Molly Thomas Unfolds Life and Music in "Tumble Home"

Fairhope-based singer-songwriter and violinist Molly Thomas just released Tumble Home on September 26, a deeply personal and musically expansive album that reflects both vulnerability and strength. Written and nearly completed before a life-altering car accident that left her unable to perform for five months, the album carries an uncanny sense of foreshadowing—anticipating the resilience and courage that would soon be required in her own life.

Tumble Home is a cinematic, genre-blurring ten-song collection that explores themes of love, self-revelation, and the quiet power of perseverance. Standout tracks include “Even the Strong,” an anthem for inner courage; “Crash,” written in the aftermath of her accident; “Tender Girl,” featuring longtime collaborator Todd Snider; and the haunting “I Am a Wave.”

With over 30 years in the music industry, Molly has shared the stage and studio with Wilco’s Pat Sansone, Will Kimbrough, Guster, Todd Snider, and many others, performing at venues such as The Ryman Auditorium, SXSW, and The Late Show with David Letterman. A classically trained violinist and composer, her talents also extend to film scores and intricate string arrangements.

To celebrate the release, Molly will perform three regional shows, including a landmark performance on October 24 at Cedar Street Social Club in Mobile, AL, where she will present the album with her band, The Rare Birds, accompanied by the Tumbleweed String Quartet.

Read on for our interview with Molly Thomas, where she opens up about the making of Tumble Home, the journey of recovery, and the artistic growth that emerges from life’s most challenging moments.

Tumble Home is described as your most emotionally raw and musically expansive work yet. How did your experience during and after the car accident influence the final version of the album?

Because of the accident, I was forced to slow down in all areas of my life. We (Ken Rose and I... Ken was my co-writer, mixing engineer, co-producer) were in the middle of recording and almost finished with everything when the accident happened, and it became obvious that time didn't matter anymore, as far as a deadline for the album release. With that in mind, and being couch bound, we were able to spend time focusing on songs for more time which allowed us to add to, make corrections and cultivate the sound in a more expansive way and at a slower pace. Not being able to play any instruments or sing for some time afterwards, we focused on writing, which led to the song "Crash" and finish "Tender Girl." When I was able to start playing again, we got back to work.

A planned out one month project of writing and recording an album turned into 2 1/2 years until its release. Some things take time! Because of the accident, I allowed myself to not get caught up in deadlines. It offered some freedom in some aspects.

Several songs, like "Crash" and "Even the Strong," carry themes of courage. Can you talk about how these themes shaped both the writing process and your personal journey?

Both "Crash" and "Even the Strong" carry threads of perseverance, though they were born from very different moments in my life.

"Crash" was written in the aftermath of my car accident. It became a cathartic outlet, a way to process the avalanche of events that followed. Within a couple of months of the accident, I also had to undergo emergency gallbladder surgery, and it felt like my body and spirit had simply crashed in multiple ways. Writing that song allowed me to give shape to the trauma, to put into words what my body had endured, and in doing so, begin to release it.

In the midst of that time, my drummer, John Milham, set up a GoFundMe to help with my recovery, and the community rallied around me in ways I’ll never forget. People near and far, friends, family, and even complete strangers came together to lift me up. Their kindness reminded me of the strength found in connection and how we’re never really alone, even when we feel like we’ve hit bottom.

"Even the Strong," on the other hand, had been started years earlier, during a time when my first marriage was falling apart. I was emotionally low but wearing a mask of strength so the people around me wouldn’t see how much I was struggling. The lyric ‘even the strong need somebody sometimes, holding the truth behind the disguise’ came from that experience of appearing resilient while quietly breaking inside. Strangely, those words turned out to be almost prophetic. After the accident, their meaning deepened, reminding me that real strength often comes through vulnerability and allowing others to help carry you through.

Sonically, both songs reflect those journeys. The strings in "Crash" and "Even the Strong" carry weight and emotion. They create a landscape of perseverance, of healing and the act of moving forward.

You’ve collaborated with artists like Todd Snider and Pat Sansone over your career. How did these collaborations shape the sound of Tumble Home, and what was it like working with Todd on "Tender Girl"?

I worked with Pat Sansone early in my career. We actually went to college together and were both deeply immersed in the music scene in Hattiesburg, Mississippi. One of my very first experiences in a recording studio was with him, working on his album Birdy on the Moon. Pat was incredibly thoughtful and intentional in every aspect of the process, from the parts he added to the overall sound he envisioned. When I came in to record, he knew exactly what he wanted, yet he communicated it with such a calm confidence and gentleness that it made the experience not only inspiring but deeply memorable. I learned so much from him, about thinking creatively and outside the box. Those early lessons in musical detail and emotional depth have stayed with me.

I started working with Todd Snider around 2004 or 2005, when I became part of his band. We toured all over the U.S., and he was always wonderful to work with, kind & generous. I played with him regularly until 2012 and then off and on in the years since. In 2019, he invited me to open a series of shows for him, which was such a meaningful experience. We’ve remained close friends and still stay in touch regularly.

When I finished writing "Tender Girl," I knew immediately that I wanted Todd’s voice on it. I had witnessed his softer, more vulnerable singing on several of his own songs, and I could hear in my head how his tone and phrasing would bring a warmth and intimacy to this one. His sensitivity added exactly what the song needed, a vulnerable voice that helped carry the lyric in a heartfelt way. I was thrilled when he agreed to do it. I sent him the track, and he recorded his part and sent it back, and it was just perfect, exactly how I’d imagined it.

As a classically trained violinist, composer, and arranger, you bring a unique musical perspective to your recordings. How did your classical background influence the cinematic and genre-blurring sound of this album?

I’ve always paid close attention to the string parts in songs and records. For a long time, I've been drawn to the way arrangements and orchestrations can elevate modern music, and as a string player, it’s always felt natural for me to add those textures and colors to my own songs.

I also love film. I’m constantly tuned in to how music in cinema shapes emotion and atmosphere. That influence has definitely seeped into my writing and arranging. Having played violin since I was six years old, it’s become an extension of who I am, almost like another limb.

When it came to Tumble Home, the songs seemed to tell me what they needed. I just followed my instincts and inner direction, with Ken’s guidance helping to bring those cinematic layers to life.

The upcoming shows feature the Tumbleweed String Quartet performing parts you originally recorded yourself. What does it mean to you to hear your compositions performed live in this way?

It’s absolutely a dream come true. I’ve always envisioned performing with live strings playing the parts I created, but learning how to make that vision a reality has been a huge learning experience. In my wildest dreams, I’d love to one day perform them with a full orchestra — just putting that out there! wink

It had been a long time since I’d actually written out string parts on paper. I typically play by ear and don’t think much about notation. But once I decided I wanted to bring this album to life on stage, it became clear that the arrangements needed to be transcribed exactly as I’d recorded them. With the incredible help of Annie Young-Bridges and George Serban, we were able to make it happen. It was a long and meticulous process, but absolutely worth it.

I definitely learned my lesson for next time... to notate as I record instead of waiting two years later! laughing

We rehearsed the songs in full with the string quartet this past weekend and the players nailed the parts. It was totally uplifting and emotional for me.

After more than three decades in the music industry, what new lessons or insights did creating Tumble Home teach you about music, storytelling, and your artistic journey?

Writing with Ken and having a clear goal in mind taught me a lot about patience, about staying with a song until you feel it in your bones that it’s finished. I think I’ve grown a lot as a writer through this process and feel more confident about my craft than ever. I’m always searching for new ways to express myself creatively and to avoid repeating what I’ve already done. Every experience, past and present, has led me to where I am now, and to wherever I’m headed next.

I’ve learned to trust my instincts and follow the direction that feels right. Age has a way of teaching you that kind of wisdom. Creating is such a core part of who I am that I honestly can’t imagine doing anything else. The music business is not easy, but the fact that I’m still here after all these years says a lot about perseverance, and about how deeply I care and love what I do.

Show Details:

Friday, October 24 at 7 PM – Cedar Street Social Club, Mobile, AL
For more information head to: https://mollythomas.com/