. I think some people think
you get the message first and then you write a
song that has that particular message, which would really be
very boring, you know, to have a message and then
write the song that says that same message. I really
love a song that has surprises or weird twists. That's
(06:45):
why I love Bob Dellen because his songs are so
startling and so unpredictable that and yet familiar somehow, you know.
So I am a big fan of having a surprise
ending or the twist of phrase that takes you somewhere.
Speaker 2 (07:06):
You're regarded as a poet as much as a storyteller
and a songwriter. Where did that storytelling, that that poet
inside you come from?
Speaker 3 (07:20):
My guess is that it always was there. I think
it's something that you're born with. It's a way of
seeing things. I think I've always seen things in metaphor
another name for that is seeing things in pictures. And
I did definitely had that sort of that's the way
I think and feel. But the other thing that really
(07:42):
helped me was having brothers and sisters, because I was
the oldest of four, and one of my earliest tasks
that I was given was to take these kids and
do something with them. So I practiced keeping them amused,
and that meant singing to them, or telling stories or
(08:02):
making jokes or doing anything that would keep them engaged
and amused. And I can tell you that were not
always an easy audience, because if they found me too boring,
they would fight with each other or just leave the room.
Speaker 2 (08:14):
I love it, So they were your first audience. It's
always good to have a tough audience first up, isn't
it Stance sort of levels of expectation.
Speaker 3 (08:22):
Exactly right, And I think it gave me good instincts
actually as to how to keep an audience amused and
what to do and how to approach, how to approach
them because we're all sort of little kids in our hearts.
Speaker 2 (08:34):
We can definitely find storytelling in poetry and pockets of
music these days, but just in general, do you think
it's something that we're losing in music?
Speaker 3 (08:44):
Uh? No, I think that there's I think there's always
been a strand of music that's like pop music, popular music,
and then there's always the poetic storytelling vein of music.
You know, maybe the stuff that was thought of as
(09:07):
pop music one hundred years ago, maybe now we would
look on it and see it for for all the
crafting that went into it. You know, there was a
time when ten panale music was considered just like hokey
stuff done by hacks, you know, but that's not true.
I mean, actually the people who did ten penale music's
(09:29):
were great craftsmen, and they it was popular, but that
didn't mean that it was bad. So I don't know
how to answer that. You know, it depends on depends
on what you listen to, what you like. But one
thing I can say for sure, and that is that
(09:49):
music created by AI is really bad. I just want
to put that out there.
Speaker 2 (09:55):
It's okay. I think if you listen to it, you know,
you would eat one hundred percent agree with you. My
geest is Susanne Vegas Susan tom Steinah is a song
that is still going strong with many remixes and samples
I found in I'm old fashioned. I keep all my
CDs in vinyl, and I actually found my copy of
(10:16):
the Tom's Diner remixes and by done by so many
different people and things. How do you feel about that?
Do you enjoy seeing what people do with your music.
Has the longevity of a song like that surprised you.
Speaker 3 (10:29):
Yeah, very much. It's been amazing. Even from the first remix,
which was of course done by DNA. They provided my
little song with a bed of rhythm, and then that
a chorus that I never would have thought of. You know,
to me, a chorus was something you work on and
(10:51):
you know, has lyrics other than da da da da.
But you know that's okay. They saw it differently and
there it was fantastically successful, So I thank them for that.
And it's it's because it's so simple, it's become completely contagious,
so people can take it and make it their own thing.
(11:14):
And I love it. I think it's really cool that
I am now part of the world in that way.
Speaker 2 (11:19):
Because when I went to look for the CDs, I
found them in my sixteen year old daughter's room and
I imagined I was talking to you and she was like, ah,
love Susan Ba again. She goes, oh, here are the CDs,
and I'm like, okay, thanks. And I wonder whether when
you entered the industry whether you expected that an almost
forty years time, a sixteen year old girl in New
Zealand would know all the lyrics and know your songs.
Speaker 3 (11:42):
Let's just say that the people I loved at sixteen
were those kinds of people. I mean, I love Leonard Cohen,
who was considering an old old man back and when
I was a teenager, and so he wasn't popular, but
there were certain people who knew who he was, and
so I wanted to be one of those people, one
of those people that people would seek out. It's not
(12:07):
really a generational thing. It's more like there's a certain
stripe of person through the generations that will seek out
my music because it's interesting to them.
Speaker 2 (12:16):
That is well put, that is very well put. I
also want to talk to you about Luca. You wrote
that story from the viewpoint of a boy. In recent
years you have admitted it was based on you as
a child, who after so long, have you finally admitted that.
Speaker 1 (12:34):
Well.
Speaker 3 (12:34):
I had a very enterprising young man who wanted to
do a podcast and he approached me. And the interesting
thing about him is he was not a journalist. He
was a historian and he was doing a podcast for
the Museum of the City of New York. And he
approached me and he said I want to do this
(12:55):
interview with you, but I want you to know that
I know that you are Luca. And I know this
because I saw your stepfather's memorial online. So I thought,
oh my gosh, this guy's really done his homework. And
I just made the decision right there that this would
be a good moment to come forward with the truth.
(13:16):
I felt over the years that continuing to pretend that
there was this boy, I mean, there was a boy,
his name was Luca. He did live upstairs for me.
He was not abused. So that's the story I always told,
leaving out my part in it, you know. So I
thought it started to feel like a lie. It started
(13:37):
to feel like over the years, times have changed and
people talk more about all kinds of abuse. It's more humanizing,
and I felt that it was the honest thing to do.
Speaker 2 (13:51):
So, Sam, we're very excited you're returning to New Zealand.
You're back here near September. You were last here in
twenty eighteen, of course before the pandemic, but before that
it was about the twenty five year gap, So we
are delighted your coming back. Do you enjoy it touring
in New Zealand?
Speaker 3 (14:08):
I love New Zealand. I'm familiar with it because well
Neil Finn works a lot with my ex husband and
Mitchell from who is the father of my child. So
I have a special feeling in my heart for New
Zealand not only because of that, but because it's a
beautiful place and I love the spirit there and the
(14:32):
natural world and you know, it's it's a place I
like to go to.
Speaker 2 (14:38):
And Susan, when you tour, do you focus on the
latest album or do you, you know, play music from
throughout your entire career.
Speaker 3 (14:48):
I play music from my entire career. You know. We
mix a lot of the older stuff. We try and
mix in the new ones that make sense, the ones
that people will get and understand, the ones that people
are excited by, and there's been quite a few of
them from this new album. So we've been thrilled with
the response so far to the tour.
Speaker 2 (15:10):
Suzan Vega, thank you so much for your time today.
It's been a delight to talk to you and meet you.
Speaker 3 (15:13):
Thank you so much, Thank you, thank you for having me.
Speaker 2 (15:17):
Suzan Vega is heading to Wellington, Christchurch and Auckland next September.
Tickets are on sale.
Speaker 1 (15:22):
Now for more from the Sunday Session with Francesca Rudkin.
Listen live to News Talks A B from nine am Sunday,
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