Songwriters have long been concocting character sketches. The best writers can provide all the details and character traits to make the person they’re describing sound three-dimensional and compelling. And they can do it within a few verses and refrains.
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Craig Finn upped the ante on the common character-sketch song with the 2015 track “Sarah, Calling From A Hotel”. He made the fictional Sarah come to life before our ears. And he also spun a suspense tale that will keep you on the edge of your seat.
Solo Success
Craig Finn had already released one solo album when he delivered Faith In The Future in 2015. But this was the record when he developed an identity as an artist somewhat different from the one he cultivated as the longtime leader of indie darlings The Hold Steady.
Instead of trying to bring the bombastic sound of THS to his solo work, Finn concentrated on a more subdued approach. On Faith In the Future, he found a sympathetic collaborator in Josh Kaufman. Kaufman helped put the narratives at the heart of each song. The music accentuates the action but never overwhelms it.
The album features several songs with girls’ names in the title. In these songs, the narrator is mostly window dressing. Instead, the focus is on finding out everything that’s going on in the world of these women. Finn is especially sharp in finding the little moments that reveal their inner workings.
In “Sarah, Calling From A Hotel”, Finn’s narrator reveals how the title character slipped through the romantic grasp of the narrator. But he also hints at how her life has taken a dark turn. She has reached the point where we’re unsure of her safety after a cliffhanger of an ending.
Examining the Lyrics of “Sarah, Calling From A Hotel”
The impetus for the song is a sudden phone call out of nowhere from Sarah to the narrator. She begins by talking about the wonders of her new abode, a hotel “that was built into a mountain/There were diamonds in the fountain.” “And she said that she was happy,” Finn says, a line that seems to contradict what we find out about her.
On the one hand, she’s with a guy who’s in a much better financial position than the narrator. “She said she’s sorry she was ruthless at the ending,” Finn sings. “But her new friend does much better/Than just get by.” But her last words on the phone throw up red flags to the narrator, as she hints that her new guy might get violent if he finds out about the call.
Finn mentions contradicting reports of her well-being and wealth, relying on second-hand information. “Sarah says he’s got some money,” he says. “But Jenny says it’s spent.” The protagonist takes refuge in rationalization: “She says she knows that he’s not perfect/But when you add it all up, then it’s worth it.”
The narrator dissects her behavior as Finn speeds up his cadence to play into the suspense of the situation. “She was sorry at the ending,” he sings. “She was lazy with her lies / But she was sick of scounging ‘round / Just barely getting by.” He recounts her last words once more, adding the detail that this unsavory character has a gun when he interrupts the call.
The song speaks of priorities and compromises, making it a personal story that’s relevant for anyone faced with difficult choices. We don’t know how the story of “Sarah, Calling From A Hotel” ends. But Craig Finn’s astute characterization suggests that Sarah’s tendencies could put her in similar binds down the road if she makes it out of this one.
Photo by Al Pereira/Getty Images
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