With a third album currently in the works and two albums in the bag, Brenda Weiler has a lot to show for someone just three years out of high school.

With humble beginnings in a modest South Dakota town, Weiler decided part-time jobs and small towns don’t mix. Beginning songwriting fresh out of school, Weiler quickly took her act on the road and has been touring around the Midwest and West Coast ever since.

How’s your current tour going? How much have you been playing around recently?

Well, not as much as this summer, but I have kind of been starting up again around here.

Is that because you’ve been going to school?

No, actually I do it full time.

How did you like The Maintenance Shop when you played here last spring?

I loved it. It sold out and was a very cool crowd. It was a perfect place for what I do.

You’re from Fargo, right?

Yup.

Seen the movie?

Yup. (Laughs)

Sorry, I had to ask. Did you like it?

I loved it.

What’s the music scene like around Fargo?

Uh, what music scene? Well, I haven’t been living there for a couple of years or so, so I’m kind of out of it. One of the main clubs called First Avenue closed down about a year ago, so that kinda put a damper on things.

As far as personally, I don’t really have anywhere to play around there except for, like, one bookstore, and a restaurant that will occasionally host something.

But I think there seems to be more folk artists sprouting here and there, like college students that are starting to play out.

So when you go back, are you the queen of the town, or what?

Oh, no, no, no. I guess I get recognized in places really bizarre, like when I’m going to rent a movie or something.

A movie like “Fargo.”

Exactly.

So where do you live now?

Minneapolis.

Have you ever played at the First Ave. in Minneapolis?

Yeah, I played for the Industry Music Awards last spring.

How was that?

It was pretty surreal. Playing at First Avenue kinda has its own aura about it. So, I was a little nervous about that. Plus, it was the Music Awards, and all of the industry people were there, and that was nerve-racking as hell.

Playing there, acoustically speaking, it wasn’t the best venue. It’s like this huge club, so it was a little hard to play. But the experience of being there was cool.

How long have you been a musician?

I’ve always sung. But I started playing guitar and writing my own stuff right after high school when I graduated in ’96. So about three years.

Who have been some of your major influences?

Mostly women folk artists, I guess. Not just folk, but also, like, Tori Amos, PJ Harvey, Tracy Chapman, Iris Dement and a lot of others. But I also love Radiohead, R.E.M., U2 and Fatboy Slim.

What do you think of how often your music is paralleled with that of Ani DiFranco? Do you think that comparison is accurate?

I guess. It’s flattering, but I’ve been trying to go my own way. It can be frustrating at times. Everyone compares people to someone else, so I’ll just go with it. I guess we’re similar in that we both have a lot of personal songs with just guitar and vocals. I think I’m a little less angry, though. (laughs)

A little less bitter towards the world?

I think just a little.

Your songs seem to have almost a story telling feel to them. What goes in to writing a song?

There’s really no set way that I do it. Sometimes, I’m just sitting there going “How am I going to do this?” Sometimes, I just start singing a melody, and then I’ll figure out the chords over it or start with the chords and sing it over with the chorus. It really depends.

How important is conveying a message to you when you write songs?

I think it’s very important. I don’t set out saying, “This song is going to be about this, mean this or have this point,” but as it comes, I just sort of let it go.

I think if you’re as honest as you can be, it’s worth something. That applies to everything, whether that’s country music or folk or punk or anything.

What kind of subject matter do you cover in your songs? Do you have a certain topic that you find yourself writing on a lot?

In the beginning I wrote a lot of relationship type of songs. The second album kind of has a theme throughout the album which is one relationship from the beginning to the end.

When I write now, I try to think in a more positive light. That’s just as important as writing cheerful songs, you know? It’s probably more important actually.

Was it a big transition from working and gigging on the weekends to having touring be your full time job?

It was initially. I was working part time, playing as much as I could and it just got to be so much to take that step. It seemed like a logical thing to do. It felt right, but at the same time it seemed like the right decision on my part because I had to pay rent and car payments.

I was getting more and more gigs and starting to make money. If I was completely doing it on tips, I don’t think it would’ve panned out very well.

What’s your take on Lilith Fair?

I think it was great. I went to it the first year and I haven’t gone the last couple years ’cause it’s a little bit expensive for me. I enjoyed just about all of the acts that were there. I thought it was a pretty empowering experience.

Is it something you could see yourself playing on in the future?

Yeah, I think it would be a wonderful experience.

You mean as opposed to the Vans WARPED Tour?

Yeah, that’s not exactly my crowd. (laughs)

What have you done differently on “Crazy Happy” compared to your first album?

The main difference I would say is there’s a lot more variety on the new album. About half of the album are band takes and the other half solo, whereas the first album was all solo.

Was that due to budget reasons? Like you couldn’t afford to hire a studio band?

It was an artistic decision. On the first album I just wanted the feeling that I was standing in your living room playing. On the second album I felt much more comfortable instrumentally, as far as adding things.

Do you have a band touring with you now?

No, I tour mostly solo. I do occasional band dates around here, but we don’t ever travel together.

Are they hired musicians or your friends?

Well, both. They played on the album, but also play live.

Was it intimidating at all to bring in professional musicians for your album?

Definitely. The bass player played on my first album so I know him really well. Peter, the drummer, has played with Van Morrison and toured with him for two years. He had also played for Sinead O’Connor, so I found that a little intimidating. But he was such a nice guy, it didn’t matter.