The City That Never Stays the Same: Sharon Van Etten’s ‘Seventeen’ and the Ephemeral Nature of New York
There’s something about New York City that makes it irresistible to artists. It’s not just the skyline or the energy—it’s the way the city feels like a living, breathing entity, constantly shedding its skin. Personally, I think that’s why there are more songs about New York than any other city. It’s not just a place; it’s a mirror reflecting our own changes, our own losses, and our own growth. And Sharon Van Etten’s ‘Seventeen’ captures this better than most.
What makes this song particularly fascinating is how it avoids the trap of nostalgia. It’s not a wistful look back at a bygone era; it’s a raw, honest reckoning with the passage of time. Van Etten, an adopted New Yorker, doesn’t romanticize the city. Instead, she dissects it, showing us how its changes mirror our own. When she sings, ‘I used to be free / I used to be 17’, she’s not just talking about age—she’s talking about perspective. At 17, the world feels infinite, and the closing of a local shop might seem insignificant. But as we grow older, we realize those shops aren’t just businesses; they’re the backbone of communities, the keepers of shared histories.
One thing that immediately stands out is how Van Etten ties the city’s evolution to her own. She’s not just an observer; she’s a participant in this ongoing narrative. Her music video, directed by Maureen Towey, is a love letter to the city, but it’s also a eulogy for the places and people left behind. Union Pool, Baby’s All Right, The Marcy Street JM Subway Stop—these aren’t just locations; they’re landmarks in her personal journey. What many people don’t realize is that this duality—the city as both a backdrop and a character—is what makes New York so compelling. It’s never just about the place; it’s about how the place shapes us.
If you take a step back and think about it, ‘Seventeen’ is as much about the artist as it is about the city. Van Etten’s voice, with its unique blend of power and fragility, mirrors the song’s themes. It’s towering yet vulnerable, much like New York itself. This raises a deeper question: Can we ever truly capture the essence of a city in a song? Or is it always going to be a reflection of our own experiences, filtered through the lens of time?
A detail that I find especially interesting is how Van Etten avoids wallowing in melancholy. Yes, the song is mournful, but it’s also resolute. It acknowledges that everything passes—shops close, people leave, and even the city’s skyline changes—but it doesn’t dwell on the loss. Instead, it reinforces the idea that change is inevitable, and maybe even necessary. This reminds me of Joni Mitchell’s line from ‘Both Sides Now’: ‘Something’s lost, but something’s gained, in living every day.’ Van Etten seems to echo this sentiment, suggesting that while we might lose parts of the city we love, we gain something in return: wisdom, perspective, and a deeper understanding of what it means to belong.
From my perspective, what this really suggests is that New York isn’t just a city—it’s a metaphor for life itself. It’s messy, it’s beautiful, and it’s always in flux. Sharon Van Etten’s ‘Seventeen’ doesn’t try to freeze the city in time; it embraces its ever-changing nature. And in doing so, it becomes more than just a song about New York—it’s a song about growing up, letting go, and finding meaning in the midst of constant change.
In a world where everything feels temporary, ‘Seventeen’ is a reminder that maybe that’s okay. The city will keep changing, and so will we. And perhaps, that’s the point.
