Matt Tarka
With Letter to the Editor, Matt Tarka channels political frustration into thoughtful folk-rock, blending social commentary, literary references, personal conviction, and melody while reflecting on democracy, media, and responsibility.
1. Letter to the Editor takes on institutional power and questions the role of the media in defending democracy. What inspired you to write this song, and why did you feel this was the right moment to address these themes so directly?
This one was borne out of immediate anger at The Washington Post, and the decision made by its owner (Jeff Bezos) to not endorse either major political candidate in the weeks leading up to the 2024 U.S. Presidential Election. This was common practice at the paper since 1976 to share a formal endorsement and rationale for backing a candidate. For an institution that has prided itself for decades on journalistic integrity and educating its readership on the directions in which current and aspiring political leadership want to take the United States, it was disheartening to learn that their top brass pulled a piece outlining their position and endorsement. In my view, it was a betrayal of my country’s First Amendment rights, which includes the right to a free press, and the paper’s own adopted slogan “Democracy Dies in Darkness” in February 2017, following the November 2016 U.S. Presidential Election.
As for the actual composition of the song, my coping mechanism as it were was writing short “letters to the editor” and expressing my anger and frustrations with the decision makers at the newspaper. These lyrics came pretty quickly, probably a day or two after the news hit about this decision. Weaving snippets of the 1911 version of Katherine Lee Bates and Samuel A. Ward’s song “America, the Beautiful” into “Letter to the Editor” was a conscious choice. We have another consequential midterm election here this November 2026, and I wanted to release “Letter to the Editor” a few weeks ahead of time for folks from all walks of life and political persuasions to listen and reflect on our collective and self-inflicted damage over the past several years.
2. Throughout your career you’ve balanced memorable folk-rock melodies with socially conscious lyrics. How do you approach writing songs that encourage reflection while still connecting with listeners on an emotional level?
Thank you. This is a difficult question for me. I’ve never been a songwriter who makes deliberate attempts to write socially conscious lyrics, but that’s been driving a good chunk of my creativity on a consistent basis for the past couple of years. For people who can do that, my hats off to you! I never know what’s coming next, but I do enjoy it when I land in a spot where people can draw on their own experiences and color in the lines. Most people are looking for music that’s coming from a sincere place. If I can do that with a melody or words that convey a universal emotion, I’ve done a good job.
3. You recorded the single with longtime collaborator Jarrett Nicolay at Mixtape Studios, and the unexpected discovery of an old school bell became part of the song’s introduction. How did that moment shape the atmosphere of the track, and what was the overall recording experience like?
Kind of by accident, really. Jarrett pointed out this large school bell that was sitting outside on the patio of his studio. It was given to him by some friends. A fortuitous thing happened – he learned that the bell was in the same key as this song we were hashing out in his studio. If your readers visit my or Jarrett’s Instagram feed (@mixtapestudios_llc ), there is some video footage of us recording the bell, which as you mentioned, introduces the song. It has an ominous type of feeling, a seriousness, which I think complements the song well.
4. The lyrics reference both Edward Bulwer-Lytton and Euripides, blending literary influences with modern political commentary. What drew you to those references, and how important is storytelling and symbolism in your songwriting?
Again, this was sort of another happy accident. There’s a repeated and accusatory line towards the end of the song “How could you let the ink run dry upon the sword?” This was my attempt at a turn of phrase on the well-known quote “the pen is mightier than the sword,” which can be found in Edward Bulwer-Lytton’s play Cardinal Richelieu. And with regard to Euripides, the Greek tragedian writer from 400 BC, he had articulated something similar – believe it was how “the tongue is mightier than the blade.” For some reason, I always thought that “the pen is mightier than the sword” was a quote from Silence Dogood (an alias used by Benjamin Franklin) to get published in his older brother’s newspaper, The New-England Courant, when he was a teenager in the colonies during the 1720’s. Franklin was writing about everyday life, school, fashion, women’s rights, and free speech. But after learning this quote is not from Benjamin Franklin, I’m interested in learning more about Bulwer-Lytton and Euripides!
As for the storytelling and symbolism aspects of my own songwriting, it tends to happen subconsciously. I’m much more of a non-linear writer. More “Up the Junction” than “Cat’s in the Cradle.”
5. Producer Jarrett Nicolay compared Letter to the Editor to R.E.M.’s Life’s Rich Pageant, a significant compliment given the album’s legacy. How did you react to that comparison, and which artists have had the greatest influence on your own musical identity?
First off, absolutely about Life’s Rich Pageant! A stupendous album from cover to cover. Jarrett and I have a shared affection for R.E.M.’s music, and that era in particular. Coming from someone who I admire both as a person and musician to share that “Letter to the Editor” could easily fit on to “Life’s Rich Pageant” is high praise. Left me pretty dumbstruck, if I’m being honest. Which I am! (laughs)
R.E.M. has left a lasting impression on me lyrically and musically. So have Buffalo Tom, Bob Dylan, Carole King, and Jets to Brazil.
6. With the single arriving ahead of your October performance at The Nest in Lancaster, what do you hope audiences take away from Letter to the Editor, and what can fans expect from the next chapter of your musical journey?
FYI – Please Note: The Nest is going through a transition right now where shows after August are being rehoused to another venue – to be determined at this point. Would it be okay to leave off the first half of your question? I’m hoping this gets resolved and will have a show built around the release, but no guarantees at this time. I can keep you posted leading up to October.
As for what’s next on my musical journey, I have a few dozen unreleased songs at the moment that will hopefully see the light of day over time. But in the immediate future, I’ll be releasing some original children’s music. Look out for two separate singles that I co-wrote with my son this year!