Interview with Kacy Anderson (Kacy & Clayton)

My first encounter with Kacy Anderson and Clayton Linthicum was when they appeared at The Kilkenny Roots Festival in 2015. The young duo, teenagers at the time, were chaperoned by Ryan Boldt of Deep Dark Woods fame, who was playing solo at the festival, having performed with his band at Kilkenny Roots a few years earlier. Boldt has been like a father figure to Kacy & Clayton, bringing them on tour with him and plugging them from an early stage in their careers as Kacy explained. ‘Ryan’s been very encouraging to our career not only advocating our music, but as an example of how to become touring musicians outside of Saskatchewan’

Second cousins, Kacy and Clayton early acoustic albums suggested a maturity in both writing and playing well beyond their years and they eventually came to the attention of Wilco’s Jeff Tweedy, who invited them to open for Wilco at The Fillmore in San Francisco. So impressed was Tweedy that he offered to produce their latest album, The Siren’s Song, at Wilco’s recording studio The Loft in Chicago. The album, released in The States in 2017and in Europe in the spring of this year, unlike their previous work as a duo, features bass and drums to supplement Anderson’s striking vocals and Linthicum’s finger picking guitar style. The inclusions of the additional instruments give their songs extra depth, something no doubt recognised by Tweedy, whose production rewards the listener with a very late 60’s early 70’s feel, recalling in particular the U.K. folk rock sounds of that era, together with the flower power Laurel Canyon vibe. I get the impression talking to Kacy that working with Tweedy was very much a teacher and pupil scenario, with little time wasted in the studio and I even detect an innocent reverence of the whole experience. ‘Jeff has an endless amount of gear and I got to play a couple of his guitars on the album. His presence was respected which made for timely sessions. We didn’t do any messing around because we knew he wasn’t going to be staying all night for us to get a take!’.

The album features a number of co-writes between Kacy & Clayton ‘I find that finishing songs with Clayton gives me more confidence to bring them forth to other people to listen to because it’s been filtered through another set of ears that I trust with all of my heart,’ adds Kacy. The album tour has them performing with a band rather that the duet format of previous tours, but has she a preference for one over the other? ’It’s nice to have the band with us on tour since the majority of the latest album has a rhythm section. Playing as a duo feels comfortable also as that’s how we started out. Playing as a duo also gives us an opportunity to do some traditional folk songs we love that we haven’t arranged with the full band. The person paying us gets to decide their preference I suppose’.

Kacy comes across as a particularly grounded, practical and polite young lady, no doubt a result of her upbringing in the remote town of Wood Mountain, a four-hour drive to Saskatchewan, where the possibilities to witness live music was restricted. ‘We saw local rodeo dance bands and went up to Regina or Saskatchewan every once and a while to see people like Bob Dylan, Neil Young, John Fogerty perform at the Stadiums’ she explains.  

Self-confessed music nerds who were both experimenting with old folk and country sounds, I wondered how that resonated with their school peers given that they are not the music genres normally associated with teenagers. ‘No one in our school cared about music at all really, so we just got as weird as we wanted with our tastes because everyone already thought we were weird anyway!’.

With the nearest record store, a five-hour bus ride to pick up second hand albums and the internet unreliable in The Wood Mountain Uplands, the opportunities to research their combined fascination of old time country and folk music was limited. A neighbour who grew up on 40’s and 50’s country legends Hank Snow and Bob Willis was one source and The Carter Family and Doc Watson’s music was discovered on a cassette tape of Kacy’s Grandfather. Given that the majority of today’s music lovers and artists have an unlimited source of information available at their fingertips via the internet, it’s refreshing that the majority of Kacy & Clayton’s song writing ideas originated from stories passed down from family members and neighbours, very much in keeping with the origins of the old timey music that fascinates them so much. The daily three-hour journey to and from school also gave her the chance to devour books on the history of music and any biographies she could get her hands on. 

Rehearsing involved driving the six miles from each other’s houses – illegally initially given that they were under the legal age to own a driver’s licence – and their opportunities to perform live were restricted to playing at a senior citizens home on Sunday evenings. It’s remarkable that they are making waves in the Americana scene given these impediments. However, it’s still no gravy train, four albums later and even support slots with Wilco and an upcoming tour opening for The Decemberists. As Kacy explained, ‘It would be nice to get down to play The Americana Fest again in Nashville, but unfortunately it’s very expensive to do’. 

In the meantime, their aim is to attempt to maintain a steady album/tour cycle and see where that brings them ‘Our plan is to keep making an album every couple of years and touring to support it. I hope to repeat the cycle as many times as possible. I think it’s pretty much impossible for us to break into the market in The States but we will keep trying our best’.

I wondered where the U.K. folk influences came from given how striking they are on the album. Kacy replied, ‘It began for me about 8 years ago when I started listening to Fairport Convention, Anne Briggs and Shirley Collins on my iPod riding the bus for an hour and a half to school every day and then back again’.

Comparisons could be made with Dori Freeman, another independent young female artist also residing in the equally rural setting of Galax Virginia and who has an equally passionate love of old time music. Both Kacy and Clayton appear on her latest album Letter Never Read and I wondered where the connection had been made. ‘We became friends over the World Wide Web a couple years ago and it lead to Clayton and I playing a little on her album, ‘She’s a wise woman and I have a great appreciation for her support of our bands existence’.

Interview by Declan Culliton

Interview with Timbo of Speedbuggy USA

Speedbuggy USA are an exciting no holds barred country-punk band from Los Angeles who released their first album in 2000 and Kick Out The Twang this year. They are fronted by guitarist and vocalist Timbo. Lonesome Highway caught up with him after a recent European tour to ask him a few questions.

Tell me what was the inspiration and story behind Speedbuggy USA?

The band started out as a nitro-infused Cowpunk band. I wanted to blend my love for Merle Haggard, Johnny Cash, Buck Owens, Hank Williams and so on mixed with the energy of The Clash, Creedence Clearwater Revival, The Jam, The Pogues. The list of influences goes on forever. We had Steve Kidwiler from NOFX on guitar and Pat Muzingo from Decry and Junkyard on drums.This was in the 90's we just wanted to tour and play our hearts out. We played mostly with punk bands back then. I think it made our music more gritty, it toughened us up .

Usually when a band adds a UK or USA after their name it is because there another brand with thew same name. Is that the case here?

After we released our first record on Greg Hetson's label Porterhouse in the 90's we found out there was a Canadian band (who have now broken up) with the same name. So adding USA seemed to make sense at the time.

Did you have a clear vision for what you wanted the band to be when you started out?

Not really, I definitely had my influences I wanted to blend my love of honky tonk and bluegrass music with a bit of punk rock angst. But I always knew I would let my writing go where ever it would take me. Sometimes band members will help sway a song one way or the another. But I must say my vision of music goes in and out of focus.

Cowpunk is a term that has somewhat fallen out of usage but seems appropriate here.

I think that is true. I really love those older bands like Jason and The Scorchers and Rank ’n’ File. It's a tough road trying to play honky tonk and mixing in something that blows the barn doors off. You really have to love playing it .

The band’s music though has light and shade on the recordings. Do you take a different approach to the live material?

I let the songs change according to the mood of the show and who is sharing the stage with me live. I try not to hold the songs hostage to the recordings.

You have mentioned that you are playing workingman’s music, do you see that as the backbone of country music?

It used to be the back bone but I think country music has gotten more of a pop sound over the years. It's so much more commercial. I lean towards the past for inspiration. Something about those old songs about truckers, cowboys, rail riders, construction and factory workers or the beaten down, the outcasts, the alcoholics and out of luck souls have always appealed more to me.

Do you have a love of the spirit of the West, of the cowboy lifestyle?

That's one reason I stayed for so long in Los Angeles. The history of cowboy music, film and clothing are a big part of Los Angeles history. Once I put a cowboy suit on I'm ready to roll out on the stage like a singing cowboy of the silver screen. “Go west young man” still echoes in my heart .

In that light I’m sure you must have some favourite books and films?

Those old Hollywood westerns were staples of my youth, they were always on the television Saturday nights and in the Sunday matinee’s. As a kid I was crazy about 50'-70's TV cowboys like the Cisco Kid, The Lone Ranger, The Rifleman, Gene Autry and Gun Smoke were all some of my favourites. I also have a strong affection for those Sergio Leone spaghetti westerns. I love how Sergio showed the fine blurred line between the good guy and the bad guy. Nothing is better than a western film .

Speedbuggy seem to be making inroads in Europe do you find that that audience more appreciative of your music?

I love touring Europe, our fans over the great pond mean the world to us they are very sincere and a blast to hang out with. Europe is one reason we have kept going all these years.

Are you able to sustain the band through live work and album sales?

When not touring I'm a carpenter I love building. Not only the camaraderie of a job site but the self worth of constructing something. I'm proud to be a working class blue collar man .

I read that you recently had to deal with serious illness. How did that set you back?

It's been a long road. We couldn't tour or play much. I think in the big picture it's help in my song writing. Nothing like a dose of pain and financial struggle to help write a broken-hearted country song.

How do you feel the music has progressed since releasing Cowboys & Aliens in 2000?

I've really  tried to bring more of that California, Bakersfield sound into our mix. Our guitarist Seth Von Paulus who is the producer of the bands last two records has helped expanded and explore different instruments, tones and rhythms over the years. This has really helped the band get deeper into American roots music .

Were you musically involved prior to that and was your musical direction different?

I've been playing music since I was a kid. The minute I saw Elvis I was hooked. I don't think I had one specific direction in my younger years. I just loved playing  guitar  and singing. I was lucky growing up in Louisiana and being surrounded by so much great music. Cajun, country, blues and rock ’n’ roll 24 hours a day. I always tried to learn from the artists around me and I kept my eyes and ears wide open.

You guys can rock but in a way that works whereas some of the current crop of “country” bands seem more like a bad metal act. Can you explain the difference?

I think maybe the passion is different for Speedbuggy. When I work on a song I'm trying not only to express my art but I want it to find a truer sound. I want it to be real. I think if you are only trying to find that radio hit, you as an artist could suffer. I try to get back to my roots, that’s why I started to play music and pick up the pen, paper and guitar and get to work .

What’s next for Timbo and Speedbuggy USA?

We are working on writing another record. I've been getting with Brady Sloan, our bass player, and our drummer Jaimie Dawson and bashing out ideas for the next record. Fresh off the road has always been a creative  writing time for me. Speedbuggy is also setting up more festivals and tours. For the future Speedbuggy hopes to come to Ireland to perform. So spread the word and let's get this buggy rolling!

Interview by Stephen Rapid

Alejandro Escovedo Interview

Alejandro Escovedo is a real rock ’n’ roll animal, a true believer. He believes in the power and sanctity of music. Music without barriers or borders. In 1998 he was named “Artist Of The Decade” By the magazine No Depression which showed the respect he had garnered throughout his career. A career which had already taken in punk, roots rock and hard rockin’ (and rollin’) as well his own Mexican musical heritage and the innovative use of a string section on stage and in recording. His albums have always been varied and different from each other allowing him to follow his muse as this will takes him. He has had success and he has also been through hard times but the music has always stayed with him. He is about to release a new album The Crossing that relates to the current political climate in the US as well as to his culture. This interview was conducted backstage at his last appearance in Dublin where the performed with his Italian band Don Antonio. Alejandro Escovedo was as open and honest in person as he is in his music and it was a pleasure to meet him and his wife Nancy (and thanks for the cup of tea Nancy).

You have been touring in Europe behind Burn Something Beautiful how has that been going?

It’s been extensive, day to day, 32 shows, in what seems like 25 days. But I know it’s actually been longer. There’s hardly any days off, what days off there have been have been for travel. It started because I have an English manager now, Chris Metzler, and he gave me the option of working with a few different bands and I choose these guys because they had worked so much with all my friends like Robyn Hitchcock, Dan Stuart and Howe Gelb.  

They all raved about the band so Nancy, my wife and I flew over to Bologna and they picked us up and we went to the little tiny village that they are all from and we had dinner, with Italians the first thing they do is eat, then we went to rehearsals for an hour for two. After we woke up the next morning we rehearsed again, all day this time. Then next morning we gather all the equipment together and loaded the van. There was 6 of us and all the equipment in a little van. So, we’d got up at 4.30 the next morning to leave for a 10 hour drive to Frankfurt. We played that night after the long drive stuffed into what I call the “veo-cage.” That was the start of the tour and it’s been non-stop since.

It’s been amazing to be back here. It’s always been non-stop touring for me but my European visits have been more sporadic. But now that I have a manager who has been able to get this tour together of 32 dates there is a lot of interest again. So, I’ll be coming back more often. 

The album moves away from the Americana mode that you are associated with even though you have been a rocker at heart for a very long time?

Well I never really got that far away from it but people never really associated me with it because of Rank & File kinda pinned that Americana thing on me. Also, my association with Bloodshot Records had a lot it too as well as singing on Ryan’s (Adams) record the Whiskeytown album. My taste has always been towards The Velvet Underground, The Stooges, New York Dolls,The Seeds, The Standells … those bands as well as Motown and blues. The Americana thing has come by association really. 

Yet traditional Country was also a part of your musical journey.

You have to think of some of the great country artists like Lefty Frizzell. Nobody was making records and doing arrangements like he was. Bob Wills was basically doing jazz and he was drawing from all the best big bands in America: guys from Benny Goodman’s band and from Lionel Hampton or whoever. Then you had people like Waylon. When we formed Rank & File we found some sort of thread between Waylon’s music and dub music. That’s what we wanted and my rhythm guitar playing was totally skanking with the snare drum. That also reflected Mexican music.

That’s why I think that when you tag a label on music, such as Americana, it doesn’t do anything to help the artistic, creative process. You need to break down walls to create something new. I instantly bristle and want to rebel against it. If you tell me I’m Americana I’ll make metal machine music. I know that a lot of people tend to find comfort in it. It’s not like a real individualistic thing, it’s more a sound. Like the Burrito Brothers or Dillard and Clark or whatever. That is all wonderful music but I don’t think it needs to be recreated. 

When you claim to be the greatest fucking blues band (or whatever) in the world you’re just shooting yourself in the foot. I understand it for press purposes but in the end you have to live with these things. When you get to a certain age and you know better I think it’s best to let the music speak for itself. Let someone else label it because I don’t even know what it is. I’m not sure myself half the time. I’m just playing songs.

This record (Burn Something Beautiful) is taking it back to the Northwest and playing with Peter (Buck) and Scott (McCaughey), especially Kurt (Bloch) on lead guitar. It put us back in the garage and that was a beautiful place to be. I knew I would get that with them and we had toured a little bit together so that gave us an idea what the record was going to be like. It took a long time as a lot of things happened in the interim, a lot of personal things. All of us, not just me, went through a lot of things. Like Nancy (Alejandro’s wife) and I went through a hurricane that led to a year of PTSD. We had to get through that and when that was over we were finally ready to make the album. When we started I wrote with Pete and then Scott came in and we all worked together and we got some really wonderful songs. They allowed me to take over the lyrics so that I could shape a story that was mine as I was going to have to sing them.

Do you draw a lot from the energy levels from the music?

Yes, due to a couple of things, one was the end of my Hepatitis C, finally get rid of that has given me a lot of energy and then playing these songs has naturally inspired me to want to get back into that head space where your discovering things. You know I haven’t had a drink in 15 years because of my health but I got rid of the Hep C and it’s gone. Now people don’t even ask if you drink or not, they just pour you a glass of wine and when I’d say no they acted offended. Then I had a little half glass of wine and it was ok. But when I got to the UK I had a couple of beers and that was ok too.  

Your health, lifestyle and background all reflect in your music?

My music has always been drawn from a certain respect for life and death. Including the grief that we have to work through for so many things. It could be a personal experience. My previous wife committed suicide but the effect of that was to really open up my music a lot. I became more able to come open about what I was going through. There is no greater compliment to me as a writer as to when other people come to me and relates that a wife or brother or someone they know and love has passed away and that my music has guided them in some way. To help find some kind of understanding of that. 

All I was doing was writing about my feelings and thoughts about what I was going through and I really expected nothing of it. But then people started coming to me like people who had experienced suicide in some manner. Suicide is a mysterious and never ending cycle of feelings. It’s like a ripple effect in that it affects people so far beyond the actual act people you’re not even aware of sometimes. It was a little daunting as I don’t think that I was prepared to give anyone advice at the time. Last the same time it helped me as I could see how far I’d gone as opposed to someone who was just new to this experience.  

On the album (Burn Something Beautiful) we talked about the process of getting older and raging, especially in Rock ’n’ Roll. I played a, I think 73rd birthday party, for Ian Hunter and he came out and showed us all what it’s all about I don’t care who got up there to sing as once he got up there you thought of no-one else who had performed prior to that. I often play I Wish I Was Your Mother or All The Young Dudes as a solo encore at gigs because Mott The Hoople were wild. Ian’s still making great records and his band is amazing. He’s been a big inspiration for me. When I was a punk rock kid in Austin all I knew was to turn the amp right forever, good hair and wear tight trousers were the whole thing, right!(laughs). I was constantly asked to play something when a guy would hand me a guitar so I’d learned Mott’s I Wish I Was You’re Mother they loved it and they didn’t know who wrote it. 

You have worked with some inspiration producers in your career.

Yes, people like John Cale, Tony Visconti, Chris Stamey and Peter and Scott on this album and I give them all the credit for that. When I work with a producer I really like to let that producer do his thing. There’s a lot of guys that I know have a very strong ideas of what they want to do and then they start butting heads with the producer and to me that’s not wealth he’s there for. If you think you know enough to produce your own record why invite someone in. When I invite someone in I allow them to guide me and I have to trust them. It takes me a long time to decide who I want to work with because I don’t want to work with just anyone. I have been offered the opportunity to work with some interesting people but, also, I don’t want them to just make their own record either.

The current political climate in America, for someone with your background, must be difficult to say the least. Do you feel the negative side of this?

Absolutely. It’s a frightening time in our country and it seems to be a frightening time in the world the more I travel. America is faced with this resurgence of right wing and in France with Marie LePen and England with Brexit. There seems to be a trend in that direction that has to be stopped. The world seems to have reached a boiling point again. Then in the 70s and 80s it became about money - and about ME. So hopefully this will draw us back to a place where we become more concerned with each other. I keep thinking that these devices that we are drawn to and addicted to … I’m talking about phones and computers in a world where it’s called ‘social media’ but to me it’s done everything but create a social world.

Interview by Stephen Rapid     Photograph by Nancy Rankin Escovedo

Interview with Prinz Grizzley

Prinz Grizzley and his Beargaroos – Chris Comper Interview

My first encounter with Chris Comper was at Kilkenny Roots in 2017, when he and his band – Prinz Grizzley and his Beargaroos - played no fewer than six shows on the Smethwick’s Free Trail over the weekend. The appearances made quite an impression on the festival organisers and punters alike, to the extent that they were invited back this year. On this occasion they were booked as a premier act, performing two showcase gigs together with being invited to play the festival ‘wind down’ party on the final day of the festival. It is no coincidence that 2018 has also found them playing at The Static Roots Festival in Germany and being invited to play shows at Americana Fest in Nashville in September. However, what might appear as overnight success is far from the case, Comper has been working tirelessly over the past number of years to establish himself and his band in a sometimes-overheated European market, competing with the countless number of visiting American and Canadian acts together with artists closer to home. While reviewing the Austrian’s 2017  Come On Inalbum in Lonesome Highway it was summed up as "a joy from start to finish, nothing new or ground breaking, simply good lived in music that hits the spot from an unexpected source." We caught up with Comper, while at home drawing breath between tours to get the low down. 

Austria is well acclaimed musically, with Vienna considered the European Capital of classical music. However, not many roots bands have emerged from Austria. Where did your enthusiasm for country music originate from and what artists and albums pointed you in that direction career wise?

Apart from all the mix tapes (CCR, Bruce Springsteen, Status Quo) my father passed on to me, he gave me a Bellamy Brothers Best of Cassette as a gift. I loved the melodies and the harmonies of them, have to admit I still do. I guess from then on countryesque music had a place in my heart. Later on, I was really into Oasis at that time, but also lent my ears to Ryan Adams, a friend gave me a copy of John Hiatt´s Crossing Muddy Waters. The honesty and power of that record really blew my mind, from then on, I knew one day I would try that kind of music myself. And then when I made demos for the first songs of what would become my debut album, I still wasn´t sure in what kind of environment I would place them, until Daniel Romano´s "Come Cry With Me" hit my horizon.  I knew then that pedal steel was the way to go. Not to forget the Album Harvest by Neil Young, I bought that CD 3 times because of the heavy use of it!

I get the impression you’re a particularly structured individual. Well-rehearsed sets, top quality instruments, well packaged album with great artwork and one of the few bands that always have their setlists printed! Is it important for you that every box is ticked correctly?

To tick every box is my way of working, structure keeps my wheel turning, otherwise I couldn´t handle everything alone. There´s my family, my full time job, booking shows, writing songs etc...  Sometimes I should have a 25 hours day or a manager.

Tell me about the song writing for your current album Come On In. What was the starting point and over what period were the songs written?

The oldest song on the album is Personal Hell, I wrote it about 8 years back for a friend of mine. I Can See Darkness and Fiery EyesI shortly wrote after the release of the last Golden Reef album in 2012, I guess. They have been around for a while. All the other songs on the album I wrote shortly before I recorded them, I would say none was older than 6 months. Most came pretty easy after I knew in which direction I wanna go.

Which came first, the words or the music?

That depends, if I have a kind of topic in my mind or some kind of feeling is hunting me. When it’s a topic thing its words first, when it’s a feeling always music. And I try to stick to one rule, chorus first.

There are a lot of heartache and pleas for forgiveness and redemption on the album’s lyrics, often camouflaged by the upbeat music that accompanies them. Did you write of personal experiences or entirely fictional?

In every song is a bit of me, that´s why I am writing songs.

Is opening track Wide Open Country particularly confessional? 

Maybe!

The track Walls, is a particular favourite of mine, recalling Ryan Adams' Jacksonville City Lights period. It’s not a song that you perform in your shows? 

Walls is a very personal song, I wrote it after I visited my Grandpa in the nursing home for the first time. It was his lifetime nightmare to spend his last days in such an environment, but there was no other option. After his third stroke he lost control over his body and wasn´t able to talk or walk anymore. When I looked in his eyes I saw the strong man that I knew was gone, his eyes were empty and that broke my heart. I had real troubles to do the vocals for this song, until I really reconnected with that very day of my visit. Then I did it in one take and after that I was in tears. I guess to do this song live, I need to separate myself from the emotion of it, but I haven´t found a way of doing this yet. That´s why it’s not on the setlist.

The artwork and packaging on the album are impressive but very dark. Was that a reflection of your state of mind at that time or purely to create an ambience?

Never thought of this, maybe it was both. All I know, the artwork fits the songs perfectly!! In my opinion.

Recalling your early band Golden Reef, do you feel they would have made a breakthrough in the indie rock genre given the breaks and what did you learn from the experiences in that band?

I would say in those days indie rock was a battlefield, so many good bands especially from the UK. If you hadn't the luck to get signed or have at least a good manager you were lost in the thick of this forest. What I learned is, if there is no one helping you then help yourself, don’t wait, just do it yourself. When one door closes another one opens up.

How have you changed as a writer and musician since your early days with that band?

Can´t say, still hunting those songs and try to make that guitar work. But I would say I am more focused on finishing a song than I was 10 years ago.  I think this came with my kids, if you have ten minutes until the baby cries for food you take the idea and try to make it work.

Things have really come together for you and your band in a relatively short period of time with appearances at Kilkenny Roots Festival in Ireland, Static Roots in Germany and upcoming showcases at Americana Fest in Nashville. What triggered this and have you medium to long term plans going forward?

Kilkenny was really good to me and the band. John Cleere gave me the opportunity. I took it, we went there and played our hearts out, did six 90 minutes sets in four days and luckily the people liked what they heard. It opened a lot of doors for me. But I still have to work hard for everything, every gig, every opportunity. No time to put the feet up.

Pedal steel gets pride of place both on the album and at your shows bringing much of your material to another level. How important is that sound to you?

Like you said, the Pedal steel takes my songs to another level and also gives a sweet touch to my sometimes growling voice.

Is it feasible for you to survive concentrating on the European market or do you need to look further afield?

I think the European scene is really good, especially the UK, there are a lot of places to play and every place is easy to reach. I mean, there´s a good reason why so many American and Canadian bands coming over to play one tour after the other. As a European artist to tackle the American market, you need at least some kind of a hit or an album that can keep up with the big guns. One step after another!

Are you working on a follow up album to Come On In and if so will it travel a similar musical path?

In fact, I will be in the studio later this year. But I have written so many songs over the last two years that I could make more than just one album. The songs go from blues to folk to country and even a bossa nova, we will see which ones make the cut. So, there should be an album coming next year.                  

Interview by Declan Culliton 

Interview with James Wilson -Sons Of Bill

Sons of Bill’s fifth studio album OH GOD MA’AM, might never have seen the light of day. A series of setbacks including marriage breakdowns, addictions and James Wilson suffering a dreadful hand injury when falling on broken glass, could have resulted in the project being abandoned. Fortunately, these stumbling blocks were conquered and perversely contributed to the recording of their most mature album to date (see our Music Review section). The band from Charlottesville Virginia – which includes brothers James, Abe and Sam together with Joe Dickey on bass and Todd Wellons on drums – took advantage of the additional time available to them to experiment beyond their trademark luscious guitar and harmony driven tones. The venture has resulted in their most impressive and perfected work to date. Lonesome Highway caught up with James Wilson while on tour in the U.K. to discuss the album, which was released by Loose on 29th June. 

The recording of your recently released album OH GOD MA’AM was delayed for a number of reasons, not least the horrific hand injury you suffered. What effect did the delay have on the finished product?

I’m not sure other than the fact it took much longer than expected. But it also gave us a chance to live with the music midway through the process like we’ve never been able to before. We knew we weren’t going to hit print on this album until we knew it was our best. 

They say that tragedy inspires creativity, but just how difficult was your period of recuperation and did you consider walking away from the project and band at that time?

It was certainly a time of hardship, in a time when the music industry is just as precarious. No one makes it through life without crippling tragedies, but ours just seemed to hit each of us all at once.  I knew I wanted to finish this album, but we all sort of made the unspoken decision that if the album was going to be finished, we were going to have to grow and make something different. It couldn’t be just another record of rock and roll innocence.     

Much of the writing is understandably dark, with unanswered questions, reflecting both personal and worldly issues. Given that the song writing duties are shared, how was it co-ordinated given that the writers had different issues to deal with at the time?

We live in strangely superficial, and unreflective times - which I think is reflected in both our art and politics. It doesn’t feel like there is a lot of room for art to articulate our internal lives very much, since so much of our lives are lived on the surface. We tried to make a record that was comfortable in its introversion, and hopefully it reaches people there. If you dig deep inside yourself, and strike oil, people think you’ve tapped their phone lines. That’s what you shoot for anyway. 

Was it intended to be a concept album, to be listened to in its entirety rather than a collection of unconnected songs?

Not at all. But I do think its best listened straight through. I feel like this one really works as a whole, as a single piece.

The title of the album is interesting, can you tell me what inspired it?

It’s just a band inside joke. Todd our drummer was accosted by a prostitute in Tampa one tour and that’s what he shouted.  Since then we haven’t stopped saying it. The title to me falls somewhere between intrigue and terror, but also formal, it just felt right for this record.

Do you feel it’s more difficult or smoother working with siblings and does the "big brother knows best" attitude prevail?

Not at all, you have to trust your band mates artistically and at the end of the day the music has to win. Trust your goosebumps and follow the music.

You recorded in both Nashville and Seattle, working with both Sean Sullivan and Phil Eek as producers. Were there specific reasons to engage two producers?

Not really, the album was just a longer process given all of our personal setbacks. It was always a dream of mine to work with Phil Eek, and he’s an incredible artist and engineer. He was hard on us in all of the right ways. 

The album heads in different directions than much of your previous work with a more electro indie sound. Abe (Wilson) brings much of the material to other places with his synthesizer playing. Did employing Peter Katis to mix the album heavily influence this?

We were just bored with our knee jerk way of doing things and took time to find a sonic palette that fit these songs. We had more time than ever to make this record so we got the chance to really experiment in a way we never had the luxury to before.

Is the album an exercise in collectively "shaking off demons" or an indication of a change in musical direction going forward?

I think it’s a more mature record. I think there is an adult humility too it, and I don’t see us regaining the innocence of youth any time soon.  But as I said before you’ve got chase down what gives you goosebumps, and that changes throughout your life. If you’re not doing that you’re not making art you’re just engaging in product assembly.  

Molly Pardon makes an appearance on the album, adding vocals on Easier. Given that you guys harmonise so well what was the impetus to invite her to perform?

Molly is the best singer in Nashville in a town full of singers.  She has this amazing ability to be both perfect, while still transmitting emotionally and lyrically.  I would have let her sing the whole album if I could!

What tracks in particular are the ones that you’re particularly proud of?

Gosh, really the record as a whole I would say.  But Sweeter, Sadder, Farther Away has a tragic simplicity too it that I’m proud of.  

The sound brings to mind 1980’s UK bands such as New Order and Echo & the Bunnymen, together with more current bands War On Drugs and The National. Were they conscious influences on you when recording the album?

They were certainly big influences on us growing up along with their more ragged American counterparts REM and the Replacements. We just searched for the sounds to fit the songs and settled somewhere pretty awesome, I think.

In fact, many industry insiders together with punters would feel your profile should be up there with both War On Drugs and The National. How frustrating has it been in not reaching much larger audiences given the calibre of your back catalogue

Art is one thing and commerce is another separate thing. Commercial success has to do with a million factors that are outside of your control. I can stand by the music we’ve made, and I won’t be ashamed to play it for my grandkids. At the end of the day that’s all you can really hang your hat on, and it’s the only thing you should never compromise.

Has material from the album been challenging to recreate live given the complex arrangements?

It has, but we just fall back on our experience as a touring band. We make eye contact, count to four, and rock like murder, as Paul Westerberg says. 

Five albums in and having navigated so many obstacles and hurdles over the past twelve years, do you feel stronger as a band for the experiences and where do you see yourselves twelve years down the road?

Rock and roll is about survival in the 2000’s. We’ll continue to survive and make music god willing.  I plan on making music until they throw dirt on me.

Interview by Declan Culliton

Interview with Ana Egge

Ana Egge is very typical of the type of artist that appeals to us at Lonesome Highway and one that is greatly admired by our team. Difficult to slot into any one genre – even Americana – she has recorded ten albums over a career that spans two decades, together with appearing on records recorded by Ron Sexsmith, Nels Andrews, Joel Plasckett and Matt The Electrician. She has toured with Iris DeMent, Ron Sexsmith, Shawn Colvin and Jimmie Dale Gilmore and performed on stage with Lucinda Williams, John Prine and Sinead O’Connor. Her pedigree was recognised early in her career when, at 19 years old and following the release of her debut album River Under The Road, she was voted Best Singer Songwriter and Best Folk Artist by the Austin Music Awards. Her latest recording White Tiger, released in June of this year and reviewed by ourselves, is yet another wonderful addition to a catalogue of recordings that should take pride of place in every serious music lovers collection. If in any doubt Lucinda William’s declaration should convince you. "Listen to her lyrics. Ana is the folk Nina Simone!’’ Ana took the time out to chat briefly with Lonesome Highway about her roller coaster career to date and her latest recording.

By modern day standards your upbringing would be considered unconventional. Did the freedom and lifestyle you enjoyed growing up inspire you as a songwriter?

Yes absolutely. We didn’t watch much tv and I had tons of time outside in the quiet. I still love and long for a quieter time in my life. Space and time is mostly what I need to write and I had loads of that when I was young that taught me a hunger for that.

Your music has evolved and varied over the years, Americana long before the genre was recognised. I expect your inspiration came from a diverse range of artists?

I was just a guest DJ on a radio station in Boston and got to pick 10 songs that inspired me. I included songs by The Buzzcocks and Django and Dolly Parton.

Has the emergence of the Americana genre given your music a home or managed to introduce your work to a wider audience?

I still don’t really fit in there either unfortunately. I think I do, but I haven’t really been welcomed or acknowledged by the powers that be. Still an outsider.

Your homemade guitar Junior seems to be leading a life as charmed as Willie Nelson’s legendary Trigger! Do you still tour with it?

I do! Just had a crack in the back fixed and had to play one radio show in NJ last week without her. I REALLY missed her.

Recording albums in to double figures is no mean career achievement given the vagaries of the music industry. How do you compare the industry of today with your early career years?

It couldn’t be more different. My first album came out in 1997. Tower Records was still everywhere. People still bought physical albums and streaming didn’t exist. 

Your debut album River Under The Road was recorded with Asleep At The Wheel back in 1997. How did you get them on board and what were your career expectations back then?

I was mostly just blown away about everything that happened for me back then. Many doors were opened by incredible people. I didn’t understand how I could be so lucky but now I see more like they recognized me as one of their own. Music brings people together for a reason especially when it brings us together to collaborate! I lived on an intentional community in NM with Sarah Brown’s family. Sarah Brown was the bass player in the house band at Antones in Austin. She’s played with Bonnie Raitt and so many others. She was my entrée to the scene there. She introduced me to everyone, taking me around with my guitar to sing my songs.

Your 2007 covers album Lazy Days featured material from a range of artists including 60’s Brit pop bands The Kinks and The Zombies to Arcade Fire. Did the album reflect bands that had an appeal to you or was it about the particular songs that featured on the album?

I am a fan of all of the songwriters I covered for that project. There were a couple of songs that I wasn’t previously aware of that I found for Lazy Days however. It was an interesting thing to keep it to laziness. Not allowing songs about love or romance or sleep. Only laziness. There were a couple Nina Simone songs and Dylan too that I really wanted to do but after really pouring over them I had to admit that there weren’t really about that.

Your recently released album White Tiger, with it’s laid back and peaceful vibe gives the impression of an artist in a very comfortable place at present. A fair reflection?

Yes, that’s fair. 

I had recognised many similarities in the work of both yourself and Anais Mitchell prior to hearing White Tiger and was therefore pleasantly surprised to learn that she features on the album. How did you both connect?

Anais and I first met in 2004 and have been friends ever since. She’s brilliant.

Producer Alec Spiegelman (who also worked with Anais Mitchell) co-wrote three of the album tracks. Had you worked previously with Alec?

Alec has been touring with me for 3 years. Eventually we started writing together (I’m goin’ bossa nova) which led to making this record together.

Tell me about the album’s title track. Obviously dealing with a friend in help of support. Was the song written in reaction to a person’s actual predicament or is the individual fictional?

Based on truth. And a very difficult time that my friend has been going through. Sometimes it’s hard to bellieve that things will get better. When things are so bad you just want people to acknowledge that. And not have to make up some silver lining ya know? Just, as a friend to say, yes, this is just horrible. But I didn’t want to leave it at that. I wanted to say, you’re going to make it through this. It’s horrible now, but soon you’ll be in another place. A better place.

Equally is the gorgeous Dance Around The Room With Mea personal reflection of motherhood?

Totally. I wrote it for my daughter who’s 4. Such a simple song and so uplifting!

Girls, Girls, Girls is such a killer song.  It’s so catchy and radio friendly that it could feature in a TV commercial in the future! Your pension royalties secured perhaps?

From your lips to God’s ears!

You’re presently residing in Brooklyn which is as far away as possible from your childhood residence in North Dakota. Are you well and truly a city girl at this stage?

Oh man, I long for my space and quiet! But I so love living here. NYC is a special place. I’m in love with this city. I am amazed by all of the great music and constant influx of talent and art and all of my favorite writers coming through town to read from their new books. It’s a wonderland in many ways. 

I believe you are due to play the U.K. in October of this year. Any possibility of a trip across the Irish sea for a few shows?

We are working on that! I so hope so!

Interview by Declan Culliton  Photograph by Shervin Lainez

Interview with Lera Lynn

Lonesome Highway’s last encounter with Lera Lynn was spending time with the Nashville based artist in 2016 before she performed at Whelans in Dublin, her first appearance in Ireland. That tour was on the back of her album Resistor, a body of work that followed her appearances in the TV crime drama True Detective and continued Lynn’s intentions to explore various musical directions. Her latest album Plays Well With Others (reviewed elsewhere on this site) was equally challenging and adventurous, searching out co-writers among the Nashville music community and finding the space to write and record, given the hectic work schedules of both herself and her collaborators. Lera took the time out to discuss the concept and creation of the album, having just come off a five date mini tour of the album which included performances at Athens Georgia, New York, Virginia, Pennsylvania and finally the official album launch in Nashville.

Where did the idea for a duets album come from?

The idea just came into my head one day and it wasn’t kind of a priority at that time. I just chipped away at it and eventually I had enough songs for the record.

How long did it take to write and record?

It was about a year of writing, whenever I was home and the other writers were home and we recorded it in just over a week.

The selection of artists includes talented emerging artist from the Nashville musical community together with some more established names. Andrew Combs and Dylan LeBlanc were particularly inspired choices. How did you handle the selection process?

I thought "who would I love to sing with, who would I love to write with." Everyone was a friend through music, playing together, touring together and people that I hit it off with personally and artistically. I have a lot of respect for Andrew and Dylan and had admired their work and wanted to work with them in some way. So we ended up collecting songs and it took shape from there.

And how did the connection with Rodney Crowell come about?

Well, I met Rodney back at a show he was playing with Sheryl Crow and he told me that my manager had sent him my CD’s and he had been driving around for months with them on rotation in his car and he said "you know you’re a poet (laughs)." I was floored by that but took it as an opportunity to ask him could we write together! He was very kind to me, In fact the song that we wrote together was the first duet that I’d ever written. He showed me the ropes and I carried that spirit through all the other co-writes.

Did you set down a common thread in the writing process for the others to follow?

No, and that was really important to me that the songs did not come across as songs for Lera written with some other person. It was important to me that the style of the other artists showed through.

The selection of collaborators really work as duet albums can go one way or the other. There is a consistency throughout in as far as it sounds like an album rather than nine individual tracks?

Well I’m really glad to hear that as it’s a challenge to make a record that feels connected when there are so many artists involved. The style does vary a lot from song to song but one method that I thought might help was to restrict the production to acoustic instrumentation. It was difficult for me to do that because I love electric guitars, keyboards and fun sounds but I felt that if we limit every song in this way they will connect. Though when I listen to the record it does not actually strike me as being an acoustic record which it obviously is!

How did the connection with John Paul White come about and the idea of co-producing with him?

Well, we toured together and I think I asked him to sing Almost Persuaded with me and that was how the relationship started. He’s a great singer and I really wanted to do a duet with him. He loves that song and when we were touring together I told him I was working on a duets record and that I’d love to come down to Florence, Alabama and write a duo with him. He said he’d love that and why not come down and we’ll make the record together at my place in Florence. 

And the album took only just over a week to record?

Yes, we had the band there for a few days and got a few singers down for a couple of days and then Ben Tanner mixed it.

Do you intend touring the album and what format would that take in terms of the musicians that would accompany you?

Well, we’ve just done a tour which was a challenge as most of the artists on the album also have their own records out or are writing records and it’s also incredibly expensive. We didn’t have everyone that appears on the album on all the tour dates. John Paul and Bradley Adams did some shows and we did meet up with Dylan and Andrew for some shows. John Paul stood up and took over the roles of some of the people who couldn’t be present at some shows and likewise Peter Bradley Adams. There are songs from the record that I can do without a duet partner but the album is not really meant to be toured, it’s not really possible.

You launched the album on June 22nd at 3rd & Lindsley in Nashville. How did that go?

It was amazing, surreal. It was a two hour long show which might not seem that long but it was one of the longer shows I’ve done. It was so much work, so much coordinating, rehearsals, the band, getting everyone on stage, the set list. The whole thing was filmed and we hope to release that soon as an archive. It was a lot of work but really fun and I wish we could do it all the time!

You included TV On The Radio’s Wolf Like Me, a song that you’ve been performing live for a long time on the album. A different dynamic that some of your previous versions of the song?

Exactly, that song has been lurking over my shoulder for years but I’ve resisted recording it for so long. Originally I made a quick video of it as a tribute to the bass player Gerard Smith’s passing and it felt wrong for me to record it at that time. Seven or eight years later people are still asking for that song so this seemed a good time to record it. Obviously I’ve grown a good bit as a musician and I wanted to do something a little different and I love the way that track came out its one of my favourites on the album. 

Talking about those eight years, is it easier or more difficult to make ends meet these days?

It’s easier in some ways and more challenging in others. When you’re young and naive everything is fun. Oh my God we’re on stage, Oh my God we’re on tour and then one day you wake up and it’s Oh my God I’ve to pay rent, can I pay this bill, will I ever be able to start a family, how can this sustain me. As you have a little success it can become a little confusing as to what direction artistically you want to go without alienating some of your fans. 

In hindsight how have your appearances in True Detective impacted on your career, has it been positive or negative?

Well I certainly saw a large jump in my profile right after True Detective and I still have fans coming to the shows saying ‘we discovered you through True Detective’ and that’s great. It’s been a few years since True Detective and life goes on, new things are happening. It was a challenge artistically following that project because I think a lot of people saw the show, heard the music and thought ‘oh this is who she is’, without realising that I was writing music for a particular character in a show, which is part of what I do anyway, that kind of dark stripped down theme. Though I did enjoy the challenge of making the Resistor record after that and creating something that satisfied myself, my old fans and new fans that discovered my music through the series.

The last time we spoke you expressed how much you enjoyed the acting role. Is that something you would consider exploring or one off?

Oh my God, I would love to do more acting and I have been approached about other acting opportunities that I hope will pan out. I expect it could be an all-consuming project for a while though and not just a side project.

Any plans to tour Europe in the near future?

Yes, we are going to be coming over in late November for about a month. Not officially announced yet and no date in Ireland unfortunately but we will be in England, Germany, Russia and Norway.

Scandinavia appears to be very much an emerging market for U.S. acts?

Yes. We will be over there touring with Thomas Dybdahl, a Norwegian artist. Funnily he and I also wrote a duet that will be on his record which will be out later this year. I wrote a couple of songs with him on the record that he made in L.A. and it was a really fun record to work on. I’ll be doing some shows with him and several of my own.

Next project. Are you thinking electric acoustic or have you any definite plans?

I have tried a lot of different tones and colour powers this year. The only thing I can promise you is that it will be different!

Interview by Declan Culliton   Photograph by Alysse Gafkjen

Interview with Dori Freeman

I have fond memories of a showcase gig performed by Dori Freeman at Cannery Row during Americana Fest in 2016. Allocated a graveyard slot, directly before Rodney Crowell and his band were due to perform, the then 24-year-old came on stage accompanied only by her acoustic guitar, a lone figure in the centre of what - excluding The Ryman – must be the largest podium at the festival. Challenged by an annoyingly talkative audience, many who only paused their conversations to clap when she finished each song, she finally silenced them mid set by bravely singing Ain’t Nobody a cappella, which took some nerve. I thought ‘thumbs ups and well done to you’. I wondered just how difficult she found it to engage audiences most particularly when she’s not the headline act. "Developing good stage presence is still very much an ongoing process for me. I find talking and engaging the audience in between songs infinitely harder than just performing. Playing and singing comes naturally to me; being the focus of a large crowd does not. I have a very dry and sometimes dark sense of humour which doesn’t always easily convey on stage."

It doesn’t get any more authentic country than Freeman. Born and reared in Galax Virginia (famous for its annual fiddling convention), she is very much a home bird and follows the musical traditions of both her grandfather and father, whose Front Porch Gallery and Frame Shop forms part of the Crooked Road music trail in Virginia. Even though she was surrounded by music from childhood it was not until 2014 that she plucked up the courage to send some music to Teddy Thompson – whom she had been a huge fan of - by way of a Facebook message, that has resulted in them working together on both her self-titled album released in 2016 and its successor Letters Never Read, which followed last year. The connection with Thompson was a meeting of minds by two people from families steeped in musical traditions and I enquired of Freeman what he brought to the recordings that particularly made an impression on her. "Teddy always has a clear idea of what things should sound like and is very frank and precise in his directions and suggestions without being pushy or mean. He knows how to get a good performance out of someone which is exactly what you want in a producer. And of course, any time Teddy sings on one of my tunes I’m thrilled. Having that calibre of singer on any song elevates the recording."

Powerful and soul bearing lyrics are a feature on both albums, giving the listener the impression of a writer using her art to deal with the often-difficult realities of modern day life. Cold Waves on Letters Never Sent is a typical example of her ‘bear it all’ style lyrics. ("And in the evenin' when I lay my baby down, I listen to her breathe the single sweetest sound, I pray she'll never lose the tenderness she's found, and that she'll never know the pain to which I'm bound")."Without song writing I don’t know how I’d cope with all the very human struggles of life. It’s the easiest way for me to communicate my feelings and the process that brings me the most resolution and perspective. There is something about putting words and melodies together that brings me great relief and joy."

Her vocals and song writing are timeless, self-assured and unbelievably natural. Life’s tales and struggles beautifully yet simply articulated without any gimmickry, as if a conscious decision that the material. "Yes, on both records we wanted to keep the instrumentation and production simple to feature the vocals and lyrics. This is something Teddy and I have always agreed on and I think it’s just a good rule of thumb for any recording session."

Light-hearted material also features in her anthology, with the hilarious Ern and Zorry’s Sneakin’ Bitin’ Dog, written by her grandfather Williard Gayheart back in the day and sung unaccompanied by Freeman on the current album.The imagery generated by the lyrics are so simple yet credible as the young country lover boy navigates, after an encounter with his female flame, every pot hole, ditch and fence, skipping his way home in the black of night, only to be attacked by a neighbours ‘rascal pup’!  "I’ve known the song since childhood, but only started performing it about 3 years ago. It’s a song that often gets the most attention and interest from the audience. I think people respond and connect in a deeper way to true stories, whether they are sad, dark, or in this case silly and sweet." Continuing on the nostalgic theme is the inclusion of Jim Reeves Yonder Comes A Sucker, a versionless faithful to the original, with a disciplined drum beat and vocals dominating, breathing new life into the song. "Yonder Comes A Sucker was a song I just happened to stumble upon when I was listening to some of my dad’s records at his house. My husband and I were just jamming one night in New Orleans when he still lived there and that’s (appropriately) where we came up with, the whole second-line kind of sound and beat."

The mention of her husband, fellow musician Nick Falk who plays drums and claw hammer banjo, brings to mind witnessing him play with her on stage at The City Winery in Nashville last year, a feature which presumably makesthe logistics of touring more feasible. "Performing and traveling with your spouse make things so much easier logistically and financially and just more fun. I’m so fortunate to be in that position."

Male artists combining marriage, parenting, song writing and touring is a difficult enough challenge but it must be considerably more stressful being an artist, mother and wife. I queried if she set aside dedicated periods to write and if attempting to keep all the balls in the air at once generated subject matter for material. "I just write when I can. Usually at night or when my daughter is a preschool or my husband is on the road. I’ve never been the kind of songwriter who can appoint a specific time to write. If I do that, nothing good will come. It will sound forced because it is. I just have to wait ‘til an idea comes along and then try and run with it."

Kacy (Anderson) and Clayton (Linthicum) are second cousins and a young musical duo from a rural landscape outside Saskatchewan and not unalike Freeman have been similarly recording a stripped back blend of country and folk music with both local and U.K. influences. It’s interesting that they feature on Freeman’s cover of Richard Thompson’s (Teddy’s father) I Want To See The Bright Lights Tonight.The combined vocals between Freeman and Anderson are wonderful. It’s a noteworthy collaboration given their collective appreciation for Brit Folk, enriched with the introduction of an element of ‘country’ into the song. "I saw Kacy and Clayton perform at Folk Alliance a few years ago and they were by far my favourite performance of the whole conference. They don’t put on airs or try to be anything or anyone they’re not, which is something I’m always drawn to in performers. So many musicians now rely on gimmicks, wardrobe, theatrics, etc. so to see a duo like Kacy and Clayton who are downright amazing well-rounded musicians without all that is inspiring."

The quality of albums being recorded by female artists like Dori Freeman at present is at an all-time high, yet the opportunities for radio play and exposure for females seems to be a constant struggle. Two years and two albums into her career I asked if she found this a frustration and how positive is she going forward."It is definitely more difficult in most respects for female musicians. The struggle to be taken seriously as not just a musician, but a band leader/frontwoman/songwriter, and the general criticisms, mostly physical, that women are subject to that men aren’t. Fortunately, I have a lot of really supportive and uplifting men in my life from my husband, my manager, Teddy, my father, and I think times are changing given what we’ve seen with the Me Too movement and others like it. I feel like I’m in a good and positive place with my career and its growth over the last few years."

Freeman, both in her music and interviews is enormously proud - and rightly so - about the rural Appalachian environment she was raised in, together with its musical traditions and indeed those of her families. She’s certainly not one to uproot to Nashville or elsewhere, as others have done, to further your career."I’ve never seen moving to a big city as a necessary step to better my career. I know so many musicians who do live in cities all over and we all travel the same amount. Having my home here in the mountains to share with my family and raise my daughter is much more important to me, and honestly improves the quality of my songs and makes me a better performer."

Followers of this talented young lady will be heartened to learn that she is writing and gathering material for another album and as a final question I explored whether her tried and trusted formula, which worked spectacularly well on her two recent albums, would prevail to which she replied."Yes, and yes. Wink wink."

Interview by Declan Culliton

Interview with Jason James

Genuine young classic country artists are as difficult to uncover in recent years as hen’s teeth with ‘country’ music continuing its wretched decline into the dreaded pop crossover so much beloved by the music industry movers and shakers. Artists embracing the ‘outlaw’ country tag thankfully continue to emerge with young ones Colter Wall and Tyler Childers the latest pair to join that club that includes some wonderful ‘I’ll do it my own way’ acts such as Whitey Morgan, Dallas Moore and the commercially successful Chris Stapleton, all representing the male sex.

Not to suggest that female artists aren’t every bit as worthy of the outlaw tag, to do so would be an insult to Elizabeth Cook, Nikki Lane and Lydia Loveless to mention but a few. Unfortunately, breakthrough classic country artists are not emerging in the same numbers, so the discovery a few years back of the young Texan Jason James was a joy to behold to the champions of that genre among us Lonesome Highway purists. 

His 2015 self-titled release was uncompromising and no-frills honky tonk, groomed, polished and perfected by years of performing at dance halls and clubs across his home state. It’s more than likely that he would have continued to travel around Texas making a living as a live performer had his mother not taken the bull by the horns and unknown to him sent some demos of his songs to New West Records. Studio sessions were arranged by the label in both Austin and Houston with some crack session players and the results impressed label president John Allen to the extent that he lined up additional studio time in Nashville, to finalise the recording.  Three years later and we wondered had James joined the gang of musicians that deliver a once off classic and disappear off the face of the world, until the news filtered through that he was, in fact, about to start work on another album.Lonesome Highway tracked down James to get the lowdown.

We’ve been loving your self-titled album at Lonesome Highway since its release.  The whole package unapologetically captures what we consider to be classic country – with two capital C’s -  across the twelve tracks. It’s ironic that an album with so much in common with decades past sounds so refreshing! How satisfied were you with the final product?

Ha-ha well, thank you so much! Means a lot. Sonically speaking I had a pretty good vision of what I wanted. That being said it can really be tough to find the right producers that can help manifest your vision into a product. Both John Evans and Keith Gattis knew exactly where to steer the ship when it came time to record.  I am happy with the record very much ... considering the length of time in between sessions and all ... I'd say it flows real well. I can tell some things but that's because I was there! But, when I have listened to the record at times it is very fluid. Gattis did a great job in that respect. Not venturing from the overall feel of the record that John Evans had it going in. There was no real ego on the record, it was for the sake of the songs.

You’re beginning working on a follow album. What timescale can we expect?

Pre-production is already under way. We should have the record done by the end of July and a release date is scheduled for late this year or early next.

The last album was recorded in Austin, Houston and Nashville with an impressive line-up off players to say the least.  Where will you record this time around?

It was all over the place last time. And yes, I was blown away sitting in the studio with those cats. I've stayed close with most of them too. As honoured as I was to play with those guys I'd hear them shouting after a take "now that's country music!" For as serious as the situation was for me professionally, I've never laughed as much as we did in the studio. It was incredibly light hearted. I think we're going to record in Austin this time with John Evans again. 

Will you be using players from your band for the album?

I'm not sure. We may. Depends on scheduling and all. When I'm not on the road with my guys they are making a living playing constantly. 

You included a co-write with Jim Lauderdale (Walk Through My Heart) on the album. How comfortable are you writing with others as opposed to working alone?

I wrote that with Lauderdale and Odie Blackmon and it was my first ever co-write with anyone else. Ever. I had no idea what would happen but at least I'd get to hang with those two fellas. Glad we got a song as good as that out of it Lol. I prefer to write myself though. Prolific doesn't always mean great but ... I have a lot to say. I feel possessed at times like I have some deadline to say everything I can say. But, I'm also open to work with others. I've had to learn to not hold my songs so tight to my chest. Other input can be great.

A small number of artists like yourself, Joshua Hedley, Dallas Moore, Zephaniah O’Hora and J.P. Harris are leading the charge in keeping classic country very much alive and kicking. Do you feel that the industry in general is helping or hindering your progress? 

I only know Dallas and J.P. personally. But, I will say that those two guys are some of the most talented and hard working men I've ever known. Anything credited to their success has less to do with the industry but, rather them putting their boots on the ground and grinding and putting out the best material they can routinely.

The larger labels are taking note with Atlantic signing Sturgill Simpson and Third Man giving Margo Price and Joshua Hedley deserved support. Does seeing artists like these getting a break keep you enthused? 

Uh, it's hard to answer that for me personally. I'll be honest- I have no illusions of ever wanting or really caring to be famous. If that happens and there is a "musical movement" then great! I just enjoy singing and writing and touring and doing things I like to do. Fame comes and goes. That being said- I'm happy for them for sure. And from what I've heard of them and about them they are in it to win it. Score one for the good guys and girls! 

Diversities between Texas country and Nashville country have been debated for decades. Do you feel that Texas still recognises and supports ‘real’ country more so than its neighbours?

Yea, that comes up quite a bit. Texas definitely has a lot of dancehalls and county festivals that seem like Mayberry where I play on a trailer and it feels so country. But, I also feel like I haven't been threatened by anyone outside of Texas when I play. I think it's all in your attitude and the way you approach people. We played Chicago recently and everyone loved it. Country music comes from the heart. Not everyone will like it but that's ok. Sometimes I like to stick in Texas because it's my comfort zone. I always feel like someone will make fun of me for being country. That's my own personal issues though (laughs).

Is there much radio support locally for you and your peers?

Oh yea!! I'm played in Texas a lot. In fact, I released just recently a song from the record. "Here Comes The Heartache" it was just put into rotation and it's already climbing the chart. My friends are all on there too.

Like so many younger artists we encounter that are travelling the traditional country path your earlier years involved playing punk and rock. What encouraged you to move towards country?

Lord - I'll be honest. I was so lost for a long time. I was in trouble with the law growing up. Music saved me. I think I liked expressing myself and it just came out in the way of punk. I only played it for such a short time. People have come up to me and I've used the old demos as a frisbee lol. I would cover Hank Williams in the old band(s). When I heard Hank Williams again I realized what my path would be. It directed me here. I owe my life to country music. I love it more than anything and I'll never stray from it.

You’re on the record noting how people at shows tell you they don’t like country music but like what you’re playing, which pretty much sums up the what most people perceive to be country today. Are you finding a younger audience buying into what you’re doing?

Young people all the time come up and tell me they've been a fan for their whole life. I always smile and chuckle. I try to keep the songs simple and catchy so I can see why kids like it. The songs are kinda like nursery rhymes. 20 and 30 something's have also gravitated towards my sound. Young adults who are just now getting a dose of real life and the ups and downs that it throws at them. My music documents loss and the overall struggle. But the melody I try and keep pretty. So, it's a dance in between light and dark. I get people who've had a bit too much to drink and cry at the edge of the stage to "sing their life to em". Of course, my life has been everything but squeaky clean... so maybe they find it comforting to have someone else that has been through it too. We're all on this trip together I suppose. Country music is the misfit. The unwanted, the forgotten but, it's also about salvation. It's real life. Don't try and be a phony son (laughs).

Is the market in Texas big enough for you to survive as an artist like or do you need to establish yourself outside the State?

Oh, this state is huge. Unless you've travelled every bit of it it's hard to fathom at times. I make a living here. But, I'd love to travel and see America and the world. The label I was on kinda tried to keep me only in Texas. I'm not sure why ... but, I got the feeling they didn't see how much people wanted to hear this type of music.

And the European market. There is a hard core following for classic country in the UK, Ireland, Scandinavia and Holland. Do you expect to tour over here?

Yes Sir! I had a 3-week tour scheduled there and I got no help for tour support and had to back out last minute.  After this record is out though I will most definitely be there! I'll start making announcements soon. 

Interview by Declan Culliton

SUSTO - Justin Osborne Interview

A refreshing and original crossover of Americana & indie rock, Susto’s 2017 release & I’m Fine Today featured in Lonesome Highway’s most loved albums of 2017. The vehicle for songwriter Justin Osbourne, the band have grown from relative obscurity to sharing the stage with Band of Horses and a stadium tour with The Lumineers over the past few years. They made their European debut at Celtic Connections in Glasgow earlier this year with a dazzling performance at The Mackintosh Church, Osbourne also played a solo gig at the festival. The band embark on an extensive touring schedule over the coming months in The States, followed by some solo shows by Osbourne in Germany, Holland and Belgium. A hectic schedule for the recently married Osbourne but one that he appears to be revelling in at present as the band go from strength to strength.

All of a sudden, the word is out on SUSTO! So many crack bands and artists remain undetected and under the radar simply because of lack of exposure. What got you noticed?

Man, to be honest I really don’t know. I guess it’s been a mixture of luck and hard work. We've been very lucky that since the beginning, people have really latched on to the music and supported us. Everyone we work with came to the band as a fan of what we are doing and has worked really hard to get the word out. Also, we’ve found a lot of incredible fans all over the place who have been spreading the word and supporting us. It’s an incredible experience, we are having a great time and it’s been cool to see the fan base grow from our home town, to towns and cities all over the world.

You’re pushing out musical boundaries in different directions from Americana to Psychedelic Indie, which can catch a very wide market both in age profiles of audiences and their listening preferences. Is this a musical path you intend to follow?

I think the creative process for this band has just been one of fearlessness. We try to be ourselves and also let ourselves grow. Americana, Psychedelic, Punk Rock, Gospel … I could name tons of genres that I think are some piece of what we are, and I think as long as we continue to stay true to ourselves and allow ourselves to be brave, we’ll be on the right path and all these different types of influences will continue to come out.

The album title & I’M Fine Today and much of the material suggests an artist in a good place at present. Was that a personal disposition or a reflection of the band in general?

That was definitely more of a personal reflection, but the title is really meant as more of a personal mantra I've had, just to keep myself going. I think lots of people deal with hard shit in this life, we all do in various degrees, and even just being alive can be such a struggle sometimes. "Jah works and I’m fine today” is something I have been saying for years now, to myself to keep myself going when the going is tuff, and also to remind myself to appreciate the moments when things are really good. It’s sort of a tool for living, which is why I would describe it as a mantra.

Drawing down from topics such as homosexuality, religion, drug use and mental illness appear to be somewhat more taboo in the Southern States of America than they would be in Europe. Has that been your experience?

Yes, you know I guess I kind of knew that would be the case because I was aware of Europe being more post religious than parts of the US, but I definitely noticed in a more up close and personal way when I met people and told them stories of how I grew up … people were just really shocked, it was hard for them to comprehend. But, I think regardless of whether or not talking about these things is more taboo in one place or the other, they are still relevant issues that people everywhere are aware of. The American South isn’t the only place where people have ridiculous ideas about religion and politics, and I think a lot of people in a lot of places are interested in talking about these things

Hallucinogens implications repeat on the album. Do they enhance the creative writing process? 

Sometimes, during the making of & I’m Fine Today, we were micro dosing LSD. This is an experience that I wouldn’t describe as hallucinogenic, it’s more of an overall mental boost. You are taking a trace amount of LSD so it’s a very lite experience and you are just having a great day. You hardly notice you have this boost until after its completely gone and you look back and realize how productive and creative you were. So, some of us did this several times over an 18-month recording period, just to keep things moving. I will say, although we don’t take enough psychedelics in the studio to trip, some of us do like to have a larger dose periodically. It resets your psyche and keeps the mind fresh. So yes, I think Psychedelics enhance the creative process, and life in general…but they should be used with caution and respect.

The cover artwork on the album is stunning and very much in keeping with the musical content. Tell me about it?

The cover artwork is by Pablo Amaringo, who was a renowned South American artist and conservationist. His paintings depict visions he experienced from drinking Ayahuasca. The name of our band, “susto” is a Latin American term for fright, but also its a spiritual illness that literally translates as “soul loss”; when someone is experiencing on going trauma, depression, anxiety, etc. all these things can be attributed to susto. Ayahuasca is used to combat susto, and this painting really spoke to us. The snake gods are symbols of rebirth and cyclical power, the snake is our symbol also and appears on a lot of our designs for T-shirts and posters. Pablo’s painting seems like the perfect reflection of what we are trying to describe to the world with & I’m Fine Today and I’m really glad we were able to use it as our album cover.

Do you consider yourself as a ‘journal’ writer, where your output generally reflects where you are personally at a given time?

Yes, I would consider myself a confessional writer. I’ve always used song writing as a way of processing my emotions and because of that, my songs are personal and confessional. When I look back on albums that I’ve released with Susto, solo albums, and records with my old bands - all of them are reflective of certain time periods in my life. My dad keeps a journal everyday so he has books and books of notes from every day for the past few decades, I just have albums that come out every few years.

The members of your band vary in age profile, musical background and indeed gender, in many ways the perfect mix. How did the current line up come about?

Yes, everyone has a bit of a different story in our band, which I think can be helpful. When I released the first self-titled album it got popular in Charleston pretty quickly and I was able to meet other musicians and creative people in town that I’d never been introduced to before, suddenly people knew who I was and got familiar with Susto. Once that happened, I started meeting people who were interested in being a permanent part of the band. Corey was first, he joined around June 2014, only a few months after the release. The friends I had recorded the album with were all busy doing their own projects so I was doing a long solo tour of the US & Canada, but I had a big kick off show in Charleston + a couple shows opening for Band of Horses where I wanted to perform with a full band. Corey was a part of that line up and then as we started doing more stuff as a band he remained part of the line up, then Marshall our drummer came in early in 2015 when we did SXSW (it was also around this time that my friend Johnny Delaware re-joined the band. He had a part in making the album). We had people filtering in and out playing bass until late 2015 when Jenna joined as our permanent bass player. After a long year of touring in 2016, Johnny decided it was time for him to go back to pursuing his own songs, so he left and started The Artisanals, who are great and I highly recommend checking out! When Johnny left, we asked Dries to join the band. It was an easy choice for us because he had already been touring with us as our videographer so we were all very comfortable with each other, and he happens to also be a great guitar player. So that’s the short version of the story of our line up ha-ha. Everyone kind of ended up in Charleston at different times and for different reasons, but it’s a small tight knit musical community so we all found each other gradually, and it’s been great traveling and getting to be like a family these last few years.

I can’t start to imagine what’s on the SUSTO playlist in the touring vans to cater for all tastes. Are there musical common denominators or do you feed off each other’s tastes?

Everyone definitely has their own tastes in our band. Some folks lean more towards pop or R&B, while others have a draw to heavier or folkier things. We do have some common denominators though. There are a few records that we can put on in the van and everyone will listen. We all really enjoyed the latest War On Drugs Album, we all like Bob Marley and we are all huge fans and followers of JPKS’s album Constant Stranger. We also learn a lot of new and old music from each other, which is very nice and keeps things interesting.

The opportunity to support The Lumineers on tour gave you exposure to larger audiences which can be beneficial but also damaging. Did the experience pay off and how did the experiences of playing in arenas work for you?

We honestly had an incredible time on that tour. We made a lot of new fans and got to play in some really incredible places. Playing arena’s is such a cool experience, you really have to rise to the occasion and play to a room of thousands, this can be daunting but for us it was a scenario we loved and learned a lot from. The whole crew on that tour was so good to us, everyone was so nice and excited about us, it felt really good to be appreciated. We would roll into the venue with our van and trailer, meanwhile there were like 12 buses on that tour plus 8 or so semi-trucks, so we felt very small at first but we learned to love that role as the little siblings, we learned a lot and I think we became better performers because of that tour.

Your showcase at Celtic Connections in Glasgow took place in The Mackintosh Church, possibly not the ideal venue for a live band! The previous night you played a solo slot at The Oren Mor. You put your heart and soul into both performances. Do you see Europe as a significant target market for you?

Yes, Europe is important to us and we plan to continue touring in Europe regularly as long as the band is active. This past tour was our first in Europe as a full band, so we were playing all sorts of places, Celtic Connections was definitely a highlight. I was glad I got to do a solo show at Oran Mor, and also that we got to perform full band at The Mackintosh Church. For that second show, we definitely had to lean into the setting, so we played a bit more reserved and curated our set list to fit the church, which is fine and definitely allows a certain side of our band to shine through. I hope when we come back to Scotland we can play a show where we can let the rock shine through as well, it’s a big part of our live show that we weren’t really able to show everyone at any of the 2 shows at Celtic Connections. Regardless, we had a wonderful time at the festival and were treated really well. I was happy with both of our performances. I think at The Mackintosh Church especially, we played a very clean “Nashville” type of set, and I remember that being really fun for us.

You’re doing some solo dates in over here in the summer. Will you be performing all SUSTO material or have you a Justin Osborne solo album in mind in the future?

Yes! I’m excited to be getting back to Europe so soon. It’s funny to think about a solo album, because that’s really what SUSTO was supposed to be in the first place, a solo project after I left my old band. But yes, it has definitely become more of a band experience over the last few years. I will be playing SUSTO songs on this tour. I have a couple solo albums I released on band camp back in 2014, but I don’t really perform those tunes much. I get to have a lot of freedom and control over the song writing and production of SUSTO, so I don’t really feel the need to do solo stuff. Who knows, maybe one day, but for this tour you can expect to hear SUSTO songs, possibly some new ones.

You’ve been quoted explaining how touring previously led to burnout. Does your current profile and the attention you been generating make the stress of the endless tours more bearable?

This is definitely a different experience than I had before, because now I believe in the music more and also I’m making a living doing this now, which feels nice and helps me keep good spirits. Touring does take a toll though, and I’m trying to be careful not to let myself get burnt out. During a long tour, it can feel overwhelming but I’m currently home for a while with only a few shows a month, and it feels like a nice break. It’s a balance, I know I’m going to be doing this for a while now because I’m enjoying it and its working pretty well, so I’m just going to try to be careful about how much I take on, because I really don’t want to feel burnt out again. I think we’ll keep touring pretty hard for another few years, another couple albums then maybe I’ll step away for a bit and try some other things. I don’t know, just trying to keep things open ended and interesting. I don’t want to find myself chained to the cycle of recording and touring, there are other things I want out of life too and I’m going to pursue those things at some point. For now, I’m enjoying the ride, and really enjoying working on our next album which I’m very excited for.

I look forward to seeing you in Europe in July!

Thanks for the questions! Looking forward to being back, hope to see you all at Static Roots.

Interview by Declan Culliton

Interview: Dietmar Leibecke / Static Roots Festival

With the summer festival season looming and given the quality of events on offer, it’s time to make those difficult decisions of which ones to consider. Unfortunately, with the exception of Kilkenny Roots, there are not too many choices at home for festivals catering for the Americana, Roots and Hardcore Country followers, resulting in the prospect of trips to the U.K. and further afield to seek out the kind of acts that hit the Lonesome Highway sweet spot. Oberhausen in Germany is the location for the Static Roots Festival, one that we will most certainly be returning to after attending the festival last year for the first time.

Germany is becoming a target market for many Irish acts with John Blek & The Rats, Anna Mitchell Band, The Midnight Union Band, Malojian, Luan Parle, Shane Joyce and Clive Barnes all having toured there in recent years, often playing to sell out venues. Static Roots is a festival that is attracting increasing numbers of punters from Ireland and the U.K, given the simple travel options available. It is also very much a punters festival, not overcrowded, impressive venue and surroundings, allowing easy access to the performers on stage and indeed off stage, as they mingle with the attendees between sets. Accurately described as a boutique festival, this year’s line-up includes Hannah Aldridge, The Cordovas, Anthony Da Costa, Charlie Whitten, Bennett Wilson Poole, The Stephen Stanley Band, Donald Byron Wheatley, Terra Lightfoot, Prinz Grizzley, Susto and our own Midnight Union Band. Lonesome Highway caught up with promoter Dietmar Leibecke, a passionate music follower and regular visitor to Ireland, to discuss the history of the festival, his motivation for staging the event and his ambitions for the festival going forward.

What was your inspiration to launch the festival two years ago?

I always loved the folk/americana festival scene in Canada, Ireland and the UK. Even in the Netherlands there are a few Americana festivals (e. g. “Take Root” or “Roots In The Park” and the newly founded “Down By The River”). But there is no such thing in Germany. The only two that come close are the label-dominated “Orange Blossom Special Festival” by Glitterhouse Records and the occasionally happening “Blue Rose Records Christmas Party”. Since my wife and I had a couple of anniversaries in 2016 - like our silver wedding, my 50th birthday, the 20th birthday of our daughter, the fifth anniversary of a kidney transplantation surgery (my wife donated one of her kidneys to me!) - we decided to organize a festival on our own after then ten years of promoting shows (another anniversary), booking tours, and having an Americana house concert series called “Raumfahrtzentrum Saarner Kuppe” in Mülheim an der Ruhr.

Since the Static Roots Festival 2016 was a (mostly) invite-only event, my wife and I sponsored the event (fees, food, drink, accommodation, venue etc). And at the same time we set up a funding campaign for Doctors Without Borders which ended with a phenomenal 9.500 EUR. We had the best of times – and all for a good cause!

Another big inspiration for the Static Roots Festival was the Kilkenny Roots Festival. It’s got such a great quality of acts, the most passionate, attentive and friendly audience you could wish for, and it has become a legend of its own in the European folk festival scene. When I first attended the Kilkenny Roots Festival I instantly felt like being part of a big family. For our Static Roots Festival the idea was to make something like the Kilkenny Roots Festival happen in Germany, too. That’s how the subtitle for our festival emerged: “peace, love, rock’n’roll” and I think it perfectly captures the great atmosphere we were able to create at the first two Static Roots Festivals.

While preparing for the Static Roots Festivals 2016 and 2017 I’ve been in touch with Willie Meighan quite often, asked for advice, discussed acts with him, and he’s been a great mentor. Willie recommended to book the Kilkenny-based The Midnight Union Band for the SRF 2016 and, man, he’s been so right! When Willie Meighan died after a long battle with cancer at the end of 2017, we decided to have a permanent festival slot in remembrance of and to celebrate the late great Willie Meighan and for 2018 there was no other choice than inviting over The Midnight Union Band again.

It’s very much a boutique festival, perfectly sized, well-chosen acts and a particularly social atmosphere. Is it your intention to expand the festival or are you content to keep it at the present size?

Actually, I am completely excited about how the festival developed. In 2016 there was actually just one festival day with six acts (well, five when considering Daniel Romano took the wrong turn on the Autobahn and ended up about 700km away from the venue). In 2017 there were two days and nine acts, this year we’ll have eleven acts on two days. We’ve been discussing other ideas with the venue (Zentrum Altenberg, Oberhausen) e. g. an outdoor acoustic stage but then again I think it’s very charming to have the lovely outside beer garden for a chat, some lovely food, and a German beer (of course) while people pay attention to the music in the stage room. 

The room itself has a capacity of 300 and the venue has another room with a capacity of 500 people. So there are options to grow from the number of attendees, too. But we’ll just see how things develop. I think it is important to keep the atmosphere of “peace, love, rock’n’roll” and it all might be just perfect the way it is.

As a smaller promoter how difficult is it to get your preferred acts to commit?

A big advantage of the Static Roots Festival: it’s the only pure Americana festival in Germany. The Americana scene is still a niche while it’s certainly growing these last few years. So we can offer a platform for acts that try to get a foot in the door of the German Americana market. We’ve had excellent press and radio coverage these last two years so the Static Roots Festival is indeed a great opportunity. And the acts I’m negotiating with usually recognize the chances. Except some managers who sometimes ask for unreasonable fees (“You’ve got to send a bus load of money to sign xxx!” – true story). All in all it’s not too hard to get my preferred acts to commit. It takes a while and I need to be persistent but my enthusiasm for great music is unbreakable and my optimism keeps me going. Even when an acts cancels, the disappointment doesn’t keep me distracted for more than fifteen minutes. Because it’s the opportunity to book another great act – and there are quite a few of them. As you sure know.

You appear to be as excited as the punters when you confirm acts that have been booked. Have you some set criteria for selecting the range of acts?

First of all, I am a fan. I don’t want to see the Static Roots Festival as some kind of business. I want to enjoy great music, I want to enjoy the people, the craic, the love that’s almost tangible at the Static Roots Festival. I’ve met so many amazing people through music, made tons of friends all over the world – it’s what I want our guests to experience as well. If music touches me in some way, it qualifies to be chosen for the line-up of the Static Roots Festival. That’s it. And I hope the music touches the audience as well – and mostly it does. Sometimes I feel like a little kid unwrapping presents on Christmas eve when an act confirms. Thinking about the lineup of the Static Roots Festival 2018 and the people that will attend makes me happy as a pig in mud. One thing is for sure: we’ll have a blast. 

You engage a dedicated MC to introduce the acts. What motivated this?

At the first Static Roots Festival in 2016 we had six dedicated folks announcing the six acts. One of them was my good friend Jeff Robson (radio host for Tell The Band To Go Home on umfm.com, a Canadian community radio station from Winnipeg, Manitoba). He introduced Leeroy Stagger and the way he did it was just phenomenal. He has a great sense of humour, an endless knowledge of music, he knows how to make the punters pay attention, he sends them to the merch table in a very charming way and he is totally perfect for the job as an MC. In 2017 we invited him over to be the MC for the whole festival and he was simply BRILLIANT! You don’t find good MCs too often and most festivals don’t even have an MC. I myself hate being the centre of attention, I like working in the background, I don’t want to stand in the light, I am much better at other things. So Jeff is actually doing me a big favour too. And then I think Jeff has become the face of the festival – which is totally great! He is such a great person, his radio show is my Sunday night tradition for at least ten years, I love him and he totally deserves it. And I think he loves being the MC, too. Which makes it even better. 

How much local knowledge is there for Americana in Germany?

As mentioned before, Americana music is still some kind of niche over here in mainland Europe. While the UK has some smashing success (from my point of view) since setting up their Americana-UK committee, there is not much going on in Germany. There are no particular Americana-related print or online magazines (except for maybe countrymusicnews.de). But there are a few German radio shows which are flying the flag of Americana music such as:

•HappySad, Christine Heise (radio eins, RBB), which in my handsome opinion is the most important one

•Songs to play, Markus Bäcker (674.fm)

•Blue Rose Records Radio Show, Edgar Heckmann (rockradio.de)

•Hillbilly Rockhouse, Gerd Stassen (countrymusic24.de)

What acts particularly excite you at this year’s festival?

Once again, I’m a total fan of Americana music. Each and every act at the Static Roots Festival has at least a couple of songs that touch me in some way or the other, some songs will make me shed a tear (e.g. when thinking of Stephen Stanley’s Troubadour’s Song which to me has become some kind of farewell song to our friend Willie Meighan), some songs will make me jump for joy, a ton of songs will give me goosebumps, I will have the best of times and will be wearing a big fat smile in my face all weekend long! The last act that hasn’t confirmed yet (we’re close to confirming though) will let me stand in the audience with both hands up, rooting for them after each song. There will be mesmerizing singer/songwriters, country acts, acts with a blues rock touch, indie-rock Americana, 70s guitar-and-harmony-driven music, soulful Americana… To me it’s such a great line-up, it wouldn’t be fair to name just one particular act. I see excitement all over the two days of the festival!

Your dream act, in realistic terms, to perform at the festival?

Dream act? Hm, my first thought was “I’ve booked all my dream acts already!”. But then again, there is one particular act I want to book for the festival at some point in time. And I think it would close a (very personal) circle.

I’ve got to go back in time to tell the story because somehow it’s the foundation to all I do in music (I took this text mainly from my invitation to our latest house concert with the legendary Steve Wynn from New York, USA):

Spring 1983: the 16 year old Dietmar is sitting in his tiny room and puts on a new album, “The Days Of Wine And Roses” by The Dream Syndicate. First song, Tell Me When It’s Over, 30 seconds in, completely blown away, knowing that this music was made for him, the album a total cracker. The next decade was musically shaped by The Dream Syndicate and its frontman, Steve Wynn. The album is still one of his all-time-favourites.

Spring 2004: never really having partied any of his birthdays, 38 year old Dietmar thinks about something special for celebrating his 40th birthday. And starts bothering Steve Wynn, the guy who  had the biggest impact on the development of Dietmar’s musical taste, about playing his 40th birthday party. 18 months later finally the confirmation: Steve Wynn & The Miracle 3 will be playing at the party!

June 2006: Dietmar’s 40th birthday party is big fun and Steve Wynn and his band play a blinder of a show. After the show Steve Wynn comes up and says: “Dietmar, have you ever heard of the concept of house concerts? I think you’d be the right guy to do it.” House concerts? WTH is that?

November 2007: the idea of house concerts has been growing big time on Dietmar and in November 2007, the Canadian folk rocker Leeroy Stagger plays the first ever show at Raumfahrtzentrum Saarner Kuppe. The beginning of a series of about 60 shows until today.

Finally the Static Roots Festival is some kind of natural development from the house concert series, from booking tours for my favourite acts, promoting public shows etc. So it all goes back to Steve Wynn and his band, The Dream Syndicate.

At some point in time I want The (reunited) Dream Syndicate to play a slot at the Static Roots Festival. This will finally close the circle from where it all began about 35 years ago. And then I might go and see what is the next step I can take.

Interview by Declan Culliton

Birds of Chicago Interview

Husband and wife duo Birds of Chicago - JT Nero and Allison Russell - make a welcomed return to Ireland in May, playing two sold out dates at the Kilkenny Roots Festival. The shows take place on the weekend of the official release of their eagerly awaited new album Love In Wartime, a fitting title reflecting the more than ever requirement for empathy in disturbingly uncertain times, both in The States and Europe. Among other things Lonesome Highway spoke with Allison about the new album, their gruelling touring schedule and the prospect of a return to Kilkenny where she performed with Po’Girl back in 2007.

The song writing on Real Midnight, released in 2016, often reads as a reminder of appreciating the present and living in the moment as much darker places may lurk on the horizon. Is that a reflection of JT (Nero) and your own ideology or simply a theme you adopted for the album?

I think we try to live that way… in the moment, in the present. But we don’t always succeed. We became parents 4 years ago - having our daughter, Ida Maeve - intensified everything. The greatest love we’ve ever experienced and also the deepest fear, terror and uncertainty. We were (are) wrestling with the profound heaviness of being responsible for another’s life. The fear of the vagaries and cruelties of the world - the desire to keep her safe always and the pain of knowing that’s impossible. We’re trying everyday to be our best selves for her, seeing the wonder of the world through her eyes. I think the writing on Real Midnight reflects the beginning of that journey.

Engaging Joe Henry as producer on Real Midnight seemed the perfect fit for that particular album. What drew you towards him?

We’ve been admirers of both the albums he makes himself and those he makes with others for many years. Joe brings out the best in everyone he works with. He knows a little something about shadows and light - love and revelation…He was our dream producer really- and like a dream - we didn’t think it could ever happen in reality. But our friend Rhiannon Giddens stepped in and brought us together. It was a transcendent experience working with Joe. There’s a warning about meeting your heroes - but he is better than we could have imagined. And we’re proud to call him a friend now.

I believe the album was the final album recorded at his legendary Garfield House Studio?

It was indeed, and a bittersweet happenstance it was. Joe, and his wife Melanie, and their children Levon, and Lulu had spent a decade in that house. They rebuilt and beautified it and filled it with music, life, love, and goodness in a most palpable way. Everyone from Bonnie Raitt and Lucinda Williams to Solomon Burke and Allen Toussaint recorded there...I got to sing into the same mic Bonnie used.  Joe called it his decade long masters class. The “For Sale” sign went up as we were beginning the Real Midnight Sessions and it sold shortly thereafter. Jay Bellerose had a kit that had lived there for over seven years. Ryan Freeland (Joe’s go to engineer- he is a genius and a fantastic producer in his own right- he produced the Barr Brothers Sleeping Operator album and their latest) and Joe knew every acoustic nook and cranny of that house and used them to best effect for each project. The walls radiated history, creativity, and song... We feel very, very fortunate to have been blessed by that mojo…

Rhiannon Giddens, a regular visitor to Ireland, features on the album and in many ways the album has a gorgeous bluesy spiritual thread similar to that of her solo work. How did that connection come about?

I met Rhiannon when she was playing with the Carolina Chocolate Drops at the Vancouver Folk Fest in 2006. I was playing with Po’Girl at the time. My bandmate Awna Teixeira and I wound up in shared a dorm with CCD in the artist residence (literally a dorm at the University of British Columbia - which is where the Fest put up the artists in those days) - and epic jams and hangs ensued. I remember Rhiannon showed me Skype for the first time - which seemed so Sci-Fi to me - she was skyping with her then fiancé, now husband,  Michael Laffan, who was in (and is from) Limerick, Ireland…And she helped me track down a recording put out by the Library of Congress called Sweet Petunias - a compilation of rare early “race records” of African American women blues songwriter/singers. We stayed in touch and in 2011 she invited me to be part of a production that she and the Drops were spearheading at Old Town School of Folk Music in Chicago. It was an exploration of the Great Migration of the African American diaspora from the South to the North and Vaudeville called Keep a Song in Your Soul - telling the story of the Black experience in America through Archetypal Vaudeville characters and music and dance from the period. Rhiannon played the protagonist “Country Girl” - and I played a bit of a villain- “City Girl”. There was a dance off involved - ha! JT and I formed Birds of Chicago in 2012 and Rhiannon invited us to open for the Drops on a tour and then had us open for some of the dates of her solo debut Tomorrow is my Turn tour in 2015.  She introduced us to Joe Henry, and now we rent her house in Nashville. And in her role as guest Artist Curator she’s presenting us at the Cambridge Folk Festival this August alongside Yola Carter, Amythyst Kiah, Kaia Kater, and Peggy Seeger. I’m also working on a project that she’s spearheading for Smithsonian Folkways. She’s a dear friend and a kindred spirit and has been a generous champion of ours.

We await the release of your new album Love In Wartime. Very interesting title. How will the material compare with Real Midnight?

Thematically there’s definitely a through line. Musically though - it’s a bit more of rock n’ roll record than Real Midnight. It’s more urgent. It’s been a fraught and divisive time in America, as I know it has in Europe as well…As a Canadian, who can’t vote in the country I’ve married into.. the last election was particularly destabilizing. If we only ever listened to the 24-hr news cycle or the current administration and didn’t have the privilege of traveling the length and breadth of the US - we wouldn’t know the deep kindness and goodness of the vast majority of Americans. We receive so much kindness and generosity from strangers in our touring life. Red State and Blue State alike. In the US, and Canada, and Ireland, and the UK, and the Netherlands - everywhere we’ve had the joy of touring. Strangers welcome us into their communities and become friends...  Friends who have all sorts of different beliefs, views, backgrounds, experiences, ethnicities, orientations, hurts - but who ultimately have more in common than not… We felt an urgency about reaffirming the ties that bind us and our shared human experience-  strength and vulnerability, fear and anger, hope and love- music… rather than buying into the specious rhetoric of  “us” and “them”...

The songs on Love in Wartime were born on the road - through two years of intensive touring and bonding with our 5 piece road band- Chris Merrill on bass, Nick Chambers on drums, Joel Schwartz on electric guitars, and JT and I of course, and Ida Maeve and our magical tour manager/ Ida whisperer Suzi Boelter... It marks the first time that JT and I have co-written songs (in the past we’ve written individually and then brought the songs to the band to arrange and elevate) - and the first time that Chris Merrill and JT have co-written, and the first time that Drew Lindsay (JT’s younger brother and our keys man on all our records) and I have co-written. We were also joined on the record by Dan Abu-Absi (Radio Free Honduras), who is a long-time member of our extended musical clan and a JT and The Clouds (JT’s previous band) alumnus - he plays second guitar. And we were joined by Javier Saumee Mazzee on percussion, and Kelly Hogan and Nora O’Connor (The Decembrists, Neko Case, The Flat Five) on additional harmony vocals.  We were joined by the marvellous Luther Dickinson (North Mississippi Allstars) in the role of co- producer along with JT. He made sure that we never played a song more than 3 times. We were all together at Steve Albini’s Electrical Audio Studio A (great warm sound, high ceilings, fantastic sight lines, and more music history mojo) with Alex Hall on the board (The Flat Five) - playing live and in real time pushing back the shadows in our hearts and minds and revelling in the communion that is a whole becoming more than the sum of its parts.

Is the album’s theme based in the present day or a retrospective on bygone times?

Both I’d say - and with a hope that our children or their children’s children may see an end of war in all its guises...

JT gets the writing credits for the majority of the songs on Real Midnight. Is this also the case with Love In Wartime and does he seek your input to ensure that the songs suit your vocal?

It’s always collaborative arrangement and shaping wise - but Love in Wartime is specifically more collaborative in terms of co-writing, though he still takes the lion’s share - not in a selfish way - JT is simply a much more prolific writer than I - he tends to churn out finished songs faster that I do. I have a slower arc to my writing- I have to fight the crippling inner critic more fiercely - particularly since becoming a mother. I’ve tended to write more in fits and starts.  But that’s starting to shift now that Ida is older and doesn’t get enraged anymore every time I pick up a banjo, or work on a tune- ha! JT is my biggest cheerleader. And he has been one of my all-time favourite writers since before I met him in person. So, I do particularly love when he taps into his inner feminine and merges with my voice/perspective. It’s a deeply intimate, open heart process. And I shape and bend the melodies as I see fit. Trust and connection and intuition like that with another writer/musician who also happens to be my life partner and one and only love is a gift I don’t take for granted.

You’re certainly working with some of the best with Steve Dawson co-producing the American Flowers EP released last year and Luther Dickinson on board for Love In Wartime. What factors dictate your choice of producers?

Joe, Steve, and Luther are all kindred spirits. They all have the same disregard for false/ superficial genre divisions that we do. They all have a bracing lack of preciousness or perfectionism in their approach as producers and musicians. They are all three musicians first - extra-ordinary ones - which I didn’t really think of consciously before you asked me this question. They are all ego-less - it’s not about them slapping some sort of brand upon the other artists they journey with/guide. It’s about keeping the conduits open, and the music flowing as naturally, and honestly as possible. It’s about helping the artists they work with get out of their own way. And that resonates deeply with us. They are also all three supremely good, wise, gentlemen and long-term husbands (of truly brilliant, amazing, creative, strong wives Melanie, Alice, and Necha) and fathers of equally brilliant, amazing, creative strong daughters (Joe also has a son - extremely creatively gifted too) - another commonality I never really thought of before...None of them supports flogging a song into the ground. Flow masters one and all...All of them tend to make a record in 6 days or less. In our case 4 days for Real Midnight, 1 day for American Flowers, 4 days for Love in Wartime.

Does Luther also contribute on the new album given his vast instrumental talents?

He doesn’t - this was such a band record - Luther didn’t feel the need to play since Joel and Dan were already shredding so hard- ha! Again Luther, like Joe and Steve isn’t coming from an ego-based place with his producing or playing. We will definitely do some recording together in future. I had the joy of doing some singing, and playing some clarinet, on Luther’s upcoming children’s record… He was initially slated to come and do some playing on the American Flowers session - but his schedule got too crazy ... he’s one of the hardest working musicians I know.

Has your relocation to Nashville changed your musical direction in any way?

Maybe in the sense of being more open to co-writes. And perhaps feeling more validated as a writer. There’s something so freeing and empowering for an artist and a writer to be in a town that has literally been built on songs. It is a “real” job!

You seem to be constantly touring, playing up to 200 shows a year. Is this a labour of love for you or a necessary industry evil?

Both I’d say … in a perfect world we’d tour 6 months out of the year and not 10-  Ida is getting older and needing more social time with peers…That’s been part of our move to Nashville - trying to shift things enough - to have a little more home time. She’s started (pre)school three days a week at a lovely gentle school here -they are used to musician’s children and nomadic schedules - and are flexible about it.  JT and Steve Dawson have started a production/engineering team together called Dim Stars. They just produced an album for Raina Rose (she is wonderful) - which I’m very excited about. I recently had a song of mine recorded by another artist for the first time - the luminous Lizz Wright (Concord Records) recorded a version of my song Barley to start off her latest Joe Henry produced album Grace. So, baby steps towards diversifying our music industry portfolio so to speak...I’ve always wanted to do voice overs- just putting that out there. 

You’re embarking on an intensive four-week tour in Europe commencing in April. How challenging is that both logistically and financially for Birds of Chicago?

We’re bringing over our five-piece band (with Andy Stack filling in for Joel Schwartz on electric guitar) for the first time - so it’s definitely a bigger risk/leap that we’re taking financially this time around. We wanted to do justice to the record and play our full band show in Europe- so hopefully people come along...I heard our Kilkenny Roots Fest shows are already sold out - so that’s encouraging! Logistically we are in very capable hands with the debonair Will Waghorn covering tour management duties. Our dear friend Pam is coming to watch Ida. We love how short the drives are in Europe as compared to touring in North America - especially my Canadian homeland … JT and I are very much looking forward to exploring the parks and museums of Europe with Ida before soundcheck everyday. 

Are both your previous projects, JT & The Clouds and Po’Girl, history at this stage or just in a self-induced coma?

Ha, I like that - self- induced coma ... Not history -Po’Girl has been on an extended hiatus whilst I worked on BoC and nation building, and whilst my beloved bandmate and sister from another mister - Awna Teixeira worked on 3 gorgeous solo records, we are the last two Po’s left standing. Trish Klein is managing other artists and running her own cafe/small venue/record store/label in Vancouver, BC called Hidden City Records. Diona teaches fiddle on a small island in BC. Most of the Clouds are also Birds. And Awna has also just relocated to Nashville - she and I are working on writing a new Po’Girl record (which is going to be produced by JT and Steve Dawson AKA Dim Stars) - that we’ll start recording sometime in the autumn. It’s a big extended family.

You played the Kilkenny Roots Festival in 2007 as part of Po’Girl. What are your memories of that visit?  

We had so much fun - hard to reckon that that is over a decade ago now! I remember we got there in time to dance with wild abandon to the Sadies set, I remember staying up till all hours in the hotel bar with all the other musicians- I remember playing in some beautiful underground ancient stone place- for some of the sponsors maybe with some of the other artists - I remember being mesmerized by Patrician Vonne’s castanet dance. Hearing Sarah Borges for the first time ... I remember being too shy to go up and talk to Amy Helm who was playing with Ollabelle at the time- she has since become a dear friend. I remember Paul Brainerd from Richmond Fontaine leaping up onstage to play a ripping trumpet solo with us … I remember feeling so welcome and at home and our whole band plotting how we could move to Ireland - in fact Trish Klein took steps to get her Irish citizenship soon after that - and met some long-lost relatives of hers while we were there … We were very young and we all drank too much and didn’t sleep enough and it was glorious.

I’ve no doubt you’ll receive a very warm welcome on your return to Kilkenny Roots in May and we very much look forward to your shows!

Thank you so much Declan- I’m thrilled that I get to come back with my new band! And with my family - peace, love, music - See you in May: xo Alli and the BoC family.

Interview by Declan Culliton

Margo Price Interview

The Margo Price story is well known by now, selling the family car and pawning her wedding ring to finance the recording of her debut solo album Midwest Farmers Daughter. The album finally received the deserved love from Jack White’s Third Man Records, having been rejected about everywhere else. The acceptance by Third Man was a blessing in disguise because she was finally signed to a label renowned for allowing its artists the freedom to express themselves artistically, a factor critically important to Price. "I’d castrate my arm rather than sell out" she notes without a hint of humour. "The more popularity I get the more I have to try even harder to keep my feet on the ground and not sell out and not get into advertisements for products I don’t believe in. Sometimes it’s hard to turn down the money, not everybody buys records these days and it gets very gruelling being out on the road all the time away from my kid. But I love it and it’s what I am."

Midwest Farmer's Daughter is confessional, raw and personal. A depiction of her life journey, warts and all, from childhood to the present day, confronting family trauma, bad relationships, depression, a short spell in jail and the tragic death of one of her twin baby boys. Its successor All American Made, though not musically dissimilar, casts a wider net questioning gender equality, politics, insincerity and exploitation. I wondered how comfortable she is when not writing in the first person or real-life issues. "I’d soon run out of things if I keep writing about myself’’ she laughs’’ I think I’m a strong writer when I deal in the first person but both my myself and my husband Jeremy, who cowrites with me, have written fictional. We might be watching a film and a scene influences a song idea. We recently wrote a song about a couple that finds a bunch of money and go on the road running from the cops and another story about a stripper and her dippy husband. I like writing about stuff like that too.’’

There is a song writing bloodline in her family. Her uncle Bobby Fischer took similar risks to his niece when packing his bags and leaving seventeen years of steady employment with International Harvester in Illinois to head to Nashville in 1970 to try and make a breakthrough as a songwriter, a career he had pursued part time for a number of years. With the support of his wife, who remained in Rock Island Illinois with the children for a further three years, he survived a few rocky years to eventually establish himself and wrote songs subsequently recorded by artists including George Jones, Reba Mc Entire, Charley Pride, Conway Twitty, Tanya Tucker and Lee Greenwood. I asked would she ever see herself recording a Margo Price sings Bobby Fischer album. "I do, I definitely do. He’s one hell of a writer and I’ve learned a lot from him and look up to him so much. He keeps notebooks full of lines, just song ideas. My husband and I have been over with him sometimes and he’ll say, I have a song title. We worked together on the song, put it down on a tape recorder and he had us sign a contract that it was a co-write. He’s blood but there was no such thing as a handshake, business is business! For his eightieth birthday I went over to his house and sang Writing On The Wall for him and was so nervous’’

The past two years have been a whirlwind for Price with the release of her two solo albums within an eighteen-month period, resulting in endless touring, appearances on Saturday Night Live, Austin City Limits, Jimmy Fallon in the States and Later With Jools Holland and Glastonbury in the U.K.  The twelve preceding years laid the foundation stones for her breakthrough, recording three albums with Buffalo Clover, a rock and southern soul fusion band that she and her husband Jeremy Ivey co-wrote for.  I question the temptation to release another album immediately to continue the momentum or will she spend a bit more time touring the two last albums. "Jeremy and I have already recorded a third record’’ she explains "though I’m not sure if we will put it out next, we decided to just record as much music as possible now. I’m thinking also about a new direction of sorts but it will still be roots, there won’t be any electronic music going on or collaborating with any DJ’s, that’s for sure!  We’ve recorded the album that I just mentioned in Nashville having gone to Memphis for Midwest Farmers Daughter and All American Made. I might go down a complete different avenue, Joshua Tree or something like that, maybe the West Coast, I like to change it up.  It’s hard to decide when to release the next album because we recorded All American Made in December 2016 and waited all the way until October 2017 to get it released and I’m already tired of those songs now (laughs), reinventing them and changing the tempos to keep us interested and on our toes.  I’d really like to get back on the Spring album release cycle, it’s the perfect time, so I’m thinking of the next album release in Spring 2019. I’ve got stuff going on between now and then, I’ve been working on the soundtrack for a western film and we’ve talked about releasing a compilation of Buffalo Clover recordings including some stuff that’s unreleased so we’ve got a few things to tide us over. I’ve also got a country artist that’s one of my favourites and has a hold of one of my songs to hopefully record which I’d love.’’

The title track of All American Made was in fact written during her Buffalo Clover days and might not have seen the light of day had there been a different outcome to the last American Presidential election. "The election definitely gave the song more weight and gravity. The message has always been the same, I’ve always questioned authority and not trusted the powers that be and the last election definitely brought the song out, it’s amazing how events can change a song.’’

Price is representative of a growing group of female artists in East Nashville with the talents to make industry breakthroughs given the opportunity and some good breaks. I mention artists such as Lilly Hiatt, Erin Rae and Lillie Mae, three exceptionally talented artists, all neighbours of hers. Price has consistently written about gender inequality both in financial and career opportunities with This Town Gets Around from her debut album and Pay Gap and Wild Women from her current release. A torch carrier and spokeswoman for her peers perhaps. "I love Lilly Hiatt, I’ve played drums in her band! There’s always music circles going from disco to a poppy sound and then people get tired of the shallowness. I think now is a good time for musicians in general who are writing real heartfelt songs and not one dimensional. You may have heard of Dan Bradbury, he’s one of my favourite writers and he’s also struggling a lot to get people to believe in him and put his music out. I just tell them this is the purgatory period and there is light at the end of the tunnel and keep working hard and you’ll get the breaks. I really love Lillie Mae also, she’s been playing bluegrass for years and years, since she was a young child, she’s a phenomenal picker and great guitar player as well as the fiddle. Erin Rae is coming on tour with me opening on some dates in The States, such a talented writer, the Joni Mitchell of her generation’’

The C2C tour that she is currently playing is interesting in that realistically herself and Emmylou Harris are the only two acts of the twelve performers who could be classified as country in the true sense. They are also the only acts of the touring group that don’t get wall to wall airplay on Country Music Radio but have still managed to made major industry inroads. With a touring schedule that has resulted in her being at home for the grand total of two days in the past two months I wondered, given that she would be performing to a different audience than her core followers, if the exposure would be beneficial."Yeah, but you know what they say about exposure, some people die from it! Last night in Glasgow, I’m not sure if many people at the show knew or ever heard of me. It took some work but I think I did win them over. We were the only act to have pedal steel so I’m quite happy to represent the roots side of things and when I went to my dressing room and see its next to Emmylou Harris’s it makes me want to cry! So that’s good enough for me.’’

The mention of Emmylou Harris prompts me to recollect a conversation I was fortunate to  eavesdrop on a couple of years back. It’s September 26th 2016 and I find myself at The American Legion in Nashville, attending a party night hosted by young local honky tonker Cale Tyson. With the Americana Music Festival closing the previous day the evening promises to be the perfect come down before heading home to the real world the following morning. Between acts I slip out to the near empty bar for refreshments where, to my surprise, both Margo Price and her husband Jeremy Ivey were seated and in conversation with the bar maid, a charming lady who must have been approaching eighty years of age and who was obviously known to the couple. Only an hour earlier Margo Price had completed a live radio recording of Skyville Live, on stage with Emmylou Harris and was recounting the tale to the intrigued bar maid.’’ I’ve just been on stage with my lifetime hero Emmylou Harris’’, said a beaming Price to which the bar maid replied "But honey, you’re a big star now." Price gets quite emotional when I recall this incident, wiping a tear from her eye. We are seated in the hospitality room at the 3 Arena, where Price is due to perform that evening at the C2C Festival, on a bill that coincidentally also includes Emmylou Harris.  "Oh my God I remember that well. It’s pretty surreal some days. I had actually played The Americana Award Show at The Ryman in 2016 a few nights previous to that. I couldn’t find my ticket and didn’t know where my dressing room was. I thought I’d just go backstage and hang out. I passed the dressing rooms and saw a sign on one door that read Emmylou Harris, Bonnie Raitt and Margo Price. I got so nervous that I thought, I can’t go in there right now. I went to the bathroom and stayed there for a while before I plucked up the courage to go in to the dressing room. When I did they were all so nice to me and I got a photo taken with me between Bonnie and Emmylou and after I played they both shook my hand and gave me some compliments and I was on cloud nine. Even last night in Glasgow when I went to my dressing room and see it next to Emmylou Harris’s it makes me want to cry’’ she laughs. "I love her so much and have covered so many of hers and The Hot Bands Songs over the years.’’

Emmylou Harris is only one of country music royalty that Price’s has been rubbing shoulders with in the past couple of years. Steve Earle, Kris Kristofferson and Buddy Miller, all heroes of hers, have shared various stages with her but possibly the most striking endorsement of her rising profile was having Willie Nelson guest on the track Learning To Lose on her current album. As the track fades out Nelson can be heard signing off by saying ‘Allright … that’s good’. And good the track certainly is. ‘’We were listening to a lot of Willie Nelson when we wrote that song so it was written in the style of Willie Nelson’’ she points out "I had never met him and my husband and I were in our bedroom writing the song and I said wouldn’t it be cool to get Willie to sing on this song. It was a pipe dream having not ever met him so we were on cloud nine when he agreed to sing on it. I’d love to hear him sing the whole song himself one day. His vocal was so good and his guitar playing too. We had so many solos from him that we didn’t know which one to pick for the track. I was sitting there listening to them with tears rolling down my face.’’

Interview by Declan Culliton  Photographs by Ger Culliton

Tony Poole Interview

Those of a certain age, together with earnest music historians, will be familiar with the U.K. 70’s band Starry Eyed and Laughing. Formed by Tony Poole and Ross McGeeney in 1973, their title was taken from a line in the Bob Dylan composition Chimes of Freedom, a song recorded by The Byrds on their 1965 debut album Mr. Tambourine Man. Poole’s trademark Rickenbacker playing combined with Mc Geeney’s Fender Telecaster sound was further evidence of The Byrds influence on them but they matured into much more than a mere tribute band, developing a distinctive stamp of their own with material that embraced both countrified folk with a sound that would be tagged today as power pop. Signed to CBS Records in 1974 they recorded their self-titled album that year followed by Thought Talk in 1975 and also three John Peel Sessions over that two-year period. A poorly managed career promoting tour of the States together with their management company folding unfortunately derailed the band, who finally disbanded in 1976. You’re left to consider what heights they could have reached had they been launched five years earlier, as the arrival of British Pub Rock followed by Punk and New Wave in the mid 70’s alienated theirs’s – and many other band’s - core sound.

Tony Poole’s musical career in the intervening years concentrated more on production duties, working with numerous acts including Maddy Prior, Steeleye Span, Pentangle, The Men They Couldn’t Hang, Rose Kemp and Danny and The Champions of The World.  He has recently returned to creative writing and performing duties in collaboration with Danny Wilson (Danny & The Champions of the World) and Robin Bennett (The Dreaming Spires). Bennett Wilson Poole, their self-titled album, is due for release next month following some excellent pre-release reviews in many publications including Lonesome Highway.

Tony Poole’s continuing enthusiasm and positivity is a joy to behold, well in evidence as he articulated the highs and lows of his career to date and his passion for his current project with Danny Wilson and Robin Bennett.  

What career expectations did you have when Starry Eyed and Laughing were signed to CBS in 1974? 

You know, at the time there was really no 'career' expectation at all - just a drive to write and perform, inspired by the music of The Beatles, The Byrd’s, Bob Dylan, Joni Mitchell, and all those great artists who expressed honestly what it is to be alive in this time, and find some understanding of it all. I think that is still the motivation for many artists doing the same today - a 'career' is just about being able to keep doing that.  

Fond memories or regrets looking back at that period?

Many great memories - probably the best was playing the Amazing Zigzag Concert at the Roundhouse with Michael Nesmith, John Stewart, Help Yourself and Chilli Willi & The Red Hot Peppers. Pete Frame and John Tobler's Zigzag magazine represented that same honesty I mentioned. It was incredible to be a part of that celebration and fantastic to have had it all recorded ('The Amazing Zigzag Concert 5 CD Box Set' on Road Goes On Forever Records). The only regret I can mention is that we didn't survive longer and have a chance to grow as a band.

The pub rock scene was particularly vibrant at that time with bands like yourselves, Ducks Deluxe, Ace, Eggs Over Easy, Bees Make Honey, Brinsley Schwarz, Kilburn and The High Roads and Dr. Feelgood at the leading edge. Did you consider yourselves part of an alternative movement to the overblown prog scene at that time?

All Great Bands! But not really - we were kind of in our own bubble - our virtual 'scene' was populated by those artists I mentioned. And, strangely enough, although we were playing in that same 'pub-rock' period, (and played many pubs!), we never felt part of that scene either - our music didn't quite fit, and we only briefly interacted socially - usually in 'dressing rooms' (a euphemism a lot of the time) or in service stations at 4am after gigs.

You toured with some heavyweights in the U.S. at that time. Who impressed you the most and what are your memories of that tour?

The biggest impression was when we supported Flo & Eddie (The Turtles) for three nights at The Bottom Line in New York. The place was heaving, the atmosphere magic and they were fantastic. In the audience were Lou Reed, Patti Smith, Slade (!), The Flying Burrito Brothers (who we invited on stage to play with us!) - I recall meeting Eddie Tickner, The Byrds' legendary manager. And of course, after becoming friends with Mark & Howard (Flo & Eddie), they eventually produced the very last Starry Eyed and Laughing records. Apart from our gigs, being on Columbia Records meant we got to see Bob Dylan's Rolling Thunder show in Hartford - absolutely amazing to be in the presence of the music and words live and right in front of our eyes and ears: Dylan, Baez, McGuinn, Joni, Mick Ronson and the rest of that gypsy gathering. We were kindred visiting gypsies on our US tour too!

Some of the bands or their members seamlessly (with shorter hair and narrow trousers!) infiltrated the punk movement or new wave as it eventually became. Were you a supporter or coconscious objector to Punk / New Wave 

Definitely a supporter! I loved The Sex Pistols, The Clash, and Siouxsie, never saw them but their records were amazing (for different reasons- The Pistols for their sheer force and amazing production, and The Clash for their rawness). And although I also loved many of the suddenly short-haired skinny-tied new wave 'punks' (Elvis Costello, The Police - sorry if that offends anyone), I never felt I could do that convincingly and never did - I did have shorter hair and a skinny tie though!

Tell me about your efforts to regain the rights to the masters of the albums and the remastering process that followed?

Luckily for us, our record deal was cleverly negotiated by our manager Norman Lawrence (a wonderful man, sadly died at 58 from Leukaemia in 1998), through a licence to CBS that had an expiration date. So the rights in the recordings are all ours. Recovering the actual masters was a trial of endurance, as nobody at the label even remembered we'd been signed! Eventually I managed to trace them, and then had the well-known problem of disintegrating Ampex tape. The re-mastering was a long process, sometimes of trial and error, but became easier with more recent archive tracks as the music software increasingly approaches a kind of magic 

You survived in the music industry in the intervening years and still maintain an obvious enthusiasm for all things music. What were the highs and lows of that period?

The high that matters is really just having managed to survive doing (mostly) the true thing I love to do. Specifically: being able to produce Danny's album, getting to work with The Dreaming Spires, knowing Roger McGuinn and getting his ultimate praise for what I do (still a dream to produce him!).

The lows (living in my car, being broke consistently, being virtually paralysed for 3 months with polymyalgia 4 years ago - those are ones that come to mind) don't even seem that low in hindsight- just part of life's adventure - we're soon gone anyway!

What musically has impressed you most since then and how does the standard of recording and performing artists compare to those of your early career?

I think there's been a consistent thread of genuine artists and songs that carry the same honesty and questing of those that I mentioned at the start - I'm so happy to be connected to the ones I've come to know, and to play with or produce. Recording has becoming so much easier and available than when we started - I think becoming a recording engineer (as it really was in the analog days of mechanical machines) and producer comes from my frustration with that. But the essence of it remains the same - the intention and the 'realness' of a record is far more important than how perfectly auto-tuned and quantised it is (to quote the great Robin Bennett: 'you can ride your horse to win, but that's not the race we're running in').

Which brings us to the present and your involvement in Bennett Wilson Poole. Had you ambitions at the outset to record and perform with Danny Wilson and Robin Bennett or how did the project develop?

Our manager, Howard Mills, says it was absolutely inevitable that we'd do something together! We're such great friends, and having sung and performed with both of them previously, I think he's put it perfectly! (He’s a very wise man).  For me, it's been completely serendipitous - a natural confluence of skills, personalities and common outlooks on what we're here for.

Who took the lead in respect of the song writing duties?

This all started with Danny and Robin deciding to write some songs together on Facetime. So, I think that was pretty much equal between them. When they'd had a few written, they asked me if I'd get involved and sent me some demos - that was a no-brainer, and would have been without hearing a thing! They're both incredible songwriters. I sent them a couple of phone demos of unfinished songs which they liked, and we three finished them very quickly on the morning of the first session - it was a wonderful 'common-mind' experience. For 'Lifeboat', Robin actually took the phonetic sounds I sang in the chorus and wrote down what he thought he heard (' I don't know ...there is no easy way to know how we got here'), - it worked out perfectly. I wrote 'Hate Won't Win' the morning after the murder of Jo Cox, a Thursday which happened to be two days before a session, and sent them a phone recording - on the Saturday, we finished the song together and had it recorded by the end of the day - up on YouTube on Monday. The short answer is that we’re all very pro-active and have all been 'front men' in our careers, so it's a completely equal thing.

What tracks on the album are you most proud of?

I couldn't possibly choose - they're all like children and have taken a life of their own. Time will show which means the most eventually. And to be contrary to what I just said, I think Danny and Robin's 'Hide Behind A Smile' is probably going to be the classic ... it's such a universal truth of this culture we're all living in.

The closing track Lifeboat (Take A Picture Of Yourself) is very much a reflection of the double standards that prevail today and at nearly eight minutes long is epic. What was the motivation for the song?

I saw a news front page that had a photo of an overcrowded and possibly sinking refugee boat in the Mediterranean - right next to an article on 'selfies'. The juxtapositon just hit me - two sets of humans on this same planet, yet in such different worlds. How could it be? The drowning mass unseen and ignored by the individual self-obsession of this culture. I just thought I'd put them all in that same boat. In which we all are, ultimately. My original words were a lot stronger actually, but as is usually the case with extremes, less effective if understanding is the aim, rather than destruction.

The album has been receiving great review even a couple of months before its official release. Have you been taking by surprise by the reaction?

Very surprised! Though I must say Danny and Robin's enthusiasm for the album, and the reaction from many friends we sent copies to did form a kind of thought that we'd hit something special, and a modest expectation that people would like it. You get a feeling that the wave is pulling you, rather than you pushing against it. I've had it just twice before, firstly in Starry Eyed And Laughing when Geoff Brown wrote a glowing review in Melody Maker of our 8th gig ever, and we just seemingly sailed upward to a major label record contract within months.  Secondly, after I produced The Men They Couldn't Hang and became their de facto manager (I was the only one with a phone!). The wave for them - such a great band! - was an absolute surge - No.3 in John Peel's Festive 50 in 1984, front page of the Melody Maker, and clandestine handing over of singles for exclusive reviews! It's a different world and music business now for sure, but the positive wave feeling still applies. I think we've just been very honest with our thoughts and influences in the writing and recording of the songs, and those thoughts and influences are shared by so many.

You’ve already starting performing the album live. Are you intending playing as a three piece or with a band when you perform at The Kilkenny Roots Festival in May?

We're playing as a three piece at The Kilkenny Roots Festival in May - it's shaping up to be about 50-50 Full band/trio gigs over this summer.

Can we expect some Starry Eyed and Laughing, Danny & The Champs and Dreaming Spires material on the set list or all Bennett Wilson Poole originals?

Yes! We've rehearsed 'One Foot In The Boat' and 'Flames In The Rain' from the 2nd Starry Eyed LP ... we're also doing some Grand Drive, Goldrush and Dreaming Spires tunes - specifically The Dreaming Spires' amazing  'Searching For The Supertruth' which I played and sang on and produced. A wonderful Goldrush song that made the charts 'Wide Open Sky'. Grand Drive was Danny's band before The Champs, and we're doing a great song of his about Elvis: '5th Letter'. Coincidentally, I produced and played on another song Danny wrote about Elvis: 'Colonel & The King' on his 'Hearts & Arrows' album - I like that connection. And one of my favourites of Danny's (there are lots!): 'Old Soul' from his solo album 'The Famous Mad Mile' - soon to be released on vinyl I think! I'm sure there'll be more ... and also some surprises!

Interview (in the style of Zig Zag) by Declan Culliton

Peter Mulvey Interview

Singer-songwriters never tread an easy path and the demands of the journey are filled with unseen twists and turns. One such travelling troubadour, Peter Mulvey, has navigated this chosen path with great élan and joie de vivre as his career has developed. Take his prodigious energy for continuous touring and his ever- impressive recorded output and you are close to the perfect example of the creative drive involved in turning dreams into reality. Lonesome Highway asked Peter to give us a peek into his current state of mind and also, reflect on the past, as he prepares for his Irish tour. 

Your next Dublin concert is coming up on 21st April next at the Workman’s Club in the city centre. Is this to highlight your latest release, Are You Listening?, which came out in March last year?

I’ve been on the road all my life. Every show is just about the audience, and myself, and the room. A moment that comes and then goes. Sure, I’ll play stuff from Are You Listening? but I’ll play very old stuff and brand new songs. I imagine I’ll play a song or two that get written between now, when I’m typing these words, and that day at the Workman’s Club.

The record was produced by Ani Di Franco, and released on her record label, Righteous Babe Records. Was it your song in 2015, Take Down Your Flag, that led to your initial meeting?

We’d met long before then and been peripherally aware of each other. But in 2014 I did a show with her in Anchorage, Alaska, and we had supper and bonded a bit, and she brought me on a few little runs here and there. It was during one of those that the murders at Mother Emanuel happened, and we sat together with her bandmates Terence and Todd just mulling it all over. I went in the dressing room, wrote Flag, went onstage, sang it, and when I came off Ani said “teach me that tune” and that’s where it started. So, it was natural that she would shepherd my next batch of songs out into the world.

That song was written as a result of a mass shooting at the AME Emanuel Church in Charleston and there was also an online benefit concert which you organised in support of the victims and their community. Were you pleased with the support of the music fraternity and the results, which generated quite a lot of media attention.

I was pleased to be of some small help, and to be some tiny drop in the river of our ongoing American awakening. We have a long road. We are a country awash in racism. Our current president is clearly racist, and an awful human being. I hope that this whole era is a wound being lanced.

As a musician, Ani Di Franco has always displayed a very eclectic vision, delivering a mix of folk, punk, rap and more recently, jazz leanings, across her records. How did she impact on your song-craft and the overall production?

She’s a born leader and a tremendous listener (those are the same thing, now that I say them out loud.) All of this ran through her lens. My favourite part was when she was overdubbing all the subtle vocal flourishes and piano and glockenspiel. 

Her guitar style is very percussive and rhythmic, something that you share in common; is there anything you learned from collaborating with her that has changed your approach to playing? 

Everything, though most of that is probably so deep in the past that it’s unavailable to me consciously. It’s just in the DNA now, Michael Hedges and Ani DiFranco and David Hidalgo...

You have been influenced by Chris Smither in your formative years as a musician and collaborate regularly with David Goodrich. What do these artists bring to you in terms of your musical development?

They’re my mentors, and still my dear friends. Smither brought me along into the world and taught me everything, and Goody and I grew up together.

You are looking back at 25 years of playing, recording and touring, averaging 100 gigs a year. What drives you to keep up the unrelenting pace over so many years?

Actually it’s 130 gigs a year over that span. But I’d go with “brisk” rather than “unrelenting”. I just love my work. I love a room, I love listeners, I love songs. At my age, I do have to engage in better self-care than I used to. More walking. Less drinking. More sleeping. I hope to keep a brisk pace into my seventies. Smither sure does.

Has the dynamic of touring changed much over this time?

Not at all. It’s a familiar thing and I wouldn’t really want it to change.

Does the relentless travel take its toll on your performance levels?

The opposite is true: I really feel I get into the swing of things as a run goes on.

Is getting paid from performing live the main source of income?

Yes, and it always has been. I probably just break even on records. I usually only sell three or four thousand records over the release, and that’s not a huge amount.

The lack of royalties on downloads and streaming has driven many talented artists out of the music business. How do you survive in an environment with the many constraints on income generation from all sources these days? 

I never depended on it in the first place. I was lucky enough to find the part of the job that I love, and that hasn’t dried up.

You have been a frequent visitor to Ireland over the years but we have not seen you for a while (three years?) – did you decide to finally take a time-out from your demanding touring schedule to take stock?

Not at all. I just didn’t have someone booking me tours over here. Now I’ve found, strangely, an American agency that does a decent job.

When did you first visit Ireland and how do your experiences of that time compare with the Ireland of today?

I was an exchange student in 1989 at St. Patrick’s College in Maynooth. Mostly I just cut classes and hung out on Grafton Street with all the young buskers who were doing songs from Fisherman’s Blues and This Is The Sea. Peter Gabriel tunes, and Violent Femmes tunes. I made money in Irish coins and spent it on a used army jacket in Temple Bar ... I’d take the money and go hitchhiking and stay in youth hostels. And then I didn’t come back until 1997, Celtic Tiger and all that. Things change. Things don’t change. People are people. We’re all just primates with cell phones. 

You display a real lust for life and draw your influences from a number of creative sources - including poetry/ literature/narrative/daily encounters. Does your writing tend towards the personal perspective as a preference?

I tend to veer pretty widely. I have two records written right now, and just put the personal one down. I’ll follow with the universal one after. I will say, over the years, that those two antipodes have merged.

In 1995, your release, Rapture, included a hidden track and spoken word song, Aurora Borealis. Is there a factual story behind this track?

Yes indeed. A friend of mine was the kid. Hitchhiking in the South, taken in and given a place to stay by a racist, sexist jack wagon. The whole story is true. I stole it. What an unmerry band of thieves are we writers.

Your release, Letters From A Flying Machine (2009), was a departure in that it was a concept of sorts; letters from you to your nephews and nieces, read as spoken word pieces. What was the motivation behind the recording?

It all just arose from real life. I was setting down artefacts in my relationship with my brothers’ and sisters’ kids, things for them to dredge up when they become adults. And it seemed vibrant enough to make a record out of it.

You have also written a book, Vlad The Astrophysicist. It is dedicated to Children, Adults and other Old Souls. What was the original idea behind this?

It was one of the letters. And it’s a true story: I met an astrophysicist from the Czech Republic, and I asked him “Why haven’t we heard from another civilization” and he gave me an honest answer. It blew my mind, and so I really, really needed to find a way to get it into the world. So, it became one of the spoken word pieces on Letter... and then it became a TEDx Talk. And then a book. 

Was this the key factor that lead to your appearance on the Ted Talk programme?

The curator of the TED event got dragged to one of my shows and immediately asked me to participate in TEDx. It’s invite-only and it doesn’t pay. Which normally, as a working artist, I’d be a little wary of. But it’s a pretty beautiful idea.

In 2014, Silver Ladder was your 16th official release and was funded by a kick starter campaign. Have you happy memories of that experience?

Indeed I do. It’s a great feeling when you realize that you have the stalwart support of an audience that goes back decades.

Chuck Prophet produced this record. What did he bring to the project?

He is an instigator, a born antagonist, a court jester and a devil’s advocate. He made me walk the plank at every moment. The opposite of Ani. Both of them got good results.

You embark on a yearly bicycle tour in America. Apart from promoting fitness levels beyond most musician’s comprehension, have you encountered many close shaves on the American highways and byways?

Occasionally, yes. Cars are suspect. They isolate us in our glass bubbles and make us aggressive and careless. It’s part of why I do the bike tours in the first place: to find yet another way to stay human.

The latest release, Are You Listening?  suggests a growing frustration at the creeping indifference to hardship, inequality and suffering in the USA over recent times. Is the title a reflection of this?

The lynchpin of the whole record is an Anton Chekov quote: “Art should prepare us for tenderness.” It appears as an epigraph in the poem that made it onto the record, Winter Poem. I’m actually very hopeful about my country: Trump is clearly one of the worst people ever to hold the office, but, significantly, he is the oldest to hold that office, too. He’s the past. Frankly, my generation is kinder and softer and more creative and more nurturing than his was — the evidence bears that out. And the kids, don’t get me started. The kids are great. I’m very hopeful. I can’t help but notice that Sinn Fein’s new president is my age, and that she quoted Maya Angelou in her acceptance speech. I don’t know much else about her, but those two things seem promising from this distance. I think the future’s promising everywhere.

Your high energy performance levels have been captured on your live records (Glencree/Ten Thousand Mornings), collaborations (Redbird/The Knuckleball Suite), instrumental projects (David Goodrich), recorded standards (The Good Stuff) and indeed your entire body of work. How important is it to challenge yourself and step outside of your comfort zone when it comes to taking on different projects?

Picasso said that art shakes the dust from ordinary life. My experience is that you’d better be growing, always growing, if you want to be of any use to an audience. I’m just looking for ordinary magic.

You often include cover songs in your live shows and recorded output. What motivates your choices when it comes to selecting specific songs?

Oh, it’s just like trying on a jacket in a thrift store. Does it fit? Does it feel good? Sold.

Is the glass half full or half empty right now?

The glass is twice as large as it needs to be.

So, looking forward to seeing your return to Ireland in April. Is there a full tour this time around and what can we expect?

Oh yes. Dublin, Cork, Galway, Belfast, Ballymore, Dundalk, Leap, Limavady...

Peter Mulvey plays Dublin Workman’s Club on Saturday 21st April next. There will be other Irish dates announced shortly.

Make sure you catch this superb musician on his upcoming Irish tour. His live performance is always one that stays in the memory and Peter Mulvey gives everything he has got in communicating, entertaining, motivating and inspiring an audience to go out there and live life to the full. 

Interview by Paul McGee

Peter Oren Interview

Indiana born Peter Oren’s dramatic baritone voice combined with his visionary song writing places him among the most talented young artist currently representing the lo-fi music genre. His concerns at the continuing interferences by humans in atmospheric and geologic issues is the subject of his recent album Anthropocene. Depressing as the subject matter may be, the album is dreamlike and immensely enjoyable, enriched by Oren’s calming and restful vocal delivery. Due to perform in both Dublin and Kilkenny next May Lonesome Highway spoke with Oren about the motivation for his writing, his frustrations and the artists that he currently admires. 

I believe your initial writings came by way of poetry. What motivated you to add music to the words?

Right. I had an English teacher my senior year of high school that had us read and analyse a poem as a class. The year prior, I stopped hanging out with a group of old friends because I was tired of the way they made fun of each other in a group setting. I started hanging out with a couple of new friends not long thereafter, and one of them I knew a little bit better than the other. The friend I knew better graduated a year early our senior year and went to Spain to work on a farm. The friend I didn’t know so well also knew a bit of guitar, so we ended up trying to write songs together for fun and joke about being famous indie musicians.

Had you studied music growing up?

There was always a piano in the house so far as I remember. I was made to take piano lessons at a young age, but I hardly practiced and didn’t really enjoy it. Later at 12 or 13 I asked for a guitar after learning more about music, particularly classic rock such as Hendrix, Led Zeppelin, and Pink Floyd. I didn’t take guitar lessons more than a year or two as I recall. I played in the middle school church band at my catholic school. I stopped playing so much when I left the private middle school for high school. All this is to say that my musical training is limited and that I mostly just took the chords I learned and figured out which ones go next to the others.

Your work appears often inspired by travel and observation. Is the material written on the spot or ideas stored and fleshed out when you sit down to complete an album?

It depends. My workflow is far from streamlined. I think Living By the Light was mostly written while traveling. Lake Crescent was written a month or two after having visited Washington state. Songs mostly happen independently, but I guess that some of the songs for my current album Anthropocene were written with the album in mind.

Your lyrics are as much about questioning as voicing an opinion?

I feel like I have a hundred songs that start with “I don’t know.” It’s my accidental-go-to opening line. I have plenty of opinions, but even more questions. I’d rather have understandings than opinions, but sometimes opinions are all you can have. An opinion is like an untested hypothesis. For example, in my opinion, a shift to an economy that prioritizes meeting people’s needs, protecting the ecological health of the planet, and maximizing autonomy via direct democratic control would be significantly better than capitalism, but this hypothesis has scarcely had the opportunity to be tested, with the exception of the anarchists in Spain back in the 30’s, the Zapatistas in Chiapas, MX, and recently the Kurds who formed the PKK. What I’ve read about these groups has been limited, but favourable.

Many established artists and bands dip in and out of environmental issues, often genuinely, sometimes a more cynical marketing exercise. Your song writing predominately addresses ecological issues.  Do you feel like a lone voice by times and have you considered forming a movement with other like-minded artists?

I definitely don’t feel alone in being tuned in to the ecological catastrophes of the day. I think there were a number of albums called Anthropocene when I looked it up, but not many in my genre if any. It was mostly metal I think. But there are definitely songwriters who are concerned and putting it in writing. It’s not always front-and-centre, and the artists aren’t as big as, say, Drake, but they exist. I’m definitely interested in seeing more people not only deeply concerned about the state of things but also taking action.

I don’t know what a movement of artists addressing the pervasive environmental problems would look like, but I hope that it would involve a look in the mirror that it would not just scratch the surface of the problem but also find the systemic causes.

Artists travel a lot in order to make a living, which makes our footprints much larger than most. I don’t blame them, mostly. I for one am just trying to survive capitalism in a way that might contribute to change, but I’m not sure it will. I fly and drive a lot more than I would otherwise. Sometimes I wonder what the “music industry” would look like in an ecologically-sound economy. High-speed rails to shows powered by wind and solar? Shows via the web and less travel? Collective ownership of the labels they are on?

Does much of the subject matter of your work depress you and is your writing a means of dealing with the inherent despondency contained within the material?

Yes, often I write to relieve depression brought on by the big issues we face collectively but have so little power over individually. In the case of “Anthropocene” I was writing from my own perspective and frustration, but I was spurred by a friend who was feeling depressed about the state of things and wondered out loud where all the songs about climate change are.

Your latest album Anthropocene, one that I’ve been treasuring since its release, appeared only one year after your debut recording Living By The Light.  Was all the material for the album written in that twelve-month period?

I’m glad to hear you dig it. I think most of the material was, yes. The song New Gardens was written way back in 2011 and brought into the mix when my ex said I should consider it because the line “save the fences for the rabbits” sounded timely, given Trump’s border policy. Oh, also, River and Stone was written in 2014. And Canary in a Mine was tumbling around my box of songs for a couple years I think. I don’t remember exactly when I wrote it. Had to look through the list of songs to answer that question...

 How challenging is the material from Anthropocene to deliver live while playing solo and do you prefer performing with a band or unaccompanied?

I rarely play with a band, unfortunately. I wish I could afford it, but it’s difficult to pay people at this stage to be quite honest. I wrote the songs without a band, usually on guitar first, so they’re built to be played solo. It’s not a big deal. I think they sound good stripped back. When I’m really raking it in, though, I’ll surely play with other people. It’s lonesome playing alone!

Tell me about how your relationship was formed with producer Ken Coomer?

I played a show opening for Gill Landry. He was accompanied by a band, including Jacob Edwards on drums. I kept in touch with Jacob and passed him Living By the Light. He passed it to Ken, then put us in touch when Ken indicated interest. Eventually I met with him at his studio while I was in Nashville and played him some new tunes, and we decided to work on a record.

Are you working on a third album at present?

I have a bunch of half-written songs and ideas for songs that I’m trying to work through and figure out which things are good, which are not worth the groove on a record, and which I can get placed in beer commercials so I don’t have to pay rent anymore. I’ll be free to do so until late March, so I’m hoping I come up with significant progress towards an album (or at least a song for a beer commercial) in that time.

The most obvious comparisons with yourself is Bill Callahan, an analogy that you may be tired of at this stage!  I understand you’re on record as an admirer of his work.  What other current artists or music moves you?

Yeah, I heard that almost every night on my recent tour with Jens Lekman. Bill’s great, so I can’t complain.

I really dig Adrianne Lenker of Big Thief. She’s an amazing writer. So outstanding. Alynda Segarra of Hurray for the Riff Raff is also great. Her song “Pa’lante” put me in tears. Tamara Lindeman of The Weather Station is a favourite. All Of It Was Mine is my favourite of hers. Joan Shelley’s great. I listen to Sleeping Bag a lot--a buddy from Bloomington, IN. I really dig Ka. His lyricism is so good it’s ridiculous. I wish AA Bondy would put out a new record. I play his three records more than anything else I listen to, probably. Blake Mills would be my first pick if I were building a band. He’s an absurdly talented guitarist, a standout songwriter, and a great producer. Also, Aaron Lee Tasjan, Duran Jones and the Indications, Angelo de Augustine, Elvis Perkins, Jessica Pratt, Kevin Krauter, and Lean Year all ought to make my list. Why not, this is an internet publication, right? 

Interview by Declan Culliton

Peter Oren plays upstairs at Whelans on Saturday 5th May. Tickets €12 are on sale now from Ticketmaster.

Midland Interview

Midland are a trio who play country music that has an allegiance to the traditional side of things while maintaining a strong contemporary edge to their music. The latter is a result of working with the production and successful mainstream writing team of Dann Huff, Shane McAnally and Josh Osborne. The former by their commitment to delivering songs in the spirit of 70’s and 80’s heroes like Gary Stewart and Dwight Yoakum. Mark Wystrach, Jeff Carson and Cameron Duddy had all played music in the past and with each other but never as the trio Midland until they met at a wedding, realised a common bond and began writing and playing together. They also come from different working backgrounds and experiences with Wystrach gaining employment as an underwear model and Cameron Duddy as a video director (for Bruno Mars). This background, in certain quarters, fostered some controversy about the band’s background and history but there was no discounting the success the band had with the song Drinkin’ Problem. It was featured on their 2016 EP and was released as a single in July the following year and was a Top 5 hit at radio. Later that year they released their album On The Rocks which also featured the 5 tracks on the EP along with 8 additional tracks. Both were released by the influential Big Machine a label who undoubtedly had the where-with-all to help the band get noticed.

They have been touring since the album’s release and are playing the C2C Festival in Dublin, Glasgow and London where they should make a lot of new friends with their looks, “Nudie” styled suits and strong country sound. Lonesome Highway spoke to the band in Nashville prior to their departure to Europe.

The band’s name was take from the song Fair to Midland which featured on Dwight Yoakum’s Population Me album. So I asked them what the song and the title meant to them and by choosing it from Yoakum’s work was he a hero of the bands. Jeff responded that Midland has “multiple meanings in that each of us has our own philosophical appreciation of that but it began with Dwight Yoakam’s Fair To Midland song”. He further explained that “We were all living in different places when we started the band and we kind of met in the middle, which was El Paso, Texas. We meet in the middle as what we do is the combination of the three of us. So it has those multiple meanings for us. But in the simplest form the Dwight Yoakum song is the source” He acknowledged that the singer/actor was a big influence at the beginning with his “brand of balls to the wall honky tonk”.

As Yoakum did in the 80’s and 90’s and as Marty Stuart and Jim Lauderdale do today, did they feel that wearing the embroidered suits on the album cover was a statement in itself. Jeff again was affirmative in his response “Yeah, if you take someone like Dwight and going back to people like Roy Rogers in the ‘40s and Gene Autry and others it was important to be seen or as Roy Rogers said “from the nosebleed seats.” He further reasoned “there has always been a certain pageantry in country music all the way up to Gram Parsons and Dwight Yoakum and people like that. So we’re just wearing that influence literally.” 

Asked about the creation of the songs and their sound and how it developed Wystrach considered that the album came from “three years of us being on the road and playing live for three or four and sometimes five night a week. So that comes straight from our blood, sweat and tears. There is a persona in the album that’s a little bit of Jess and Cameron and of me. That came from where we had been and where we were living - which is what On The Rocks is all about, which was our journey.” 

So I wondered were they going to stick with the same team for their next recordings. Again Wystrach answered that “nothing stays the exact same.” Elaborating that with the band “there is always going to be evolutions but the elements of who and what we are in Midland are evolving, so I don’t think the next album will sound just like On The Rocks as we progress and something changes.” But did they as band members felt that they were working well as a team and that they were going to continue to work with the team we have. “Cameron, Jess and I are very involved with every single aspect from the songwriting to the production through the creative direction etc. Everything is done through the three of us. We have amazing collaborators in Dan Huff, Shane McAnally and Josh Osborne so we’re looking forward to working with them again.”

In that light I asked if there was pressure for them to move in any way to a more pop-oriented direction to gain more exposure on radio. Wystrach considered this but felt that “Midland - me, Jess and Cam just focus on what we’re doing. I think that’s what has been cutting through. I think you can attribute a lot of the success to the fact that it has something that is fresh and something very musical. It’s not pop.” Midland he emphaised were aiming for something less throwaway that some of the music currently riding high in the country radio charts. The band were not trying to do follow that more obvious route and that in terms of their song writing “what we do has some density to it as we’re not writing disposable, mechanical pop songs. We are writing from the heart and that’s where it’s got to start and finish.”

Was that a difficult position to maintain in that light I wondered. This time Carson responded “We didn’t have pressure from radio as when we started we didn’t think that we would be getting radio play or that radio would be interested in the music. I think that Drinkin’ Problem shocked everyone by showing that there are people who want to hear that on mainstream country radio. So we didn’t record those songs for radio we recorded them for ourselves.” 

Like most bands there is a democracy of sorts at play but did the trio divide tasks among themselves to a role that they felt best suited. Duddy answered “Well it depends on the task but we are definitely more productive when we divide and conquer. We each have a strong suit in something and it’s also a better use of our time. Everything goes through Midland so it’s actually easier for us on an emotional level as I couldn’t imagine doing this myself.” There is obviously a close bond that they have together and they had evolved a way of working that suited them and helped with the stress that is part and parcel of being in a band in these times. Duddy felt that there was a lot of pressure involved in making music including touring and he noted “I feel that every week there is some new bar that you have to raise up to, some new obstacle, and to be able to do that together and bear the weight of the pressure is made durable by the three of us doing that together” Also in terms of creativity that “you have a bouncing board and it has therefore to pass through at least two filters. If you’re Luke Bryan you don’t have that.”  Therefore if you were an individual that “you are always thinking, in the back of your mind, where is this opinion coming from? Whereas when you’re in the band the three involved can give an honest opinion, a straight “do you like this or not?” 

With a time constraint I asked the final question as to how they like to play live “We travel with additional players, they are close friends. Robbie Crowell is our drummer Luke Cutchen is our guitar player. He was basically working on our guitars in Austin and so we offered him the job.” All are looking forward to bringing their show to Europe “We haven’t been across the pond yet to play a show.” Duddy ended the interview by exclaiming “Speaking for myself I’m really excited to be coming over.”

Interview by Stephen Rapid

Rachel Baiman Interview

27 year old Nashville based songwriter and multi-instrumentalist Rachel Baiman released her debut solo album Shame in June of 2017. Baiman is also a member of 10 String Symphony, a duo with Christian Sedelmyer, both five string banjo players, whose 2015 album Weight Of The World featured on NPR’s listings of newest and most promising voices in Americana on it’s release.  She is scheduled to play dates next May at JJ Harlow’s in Roscommon and Cleere’s in Kilkenny on the final day of The Kilkenny Roots Festival. Both dates will feature her sharing the stage with Molly Tuttle who was voted Guitar Player of The Year at The IBMA Awards last October. Lonesome Highway caught up with Rachel to learn more about the album and the motivation for much of the material featured on it.

Your excellent album Shame featured in our Best of 2017, having reviewed it last year. It’s perfectly balanced by being most listenable while challenging thorny political and social issues head on. You must be particularly pleased with it? 

 I'm really proud of it- it was definitely a big step for me artistically, and thanks for your kind words!  

The title track is particularly powerful tackling subject matter that is currently the focus of a referendum to be conducted in Ireland in the coming months. Was this the first song written for the album?

I don't think it was the first song written chronologically - but it was the song that first shaped the whole idea for the album. I think I actually wrote I could have been your lover too first. But after I wrote Shame I think the thematic tone was set and I felt more sure that this was an album I needed to make. 

The album mixes present social and political issues rather than harping back to older times as other artists do. Is this an indication of someone who lives very much in the present?

Ha-ha I wish! I always admire people who are Zen and do lots of yoga (my band mates in particular). I think I live mostly in the future - I'm usually on to the next thing so fast that I can't fully enjoy the present. 

How did the song writing and formation for the material compare with your compositions for your other project 10 String Symphony?

I think it's a difference between a personal voice and a band voice. When 10 String Symphony began we were working a lot with traditional music and how we could innovate on that - deconstructing traditional forms and incorporating a lot of original elements. Now that we do mostly original material the writing and arranging is really collaborative and has to reflect the mutual voice that we've created. With Shame I kind of went the opposite direction- I wanted to uncomplicate things. I was purposefully honest and straightforward to a vulnerable extent. 

The album includes two covers, one being Never Tire Of The Road by Andy Irvine, an artist who’s writing continually tackles issues of social injustice. Were you introduced to his music at an early age?

Actually, no- I'm a more recent fan. My fiancé George introduced me to that song because he thought I would like it and I became obsessed. 

Rather than the expected rebellion against your parent’s principals as a teenager you actually embraced their ideals and continue to do so in your musical career. You obviously had an interest in global politics from an early age?

I wasn't necessarily interested so much as inundated with global politics, but I was definitely always interested in social justice issues. It took me a while to figure out how to make that something I can tap into emotionally, through songs. I was living to two spheres for a while, studying anthropology and playing music at night. Now I feel like those interests are very much one and the same. 

The motivation for founding Folk Fights Back hardly needs explaining given the political upheaval in The States over the past couple of years. How has the movement been growing and what are your realistic goals going forward?

We've seen a lot of amazing support this year, I think the movement grew really fast, more quickly than the three (myself, Lily Henley and Kaitlyn Raitz) of us really had time to do properly. So moving forward, we are going to aim to do fewer shows and have them be more synced up so that we can get back the national/international community feel of having them happen surrounding the same issue on the same day. We are also working this year to support voter registration and voter engagement for the mid-term election. A lack of voter participation is a huge problem over here.  

The lack of support for female artists whether it be by radio play or record labels must be a source of infuriation, particularly with the endless stream of talent presently residing in Nashville and the quality of the material being produced. How do you deal with this frustration and do you see any light at the end of the tunnel?

 I'm lucky to have worked with an amazing label, Free Dirt Records, for the release of Shame. Free Dirt has released a number of albums by great female artists, which is part of the reason that I wanted to work with them. They don't make a big deal out of their feminist business practices, they just treat it as business as usual, and I really like that. I think it's the way it should be because it normalizes things that should be normal. 

There is so much horror going on in the United States, and it's hard to find a group of people that isn't being attacked or disadvantaged further by this presidency.  It's hard for me to focus specifically on sexism in the music industry when I see it as a part of this huge societal issue. My way of dealing with the patriarchy in general is just to constantly push myself out of my comfort zone. I push myself to make the best music I can make, to be a better instrumentalist, to know about sound engineering, to work harder and dig deeper and exceed people's expectations of a "female artist" so that nobody can argue with my abilities and my professionalism.  I was inspired by some amazing female artists, Caroline Spence, Lilly Hiatt, Courtney Barnett, Dori Freeman, among many others, to believe in myself. So I hope that females in the music business can continue to inspire one another, lift each other up, and become those record label executives and radio programmers and producers so that we aren't depending on an unrepresentative population to "support female artists".

Did you train formally as a musician? 

Yes and no - I had a lot of lessons with fiddle players and violinists growing up. In college, I studied anthropology but I also spent a lot of time at the music school taking theory, ear training, music history, etc. 

You are due to perform at The Kilkenny Roots Festival in May with Molly Tuttle, another musical virtuoso. How did the relationship with Molly develop? 

Molly is a good friend of mine, we started hanging out when she moved to Nashville a couple years ago. Since she also recently released her first solo album, I thought it would be amazing for us to be able to co-promote our projects while simultaneously having a total blast.  As you know, Molly is a phenomenal instrumentalist and I'm really looking forward to learning from and playing with her. 

The pairing of you both on tour is inspired. Do you intend performing selections from both your recent albums on stage together or playing individual slots?

We will be doing a lot of collaboration, mainly backing one another up on our respective original material (me on fiddle and banjo for her songs, her on lead guitar for mine), but we are also working on some special new material that will be more duo oriented. 

I have no doubt you’ll get a tremendous reception and welcome when you play your dates in Ireland and very look forward to your shows

Thanks so much, we are really looking forward to it as well! 

Interview by Declan Culliton

Michaela Anne Interview

 

One of the joys of travelling to Nashville every September for the AMA’s Festival is discovering artists not previously encountered and with over 300 acts on offer each year it’s not difficult to come across a number of new-sprung gems.  2017’s pilgrimage was no exception with a number of - new to me - acts particularly impressing, none more than Nashville resident Michaela Anne.

 The 5 Spot on Forrest Avenue in East Nashville is where many emerging local artists cut their teeth, often at the renowned weekly Tuesday sessions hosted by Derek Hoke, which offers entry and beers at the princely sum of $2. Last year’s AMA’s Tuesday 5 Spot evening featured Nashville based band Los Colognes, listed to play the entire Neil Young Tonight’s The Night album in chronological order, but also to be joined on stage by ‘friends’. The mention of ‘friends’ immediately set off alarm bells that this was the place to be on that particular evening. True to form Margo Price, Caitlin Rose and Lilly Hiatt all joined Los Colognes on stage for what proved to be a memorable set with the venue full to capacity from early in the evening.  The icing on the cake was the opportunity to also catch Michaela Anne’s splendid support set, a mixture of traditional honky tonk and bar room weepies, aided by a top-notch collection of musicians.  A fellow annual Nashville wayfarer, who accompanied me to the 5 Spot, had met Michaela on a previous visit to the festival and made the introduction after her show. We agreed to make contact in the coming months for an interview with Lonesome Highway when she arrived back in Nashville following an extensive touring schedule as part of Sam Outlaw’s backing band.

Where do you call home today having relocated from Brooklyn to Nashville or did you even get a chance to unpack a suitcase given your hectic schedule last year?

Nashville’s home now. I moved there 3 years ago. My husband and I bought a house over a year ago but I’ve probably only lived in it collectively a handful of months. 2017 definitely was wild with how much I was on tour so I’m excited to be home a bit more this year.

The East Nashville underground scene is blossoming at present, populated in particular with an apparent endless stream of gifted female artists. On arrival did you find the environment supportive or competitive?

I found it really supportive. My first night in town I played a show at the 5 Spot in East Nashville and immediately met Kristina Murray, Erin Rae McCaskle, Derek Hoke and a handful of other local musicians who have all remained great friends. Erin Rae right away told me she thought Kelsey Waldon and I would hit it off, which we did, and that first year in town I felt immediately embraced and befriended by many of the women whose music I love. There are so many talented artists in town, especially of the female gender and I really do think we all genuinely support each other. Of course everyone probably feels envy or some sense of competition at different points as this is a tough business to keep going and survive in. But at the core I think there’s a sense of feeling like we’re all in this together. And we’re musicians, we love playing AND hearing music, so we genuinely do enjoy hearing each others work and being inspired by it.

I get the impression of Michaela Anne as a decidedly structured and disciplined individual, traits not always to be found in particularly artistic people but a huge advantage in someone focused on making a breakthrough. Is this an accurate assumption?

Ha! Well yes and no. I definitely work hard and am ambitious and driven and probably have a bit more “structure and discipline” then what some would assume the “typical artist” would have but I do also have my head in the clouds quite a bit. I did work for a record label right out of college so I learned at a young age some of the benefits of 9 to 5 office structure and the hard work that goes into promoting music. And of course the important lesson that just being good at music isn’t always enough to build a career. 

Your 2016 album Bright Lights and The Fame is top drawer traditional classic country, avoiding the radio friendly pop crossover sound so dominant on what passes for Country Music Radio today. Did you make a conscious decision to avoid a mainstream sound on the album?

Yes and no. It wasn’t conscious in that we weren’t overtly avoiding it. We were just making the record we liked and wanted to hear. I don’t like hating on things so I wouldn’t speak negatively about it but I would say the pop country radio sound is not one I’m particulary drawn to. I’ll get into a song here and there but generally the production isn’t my preference. I definitely love some good pop music and love a lot of 90s pop country but for my album I was drawing more inspiration from records of the 60s/70s and my favorite old records by Linda Ronstadt, Emmylou Harris and early Lucinda Williams records.

I believe you had written a number of the songs before heading to Nashville. Were the finished versions dramatically different from what you originally intended?

The majority of the songs were actually written in Nashville. Stars I wrote in Brooklyn following the death of my grandmother, Luisa was in Brooklyn and Liquor Up I started in Brooklyn but finished the day before we started tracking in the studio. Writing in Nashville was the first time I had concentrated and dedicated writing time. In New York, everything takes longer and is more expensive so having a whole day to focus on songwriting was a very rare luxury. Nashville provided me with that and it was exciting to get to focus on songs in a whole new way. I remember when Dave Brainard and I wrote Everything I Couldn’t Be, we started at 9am and didn’t end until 9 at night. We took breaks for meals but I had never had that experience and the attention we gave that song was really exciting for me.

You co-wrote two of the tracks on the album (Everything I Couldn’t Be and Won’t Go Down) with Dave Brainard who previously worked with Brandy Clark.  How did that relationship develop and is co-writing an experience you intend pursuing in the future?

I had met Dave when I opened a show in NY for Brandy and he was playing in her band. We kept in touch and started getting together when I moved to Nashville. He was one of the first people I really started co-writing with. I do intend to keep pursuing co-writing. I love writing alone as well and will always do that but it’s interesting to see how different the songs can come out when you team up with another songwriter. You can push each other out of your habits and go-tos in a way that you don’t on your own. 

Not many artists can boast of breezing into Nashville and having Rodney Crowell appear on their first album recorded there! How did that come about?

Dan Knobler, who produced Bright Lights and the Fame, is married to Rodney’s daughter. We were good friends along with colleagues so I was friendly with the family and Dan suggested we ask Rodney if he’d be interested in singing. Luckily he was and squeezed in the session during a very busy year for him. He’s one of my all time favorite songwriters so it really was surreal and one of those ‘is this really my life?’ moments when I sat in his home studio listening to him sing my song. I’ll always be grateful to both Rodney and Dan for that.

The album was produced by Dan Knobler, who previously worked with Rosanne Cash, Tift Merritt, Erin Rae and Shannon McNally. I believe Dan also relocated from Brooklyn to Nashville and that you had previously worked with him?

Yes Dan and I were friends in Brooklyn and he had been playing guitar for me the last year I lived there. We started talking more about recording and did a couple trial sessions  before he moved to Nashville and then ultimately started working on the record as soon as he arrived. 

Tell me about your transition from a jazz student in Manhattan to a country artist?

Well they are definitely two very different worlds. I grew up singing all kinds of music: country, pop, musical theater, jazz standards, you name it. So when it came time for college I was a little at a loss for what to do. I ended up in jazz school because I loved the American Songbook and old swing tunes, many of which have a lot in common with old country songs and western swing. Patsy Cline used to sing Irving Berlin tunes. But I quickly realized that wasn’t the kind of jazz they were focusing on at the New School and sought out the rootsier music scene in NYC. Luckily I heard about Michael Daves (a great bluegrass guitarist) and started taking lessons from him. From Michael, I learned how to play guitar and he turned me onto the Louvin Brothers, which completely blew my mind. From there I got really into the thriving Bluegrass and Old Time scene in Brooklyn and naturally just progressed into owning the fact that the songs I had been writing for years were much more country sounding and jazz was not the genre where I would be having my career.

Solo shows, a showcase at the Americana Music Festival, playing in Sam Outlaw’s Band, tours of Europe and performing on stage with Ron Pope at Carnegie Hall. 2017 seems to have been a whirlwind year. Did you get an opportunity to do any writing while you were on the road or do you generally require a more relaxed environment for creative inspiration?

I have! I generally don’t write very much while on tour but occasionally a song idea will pop into my head that I’ll save to finish later. I often feel like I need relaxed and reclusive environments to really be able to write. I try to take self imposed “retreats” semi-often to be able to focus more and get some songs under my belt. I’m excited to currently not be touring and get to write a bit more (although I constantly miss the road).

Is it imperative to have a number of projects running in parallel to survive in the industry today given the meagre financial pickings available and do you foresee this changing looking forward?

I honestly have no idea! So many people refer to the music industry these days as the wild west. Formats and platforms keep changing rapidly as far as how/where/when people consume music and where the money will come from. So I’m really unsure of what the future holds for artists. I try to keep the faith that between live shows, selling merch and teaching music lessons I’ll keep getting by and hopefully people will keep valuing music and artists enough to pay for all of these things! I also try to focus on the connection with fans. Streaming/cds/vinyl whatever will all change and come and go but I really believe if you connect with your audience you have a better chance of surviving all of the changes in the long term.

Plans for 2018?

Record an album! I’m currently on a flight out to LA to record a couple new songs of mine with Sam Outlaw and making plans to record a full length by spring. I really really want to return to Europe in 2018 so I’m working on making that happen as well! 

Interview by Declan Culliton  Photograph by Kristine Potter

Interview with Ryan Boldt

The Deep Dark Wood’s first performance in Ireland at The Kilkenny Roots Festival in 2013 appears to have made as much an impression on the band as it did on those lucky enough to witness their shows. Arriving at the venue with the assistance of a tow truck might not be considered the ideal starting point but everything worked out admirably in the end.

The Canadian band make a return visit to Kilkenny for The Roots Festival in May and frontman Ryan Boldt took the time to chat with Lonesome Highway about the history of the band, his love of Celtic Folk music, their excellent current album Yarrow and much more.

How has The Deep Dark Woods evolved since its formation in 2005 and how difficult was the break up with the original line up?

Members have come and gone since about 2009, Geoff joined just after Winter Hours, Burke left and Clayton Linthicum joined, Lucas left. Chris and the band mutually agreed to part ways. There’s been a lot of changes, most bands that last over 10 years change members. It was quite painful, but we’ve come through it and are a better band because of it. 

What prompted the release of your solo album Broadside Ballads in 2015?

I’d recorded a lot of the songs a couple years before it was released but never got the chance to put it out. The band went on hiatus and it seemed like the perfect time to release it. I wanted to continue playing music and touring even if some of the other members of The Deep Dark Woods didn’t want that. This is all I’ve known for my entire adult life, this and working garbage labour jobs. I didn’t want to go back to mixing concrete or hanging drywall.

The Celtic / English Folk influences which appeared on Broadside Ballads also weave their way through much of the material on your recent album Yarrow. Is this a reflection of the territory you want The Deep Dark Woods to permanently inhabit or will you head in a different direction next time around?

I’ve always been into English, Irish and Scottish folk music. I guess it’s kind of seeped into my own writing over the years. It certainly helps to have people in your band that listen to the same records as you. I’m not really sure what direction the band will head in, I just write songs and the band plays them, we never really think about making it sound a certain way.

The material on Yarrow works remarkably well as a whole, dominated by tales of dark, unearthly and spooky places, occasionally visited in your previous work with the band. Over what period was the album written and how important was it to achieve that symmetry?

I wrote most of the songs over the 3 years the band was hiatus. It was a dark time, which probably contributed to the darker songs I suppose. I wanted the album to be shorter and to the point. I find the previous albums to be too long and not as consistent, I wanted the album to fit onto two sides. I wrote about 14 songs for the record with the help of Shuyler Jansen who I produced the record with and we trimmed it down to 9. In the past we would have recorded all 14 and put them all on there, it was nice to have someone in the studio with me doing some editing, something I’d never had before.

You’re on the record name checking Shirley Collins as an inspiration for your song writing / story telling a number of years before she recorded Lodestar in 2016 after an absence in the studio of nearly 40 years. How did you connect with her music?

I found her records through Fairport Convention, someone gave me a copy of Liege and Lief when I was about 18 or 19. I started going back and looking into albums related to them, that’s when I came across Shirley Collins’ No Roses and from there I found a well of beautiful records. Because of Shirley Collins I’ve discovered a lot of traditional music I had never heard before. Songs like Brigg Fair, Dabbling in the Dew and Richie Story. I love her and hope someday I can sit down and thank her for the influence she’s had on me over the years.

You recently opened for Richard Thompson at The Pitchfork Social on salt Spring Island. I suspect he is another artist that has had an impact on you during your career?

Yes, very much so… Fairport Convention is my favourite band. Opening for Richard Thompson was one of the greatest thrills of my life, the best part was taking the ferry back to Victoria with him, talking about folk music and watching birds. He had binoculars with him.

Understandably much of your musical roadmap direction appears to be from artists and recordings of decades ago. Do you tap into any current artists output or continue to be influenced by the past? 

I’m mainly influenced by stuff from the past, I don’t listen to a lot of modern music. I do like Kurt Vile and Cass McCombs and of course The Sadies are the finest band in Canada.

The inclusion of backing vocals by Kacy Anderson, beautifully threaded through the album, creates a spectacular atmosphere. How did the connection with both Kacy and Clayton (Linthicum) come about? 

I’ve known the both of them for years now. They lived out on the farm in southern Saskatchewan, about a 2 or 3-hour drive from where I was living in Mortlach, which is just a Sunday drive for us prairie folk. Clayton played in the Deep Dark Woods for a couple years after Burke left the group and I’ve been singing songs in my Mortlach living room with Kacy for about 6 years now. The two of them are like my younger siblings, I love them with everything in me, unconditional love. 

 The quality of acts coming out of Canada under the Americana umbrella in recent years is staggering.  The Canadian Council of The Arts and The Canadian Music Fund (CME) appears to offer support to artists quite unlike other countries. Has this been helpful in your continuing career and how does the model work?

Yes, it’s been very helpful. We are very lucky here in Canada. Canada cares about artists, they realize that without music and art we would all be extremely depressed and a lot of us would have no reason to live.

You are due to return to Kilkenny in May 2017 for the Roots Festival. Tell me about your memories of your appearances at the Festival in 2013?

Kilkenny Roots is still one of the greatest festivals we’ve played, the people are so welcoming, real music fans. The night before Kilkenny we were in London, drove after the show and broke down somewhere in the middle of nowhere. We called a tow truck and they basically told us we weren’t going to make it in time. Kiko, our tour manager somehow got the driver to tow us to the ferry terminal in Holyhead, we were able to start the van and barely make it on the ferry, we called another tow in Dublin who came and towed us from the ferry terminal right to the venue. We made it just in time for soundcheck, hadn’t slept a wink, the venue was packed and it was one of the most memorable shows of the past 12 years. We ended up staying up all night listening to people sing Pogues songs in the bar. It was our first time in Ireland and it is now one of my favourite countries I’ve had the pleasure of visiting.  

Who can we expect to see on stage with you at The Festival?

Geoff Hilhorst will be there playing the organ along with the Yarrow band, Shuyler Jansen, Mike Silverman, Kacy and Clayton and our latest addition Evan Cheadle. My mom and dad and aunt will be there too. They’re flying from Victoria for the festival and to do some family history research. I had family in Kilkenny before they came to Canada. Could be why I feel at home whenever I’m there. 

Interview by Declan Culliton (January 2018)