Kayla Ray Interview

The topic for our weekly Lonesome Highway Radio Show on 103.2 Dublin City FM some weeks back was "Outlaw Ladies in Country Music of Today and Yesterday." Nine artists featured, not surprisingly Dolly Parton, Lucinda Williams, KD Laing and Elizabeth Cook were all selected. Possibly not quite as obvious but equally deserving of the accolade were Charline Arthur, Gail Davies, Kimmie Rhodes and Audrey Auld. All these names would be familiar to hardcore traditional country music lovers. The final artist that we felt also justified the distinction was a young lady from Waco Texas named Kayla Ray, her recently released album Yesterday & Me having made quite an impression on the lovers of all things classic country amongst us at Lonesome Highway. What’s principally notable about Ray, unlike so many of her contemporaries, is that she is heart and soul country, not someone dabbling experimentally in the genre or playing the pop / country card trick. A flag bearer for traditional country among her generation perhaps. ‘’Wow. I’m thrilled to be a part of that list. I would be proud to be considered that, carrying on tradition via truth is certainly my intent.’’

Yesterday & Me follows her debut album Love & Liquor and contains lyrics that are particularly striking and forthright, projecting a no holds barred honesty in her writing. "I wrote all of those songs over the course of the year or two following my 2014 release. This album is very reflective of the stages of my life at the time and any trials or tribulations of that era bore great lessons worth sharing in a very transparent fashion.’’

The opening track Rockport is the ideal song to enlighten the listener of the direction in which the album is heading. A tale of intended liberation and challenge that descends into drug addiction and suicide, it was written by Jon Dews, a friend of Ray’s. "Jon is a brilliant writer, a brilliant dude and an all-around great friend. I knew the first night he played it for me I had to cut it. The melody paired with such a vivid story just pulled me in and blew me away."

The other cover on the album Once A Week Cheaters, sung with Colton Hawkins, is a timeless male/female country ballad that would sit comfortably on any Porter Dolly or Jones/Wynette album. It was written, but never recorded, by the exceptionally talented country singer Keith Whitley, who passed away at such an early age from prolonged alcohol abuse. "My friend Erin Enderlin - an incredible songwriter out of Nashville. Look her up, y’all won’t regret it - had been given this demo along with a few others by a man who was an early plugger for Whitley. It was a real honor to have the shot to record that song. And, I’ve known Colton Hawkins (we call him Banjo) for ages. We’ve knocked around the Waco circuit together for years now and I’ve always thought his delivery was so effortless and expressive. He’s a big Whitley nut just as I am and I knew he would be perfect for the job.’’

The ongoing opiates epidemic and the whole issue of anti-depressant prescription, which combined are the biggest killer in The States at present, and the blatant involvement of the pharmaceutical industry and medical industry, is addressed inPills, in both a humorous yet ‘in your face’ manner. A YouTube video captures Ray performing it with a smile on her face. However, it’s a serious topic that she obviously has strong feelings about. "Sure, we live in a very strange time concerning big pharma, vulture capitalism and the perpetuation of addiction. No one is immune and it’s worth shedding some light on.’’

There has been no shortage of gifted female artists from The Lone Star State over the years. Rosie Flores, Nanci Griffith, Lee Ann Rimes and Lee Ann Womack have been household names for decades together with the more recent breakthrough artists Miranda Lambert, Kacey Musgraves and to a lesser degree Sunny Sweeney and Sarah Jarosz. In a comparable manner to both Lambert and Musgraves in particular, Ray writes passionately about her home State, but in an edgy fashion that is less likely to have Country Music Radio queuing up to playlist her material. The track Red Rivers Valley’s Run Dry is very much a slice of hometown Texas for Ray, the subject matter which is very close to her heart. "Yes! You could say that. Tifni Simons sings on this track with me. She was our favourite bar tender at Papa Joes, our local haunt. The story is reflective of both her life as well as that of the journey of many women I’ve known, struggling to find their place and something that represents survival. While very little of this story is literal, I do believe that there are elements of existence that happen no matter the location. This track is a co-write with my dear friend Joshua Barnard, who played all of the lead guitar on this album. He and I were kids together and he knows me better than most. We were touring through the Red River Valley and I presented him with the story line to which he replied, “Sounds like a waltz to me”. The rest is country music.’’

There’s no end of torment and suffering on the album, beautifully articulated it has to be said. The album’s title Yesterday & Me and the track itself is as much about looking forward as over one’s shoulder, implying lessons learned and gained. ‘’Thanks for your kind words. It means a lot that you listened so closely. And yes, absolutely. This song as well as the album as a whole is very personal. It is about pain, struggle, triumph, regret, reflection and the hope that tomorrow brings.’

A preference for writing autobiographically emanates throughout the album, potentially therapeutic in attempting to put closure on certain experiences. "As I age and venture out, I am enjoying more of a story line building approach. However, my innate reactions as a writer have always been to write from an autobiographical standpoint and, writing has certainly always been my go-to in working through any emotionally challenging situation. What is refreshing about Ray’s music is that it is both natural and free willed. Her influences and musical backstory have always been in country music. Unlike many of her peers she did not embrace a rebellious grunge period in her teens.Her signature sound is unapologetically classic country, which is a breath of fresh air given that the majority of ‘country’ music being produced these days is anything but traditional and more mainstream pop or rock. ‘’This means so much to me. I am trying to write with purpose and that gets so easily washed away with all the distractions of mainstream production. I guess I just missed grunge! Country music still deals with all the sex drugs and rock and roll themes, it just does it in a way I have always found more relatable.’’

The classic country revival or continuity seems to be more common in Texas than Tennessee. Artists following Ray’s roadmap are often not given the light of day in Nashville, or are diverted down a Music Row pop backroad. The impediments are not defeating her and if anything, seem to create a motivation for her to keep on fighting the machine. ‘’ I do see a big current change happening and it is exciting!!! As far as frustration goes, I welcome the challenge. Working from a deficit and creating triumph in the name of something I care about is something I take great pride in. So, as far as that dilemma goes, I say bring it on. I will certainly never quit."

Ray’s musical journey to date reads as the perfect apprenticeship, both technically and administration wise.  She toured with The Texas Playboys as a teenager gaining invaluable experience in many ways and the perfect introduction to performing in the live setting. "I remember being scared to death most of the time! Those guys are legendary!’’ She progressed from there to work as tour manager to Jason Eady while still in her early twenties, more priceless exposure to the highs and lows of touring.  

"Oh, you know all great country songs start with, once I was dating this tele picker. Ha! Really though a mutual acquaintance was playing lead for him at the time. There was a management need to be filled, and I was going to school for commercial music management, (as to eliminate the middle man in my own career for as long as possible). I saw an opportunity to hop in a van with boys I loved who made music I loved. I was free and I could do it, so I jumped at the chance. Some of my fondest touring memories were made with those Eady guys and I learned so very much from each of them.’’

The connection with Eady proved fruitful, he went on to co-produce the new album with Ray. It also resulted in an introduction to Eady’s wife Courtney Patton and other accomplished female songwriters on the same page as her. "I just love Courtney so much. Watching their relationship blossom has been so awesome. She is great. So are Brennan Leigh, Erin Enderlin, and Jamie Lin Wilson just to make a few." Another common tread between Ray and Eady is their love of all things Merle Haggard! "Oh yeah! Our camp invented the game of the “Hag Off”. Basically, knowing more Merle than anyone else in the pickers circle. It’s a heated match till bloody the end. Ha!’’ 

Given how vast Texas is, Ray could probably spend a lifetime touring that State. However, she harbours ambitions to try and reach a greater audience and in particular to try and bring her music to audiences in Europe. ‘’Oh yeah! We’ve toured in 16 other States since the album release, with no intent of slowing down. I fully plan of touring in Europe just as soon as I can figure out how to make the logistics work! Honestly, I look at it like I do music here in the States, taking a hit is like placing a bet and I can’t wait to put my chips on Europe!’’

The commercial success of artists like Kacey Musgraves, Brandi Clark and Miranda Lambert must result in some head scratching and thinking ‘maybe I should dumb it down and sugar coat my music a bit’ or would that be taboo? "I think we live in a time where both are obtainable. I have my goal and I don’t intend to waiver. Should I be awarded the opportunity I still fully intend to hold fast to my integrity.’’

The touring continues for Ray, continuing to get more people on board, but she’s also at the planning stage of her next musical venture."I think we have a lot of steam left in this album however, I do have a really neat project in the works but, I’ve decided to keep its content under wraps for the moment. I will say, the boys and I are awfully excited about it!’’Hopefully we get the chance to see Ray perform in Ireland in 2019. "I would LOVE to do this! Any reader willing to give some advice on how to make it happen please feel free to reach out. Have guitar, will travel!’’

Interview by Declan Culliton

Hannah Aldridge Interview

Existing as a musician in today’s overcrowded market requires a lot more than simply talent. The real dynamic is getting exposure, which for the majority of emerging artists is the first and most difficult obstacle. ‘Can I afford a publicist, a tour manager, a plugger?’‘Should I tour solo or with a band?’‘Can I even afford to tour?’These are ongoing dilemmas that particularly challenge American and Canadian acts that tour Europe, given that many of them recognise a greater opportunity to establish a core following in Europe than in their homelands. Without the financial support of a record company, a luxury that few enjoy, the cost of touring can be crippling and offer little reward for the hours of travelling in cramped vans, sleeping in less than salubrious accommodation and clocking in exhaustingly long days and weeks. 

With all this in mind it was interesting to chat with the Muscle Shoals native Hannah Aldridge a few short weeks after she returned home to draw breath after a gruelling European tour - a tour which also included recording her third album. Given the loyalty and support given to Aldridge by her U.K. followers, she decided to record a live album in The Lexington in London and rather than perform with a full band she undertook quite a novel method for the recording. The show comprised of a mix of solo songs by Aldridge, duets with a number of U.K. artists and the guest artists also got to perform a few of their own songs. She closed the show by getting the full entourage on stage to perform her signature tune Burning Down Birmingham. Altogether it promises to have the makings of a fine album!

But let’s go back a few years. The daughter of country music songwriter Walt Aldridge, it can’t have been easy to have a Music Hall of Fame inductee as a father and to garner so much industry attention at an early stage in her career. I wondered how much pressure that placed on her as a young performing artist. 

“I think initially I really struggled to find myself as an artist and to feel very confident when performing, but a couple hundred shows later I started to notice that people stopped addressing me as ‘Hannah,Walt Aldridge’s daughter’ and started using my name as a stand-alone statement. That was when I really started to feel like I wasn’t living in that shadow.”

Aldridge recorded her debut album Razor Wire at an analogue studio called‘1979’, four years after a traumatic period in her life which found the then 27 year old divorced, with a young child. The album was raw, bursting with emotion and possibly therapeutic by way of tackling the demons that haunted her at that time. Hard hitting songs like Howlin’ Bones and Parchment displayed an ability to write extremely personal and honest material.

“I think I just try to write the dialogue that goes on in my head more than anything. I write in a very conversational way because a lot of my writing is me trying to make sense of my own experiences and thoughts. Sometimes I write a song and sit back and listen and I have no idea how I strung those thoughts together. It’s like pulling the curtains back on my inner dialogue.”

Her second album Gold Rush followed three years later, with less expression of anger but lots of regret and reflection on songs like No Heart Left Behind, Shouldn’t Hurt So Bad and Living On Lonely. It also includes the dynamic Burning Down Birmingham, a crowd pleaser written after a particular frustrating gig in that location. Reflecting on the material on the second album, which appears every bit as autobiographical as Razor Wire, even appearing to re-examine a number of the same issues, I enquire if the sores were healing but not completely gone at that time? “I think those are reoccurring themes in my life,’’ she explained, adding with admirable honesty,“self-destruction, self-doubt, depression, fighting for something, standing my ground, etc. I am usually only compelled to write when I’m trying to write myself out of a dark place.’’

Touring these albums drew her to Europe where she has regularly performed solo. I asked Hannah just how difficult is it for an artist travelling solo or does the aloneness create the space and environment to gather thoughts for songs?

“It is almost impossible for me to write on the road’’ she replied. “I have to make an effort to carve out time to write when I’m home. It is really difficult to explain to people what it’s like to book all your own tours, then tour manage your own tours, and spend 250 days a year alone dragging 150 pounds of merch and gear in and out of airports and trains and cars. Some days by the time I get the venue, I have plotted out a whole new career for myself. Then I play the show and decide that I want to keep going. Ha!” But you have built up a growing and loyal fan base in Europe - how important is that market to you in terms of continuing to develop your career? “It’s vitally important. Europe has been the market that has opened its arms to me without any bandwagons, or a label, or agents, or huge magazines. They allowed me to grow and organically build a fan base there and I’m so grateful for that. I am currently working on expanding my touring in Central Europe as well.’’

What about comparisons between playing solo compared with performing with a band, for an artist like her who performs in both formats? No doubt it would not be affordable to tour Europe with a full band but I wondered which was her preference. “I love playing with a band because it’s a different energy on stage. I also love having companions on the road. But I love having total control of the shows and tours when I am alone as well. I feel like I connect with the audience on a more personal level during solo shows.’’

And her talent of winning over audiences early in the sets by essentially including them in the show by using both stage banter and encouraging them to sing a chorus here and there - does that work better in Europe than the States?

“It actually works great both places but I think initially everyone is completely intimidated by it and by the end they feel like we are friends. Some shows I can read an audience and tell that they aren’t going to participate or listen as well as others, but for the most part, people really enjoy it.’’

Despite Aldridge’s amiable and gentle stage manner I suspect that she is also a very assertive person. So,what about the talkers, the ones that insist getting near the front and spend half the show talking as loudly as possible - do you react or ignore them?  “I have stopped songs many times and told people talking that I would wait until they were done to finish, because I didn’t want to interrupt them. I know the whole goal of music is to entertain people so I do take it on as my responsibility to try to captivate an audience in a way that they don’t want to talk and not take myself too seriously. But, also, I’m not going to let people talking ruin the show for everyone else.’’ 

Aldridge’s performances in recent years, even when performing the darker material, depict a relaxed, confident and reconciled individual. Is it a case of having vented all the anger and infuriation and now being in a better place?

“I think I thoroughly enjoy that time I have on stage to be allowed to be myself and say what I feel and what I want without feeling strange. I’m allowed to be strange on stage. I feel very relaxed on stage, but only because I play so much. I don’t get to talk about my love for vampires and ghosts on a daily basis; or say out loud that I, like so many others have thought about suicide; or say that I struggle with different topics or that I relate to the fear of getting older and so on. It is a safe place for me to talk about those things and joke about those things through music. I know in a room full of people there is at least one person that needs to know that they can relate to someone.’’

And having written so many deep, personal and dark songs is it more difficult to write fictionally?“Absolutely. Even my fictional songs I write from my point of view. I have a hard time writing if I don’t feel connected to the topic.’’ 

Having also had experience in co-writing I wondered how it compared for someone that writes so personally? “Solo writing for me has to almost be like a song is just laid in my lap. Those usually just fall right out. Co-writing takes a different finesse and I love it so much on the days where I have no inspiration.’’

Aldridge is difficult to slot into one definitive music genre and not surprisingly is often lazily classified as a country singer, which could not be further from the truth. I wondered how she would describe her music (without using the termAmericana!). “That topic is one that I could write a whole article ranting about, but in short, I would rather be called anything other than lazily being called Americana. If people like my music because it’s county or rock or pop or Americana to their ears, that’s absolutely ok for me, but I do not want to be on any bandwagons. I was strongly opposed to cliques in High School and I’m strongly opposed to cliques in the music industry. I’m just here to play music and anyone who likes it, likes it and anyone who hates it, hates it.’’

The standard of female artists residing in Nashville presently, outside the commercial country genre, is staggering. Lera Lynn, Erin Rae, Ashley Mc Bryde and Kristina Murray, to name a few, have all recorded super albums this year. Despite this, Margo Price is the only female artist in Nashville to deservedly reach the audience she warrants. How frustrating is this for an artist like Aldridge and what does it takes to break that mould? “Promotion is a powerful thing. The further I go, the more I come to understand that almost none of the music business has to do with music. Luck, money behind you, and/or the right group of friends is what it amounts to most of the time. So, for me, I have to just keep my nose to the grindstone and try not to feel too jaded about these topics and be grateful for the things I have accomplished and the opportunities I have had.”

At the Static Roots Festival in Germany earlier this year I was most impressed that Aldridge hung around after her early showcase, watching all the other acts perform. “It’s extremely important to make sure you are current on what is going on and who is who. Also, when the situation occurs that I see an artist that just blows me away, I always feel like a student trying to learn something. Additionally, I think it’s extremely important to support each other. There are times I don’t watch other people if I am busy or not feeling in the mood, but recently I was reminded about that because there was a specific girl that a friend met in Europe and the first thing that came out of her mouth when they said my name was that she didn’t like me because she opened for me 5 years ago and that I didn’t pay attention to her. I didn’t even remember meeting this girl, but to her she had been mad about that situation for 5 years. I think it’s important to be aware that not everyone understands if you’re tired or having an off day and try your best to always be standing in the front cheering each other on. And the one day that you don’t … you will have someone mad at you for years - ha!”

Having just completed her live album in London, what’s next on the on the writing and recording front? “I just finished that live record and beyond that I am giving myself the patience and room to not have the pressure of a third studio record. It will come when it comes. I don’t have any desire to forcing out songs just for the sake of putting out a record. I would much rather write until I have songs I like and then think about recording when that’s done so that I put out a great record, not just the first 12 songs I write!”

Interview by Declan Culliton

My Politic interview

Kaston Guffey is both a very talented artist and a driving force behind My Politic, a Roots band that embraces all that is great about the Americana/Country/Folk genres in contemporary music today. Growing up in Ozark, Missouri there is a strong likelihood that Kaston was influenced by the music of the Bottle Rockets and Uncle Tupelo, two bands who originated in the state. Also, the traditional Ozark culture, that includes stories and tunes passed between generations and communities, would have left a strong impression on him. 

Kaston writes the lyrics across the seven albums that My Politic has released to date and he also plays a central role in creating the song arrangements with his long-time collaborator, Nick Pankey. As the creative hub of My Politic he has some interesting views on the human condition and growing up in the USA. His music is highly recommended and the band is certainly top of my list as most likely to succeed. An undiscovered gem for many people to explore and enjoy.

Tell me about your long friendship with co-partner Nick Pankey and the origins of the band?

Nick and I started playing together when we were around 14 years old. We played in a couple high school rock bands and when I started writing songs and playing more acoustic stuff, he peeled off with me and we started focusing on making albums. We did 3 full lengths in Ozark, just the 2 of us. We moved to Boston together in 2010 and made 2 albums there in our living room and then we made the move to Nashville in 2014 and got more folks involved. Nick and I have always gelled really well together in life and in music. Like brothers. 

The first three releases were steps on the stairs; 2008, 2009, 2010. All produced by James Carter with both you and Nick. There is the strong sense of a group of friends, in a collective and producing music locally in Ozark, Missouri. Is this how you remember it?

Ozark is a small town, outside of Springfield, which is much bigger. We fell in with some great singer songwriters that were a bit older than us and we played where we could. Springfield has a really strong music community. Unfortunately, we left before we got fully involved in it but every time we go back and play, we meet more and more folks doing great things there. 

These early releases have a very bare bones, confessional sense to the lyrics. They seem to focus on topics such as growing up, moving on, new beginnings, self-doubt, loneliness, relationships, existential questions and looking for hope in tomorrow. Have you always sought to explore the human condition in questioning both the past and the future?

I think so. It is what is most interesting to me. Those early releases were just things that were pouring out. I was pretty closed off emotionally and I think I was using writing as an outlet. I was also just exploring how to write songs. I think the later stuff is a bit more polished and crafted. The subject matter isn't all that different, I’m definitely interested in the human condition and trying to understand what folks are going through and how they deal with it. Myself included. 

Is your song writing process from a personal perspective or do you prefer character songs that allow a freedom in adopting certain personas?

I like exploring both, often in the same song or collection of songs. Sometimes it all comes down to where a line I like ends up taking the song. I think a lot of them start from a personal feeling or anecdote and then that's when I can detach and start building characters, if that is the direction the story feels the most comfortable, or I can stay very personal if it's what is right for the song. 

When did you move to Boston and was this move entirely focused on building your career opportunities further?

We moved to Boston in 2010. For me the move was mostly to get away from what I knew and experience something different. We ended up making two albums in our tiny living room, taking a lot of the things we learned from Jamie Carter and doing it ourselves. I think that experience taught us a lot. 

Your fourth release, American Will, comes across as a more rounded, mature work with the fiddle of Eva Walsh a precursor for your current sound. The country influence seems more pronounced and the writing more observational of heartland America, as opposed to personal experience. Would you agree?

I have to wonder if that was caused by leaving Missouri. I was pretty nostalgic for it while we lived on Boston and I think that feeling was bleeding into the writing. I think that still happens now. We live in Nashville, which is a lot closer to home, but I still get in these writing moods where I want to explore what it was/is like back home; those different characters and experiences of growing up in Missouri. 

Seven albums in ten years has been quite an output and you still have youth on your side. Do you come from a musical family background and what were your influences growing up?

I don't think either of us come from particularly musical families. My grandma played organ at church and my sister Keshia can sing beautifully. I’m not sure about anyone else. When we started making records together, we were also singing in the same choir in high school. That was a major help musically. I was listening to a lot of Dylan records and things like that. I started collecting vinyl when I was 12 years old, so there was a lot of old records to soak up. 

Your insights and observations are very much part of the attraction in listening to My Politic. Does writing come easy to you or does the creative muse visit you on a more sporadic basis?

Thank you for saying that Paul. I feel like I am always writing in some way. I’m sporadic when it comes to sitting down and putting pen to paper, it usually happens when I have 4 or 5 songs going at once. That's when I have to start organizing. Lines and ideas are things I’m constantly looking for, because you always have to be ready for that moment when things start to line up and you feel inspired to actually write it out. The one thing that can always improve is the craft and that just takes doing it over and over and over again. 

My initial introduction to your music was through a review copy of Anchor. One of the key songs on that release is God vs Evolution and I wondered how this song idea arrived?

I wrote that song in Boston before we moved to Nashville. I think that one came out done in one sitting. We grew up in a very religious area and then moved to Boston where things were more scholarly. I liked playing with the differences there. 

The latest release is built around twelve story songs, from different perspectives. Are these characters doomed to loss or is there any hope of redemption?

I think there is. I was going through a lot when I wrote that album. I think there are pieces of my psyche in each of those stories and it was a kind of snapshot of what I was feeling in that moment.  

Since moving from Boston to Nashville have you found it easier to get a foot on that ladder to greater recognition?

Boston felt like a more transient city for people. You go to school then maybe you leave. It was a great place to write, play out and record but Nashville is just a whole other thing. It feels more permanent for us here. There are obviously more opportunities because it's kind of the centre of the song-writing / music universe. More than that though, it's really nice to be around creative folks every day and watch each other grow. It makes you want to be better and that's probably the best opportunity we have here in Nashville. 

How did you find the other members of the current band?

We met Will Cafaro, our bass player, up in Boston through a band called Tumbleweed Company. We didn't start playing with him till Nashville. Wilson Conroy was a similar story, we met him over at the Tumbleweed band house too. I heard Jen Starsinic playing her own songs and I thought they were really incredible. When I found out she played fiddle too, I really wanted her to play our stuff because I knew she would approach it from a songwriter's perspective. They are all so incredibly talented and we are lucky to play with each one of them! 

Is touring something that you currently do on a local basis only?

We have done a decent amount touring through the South, Midwest and New England. We haven’t made it over to y'alls neck of the woods yet, but hopefully soon. 

What are the constraints to bringing the band out on tour?

I just want to make sure everyone gets paid and that I’m not wasting their time. That can be difficult. Also, space… Ha, ha! We travel in Kia minivan and when you pile 5 people and all our gear in it, it becomes very close quarters. We all get along pretty good in spite of that. Also, we are really lucky to play a lot of house concerts around the country and the hosts are always so gracious. We usually end up staying at their houses and it makes it so much easier. 

Playing the AMA Festival is recognition for what you are building. What comes next?

We will inevitably make another album, hopefully soon. We would really like get out on the road more that we do. And maybe we come to Ireland? That would be a dream come true. 

Do media outlets such as You Tube bring you more admirers that you are aware of?

I think so. I certainly think YouTube is a place where people go to discover new artists. Videos are important these days.

What is the idea behind the Mad Valley Lodge?

The Mad valley lodge is a house concert series we have been doing once a month for about 5 years now. We usually have 2 artists (mostly local) play. The idea is that it is a listening room. The focus is on the artist 100%. It can get really disheartening when you play gig after gig to folks that couldn't care less that you are there. It has also been an incredible way for us to meet amazing folks in Nashville and build a community of like-minded creative people. The idea was basically to have an intimate listening room for folks that we admire to play their songs in and for the audience to get to have that up-close experience. We love putting it on. 

It has to be all about self- belief, especially based in Nashville where the competition is so fierce. What is the essential glue that makes you endure?

Writing songs and being a part of a community of creative people is what it's all about. Being around really great writers and musicians on an everyday basis just makes you want to be better. These folks become family. 

Well, there you are … Words of wisdom from a talented singer-songwriter who has a real shot at enduring success. There is an energy and enthusiasm that shines through in the performance and creative output of this artist and the music of My Politic is well worth investigating.

Interview by Paul McGee

Clay Parker and Jodi James Interview

Having abandoned solo careers to work as a duo, Clay Parker and Jodi Jones discovered at an early stage that their ability to co-write far outweighed their talent for writing individually. The latest result of their collaborations is the delightful recording The Lonesomest Sound That Can Sound, released earlier this year to glowing industry reviews. No Depression, Rolling Stone Country, The Bluegrass Situation and our good selves being among many publications that were suitably enthralled by the album.  Because of their hectic touring schedule, the album took quite a while to write but was recorded in one days sitting as detailed by Clay Parker, when he recently took time out to park the tour bus and chat with Lonesome Highway.

Your recently released album The Lonesomest Sound That Can Sound made a hugely positive impression on me when I was given it to review. Despite being prolific co-writers, the album was created over an extended period of time, engaging a variety of engineers and studios. Was this a conscious decision or simply logistics?

We’re on the road a lot. So, what made sense both economically and logistically at the time was to record in layers. It certainly wasn’t the ideal way to make a record, and for the last couple of years, we’ve been piecing together a studio of our own that functions in the way that we want to make records going into the future. But The Lonesomest Sound That Can Sound album began when we found ourselves with a quickly put-together day session at a studio in Nashville where we recorded 12 songs in about 8 hours - just the two of us. We sat on those recordings for a while and even considered releasing them as is. But somewhere along the way, we decided that we’d like to hear some additional instrumentation mixed in. So, we had some of our favourite hometown musicians gather at a dear friend’s studio in Baton Rouge, and we tracked everything else in about 5 days.

Despite this, there is a definite consistency about the recording both musically and thematically. Was this difficult to achieve given the recording process?

No, I wouldn’t say so. Even though the tracking process was spread out over time, the other guys did their thing in 1 or 2 takes per song; and in that way, it was still treated like a live recording where most of the decisions were made in the moment. I think consistency just presented itself - we didn’t really have to strive for it.

There is also an air of calmness and tranquillity across the album. Was this an atmosphere you consciously set out to create or a reflection of your collective personalities?

We’re pretty calm and tranquil people, I suppose. But more than that, we like the sound of space and air and dynamics in most of the songs we play. It’s something we try to achieve when we play live, and that idea sort of dictates how we like to record and mix. 

The last track Killin’ Floorparticularly stands out for me. It weighs in at a hefty twelve minutes plus, yet does not seem a second too long. Tell me about the song and your decision on its length?

Killin’ Floor just sort of fell out one night. One verse was written to the particular melody and tempo, and then verses just kept piling up; but we didn’t really pay much attention to its length while writing it. We ended up printing out the few pages of lyrics, clipping out each verse, and moving them around on the floor until we agreed on the final order.When we recorded it, we told the engineer that we’d only do one take of it because of its length. There are flubs all over the place, and we weren’t sure it would make it on the record. But eventually, we recognized it as a suitable book end to the album.

The album has already been receiving great reviews, even with your relatively low profile. How difficult is it to maintain that momentum and get airplay on radio stations that support Americana and (genuine) country music?

That’s a good question (laugh)! There’s surely not a shortage of great music coming out - it’s a big pond with a lot of big fish. We were fortunate to meet some fine folks who specialize in that stuff - who get records from bands like us to some well-known publications - and they really got behind this record. But for us, the indispensable part of what we do is touring

You’ve enduringly created your fan base by constantly touring, self-managing, attracting both punters and industry people. Was this a game plan or did it simply develop when you commenced touring as a duo?

We like the DIY-as-much-as-possible approach to nearly everything - from fixing broken gear to making our own merchandise. So, it’s just naturally what we fall into. 

I’m interested in your writing process as co-writers. Have you a particular trusted format and how different is writing songs to be performed as duets rather than individually?

One of us usually comes up with a musical and lyrical phrase of some sort. We’ll typically get together and shift a couple of words or add/take away a chord or something like that, then we’ll separate for a while and work independently of one another. The interesting thing that happens is that we usually end up working in the same direction - kind of like walking on a parallel path with someone. So, by the time we get back together, we’re usually still on the same page. We take the best ideas and phrases, thread them together, then figure out how it’s best sung. Many of our songs wind up as full duets, and that’s probably the main difference in writing for the duo as opposed to solo work. It stretches what you can do in terms of melody and harmony where the individual parts can weave back and forth.

You were approached to perform in Ethan Hawke’s soon to be released Blaze Foley biopic, Blaze. How did that come about?

Ethan and his crew were scoping out locations to film around a small town in south Louisiana where we play fairly often. They were also looking for local musicians for a few scenes, and our names came up in conversation. A few days later, we had an email from him - which kind of stunned us - and he invited us to join them for about three days of shooting. That was an easy “yes” for us, being that we’re both big fans of Blaze’s music and Ethan’s work. He is an incredible collaborator, but he also has a unique way of unfolding his visions for everyone in the room to become a part of. It was fascinating to watch.We just had a couple of small parts in the movie, and count ourselves fortunate to be involved. We actually just saw it a couple of weeks ago in Austin, and it was great. So great.

Comparisons have been made, not least by myself, of the likeness of yourselves to Gillian Welch and Dave Rawlings. Are they artists that have influenced yourselves and do you actually listen to much music while touring?

We do listen to a lot of music -- almost all the time. In our tour van, because a friend gifted us with a subscription to Sirius radio, we’ve been listening mostly to Bruce Springsteen and the Grateful Dead (laugh). Otherwise, it’s mostly music from the past… blues, old soulful country, songwriters. And of course, our friends’ records. Any music with guts, that’s what we gravitate towards.As for Welch/Rawlings, we love their music. Somewhere along the way, they shifted the paradigm of what male/female duos can be. While many of those existed before (and after) them, their unique sound blended with a deep and evolving translation of the vernacular of American folk music was a complete game-changer. And now, as a duo ourselves, you can’t un-hear that stuff just like you can’t un-hear the Beatles or the Everly Brothers. So, the comparison is certainly a fair one, and one that makes us feel at home within the tradition of the duet sound.

What other artists have most influenced you and pointed you in the musical direction you follow?

Between the two of us, we probably share the most appreciation for the music of John Prine and Bob Dylan. It’s visual music that often happens in scenes. There’s always more than one thing going on. I suppose that’s the kind of work we look to. 

Have you a game plan going forward or do you intend just continuing what you are currently doing?

Well, we never want to get too comfortable staying in one place or doing one thing. We’re constantly trying to evolve and dig deeper into something, whether that’s writing new music or piecing our studio together or booking shows or whatever. But our basic modus operandi will remain intact, and we’ll continue putting out records and touring as a duo.

Interview by Declan Culliton

Interview with Kimmie Rhodes

The term ‘Country Royalty’ should never be used lightly, but when you are given the opportunity to meet with an artist who has recorded and released a total of sixteen solo CDs, written and produced three musicals, served as an associate producer for the documentary, They Called Us Outlaws (presented by the Country Music Hall Of Fame), then the feeling of being next to someone with a special talent is hard to shake off.

Add to the above a theatre production titled ‘Is There Life After Lubbock plus many appearances on Film, Stage and TV; a novella/cookbook which she published and her show Radio Dreams, which focused on the history of American roots music and artists. 

Her songs have appeared on multiple television and film soundtracks and she has her own record label and studio, Sunbird Music, for over 25 years. Kimmie lives and records in Austin and tours internationally with her son and producer/multi-instrumentalist, Gabriel Rhodes.

Lonesome Highway met with Kimmie Rhodes during her short tour of Ireland to discuss her career, her creative muse and her recent book, Radio Dreams, a duet memoir with her soul mate Joe Gracey, who died back in 2011. Her enduring relationship with Joe Gracey has a timeless quality and his memory endures through the pages and tales in this excellent book.

LH: You have concentrated on doing gigs in Northern Ireland over recent visits. Has this been a conscious decision on your part?

Kimmie: No, not at all. I don’t know if the audience is just more receptive to what we do up North or just that I don’t have anybody booking me down in the Republic. I have played the Seamus Ennis centre at the Naul a lot of times and we were at the Venue Theatre in Rathoath earlier this year. If there are suitable venues in the South then I would love to play there. I have travelled all around Ireland; Cork, Galway, The Burren and the West Coast so it would be great to play other places. 

LH: Tell me about Sunbird Studios, your recording hub in Austin.

Kimmie: When I met Joe Gracey in Austin in 1979, he had been mentored by “Cowboy” Jack Clement as a producer and he, in turn, had been mentored by Sam Phillips at Sun Records/Studios in Memphis. That was an independent label and so I guess there was always the spirit of not compromising and just going ahead with what you believed in and putting it out there. Joe had lost his voice to cancer, having been a popular DJ and a singer, so he had become a record producer and had a small publishing company also. 

So, I started with an independent focus. It was not easy to make a record in those days because everything was analogue and demos were recorded on 4-track TEAC reel to reel machines. When Joe had been a DJ he had played Willie Nelson’s records on the radio and he had invited Joe out to his place, so I got to meet him and we went to his studio, which had two 24-track machines. I was amazed and here was an invitation to make my first record, in a 48-track studio where we just had to come up with the money for the band.

You had to have a label or some kind of a deal in the early 1980’s as making a record back then cost a minimum of $20,000. So, I made my first two records at Willie’s studio. It was hard for me to get a record deal that I wanted. I was not prepared to do what the major record labels wanted me to do; I looked right and I sang well but I was too wild for the commercial market they wanted me to fit into.

So, when digital music came along, we decided to start Sunbird as a studio; it was originally meant to be a writing room behind the house, but we changed that and I had this dream to paint the space yellow and put a white baby grand into the room. Well, I had this photographer friend who owned a white baby grand and her house had burned down, so she needed a place for her piano and there am I doing the dishes one day when along comes this truck with a piano! It’s been in my studio ever since, probably going on 20 years now… We make most of our records out there since those days.

LH: I read that “Cowboy” Jack had said to you that ‘It only takes 3 minutes to record a hit’ and that ‘we are in the fun business, so if we are not having fun, we are not doing our job’.

Kimmie: Well, he was the first person that I met when I first came to Nashville and he had this great recording studio. One day I went to visit him and when I walked in there was nobody about, which was unusual. I went back to his office, where he was there on his own… He asked if I wanted to go for a ride and I thought we would take one of his cars; he had two identical white cars, called R2-D2 and C-3PO. He took me around in a golf cart, bought an entire box of popsicles in a local store and we drove around eating them! He was this legendary figure who was all about having fun. I said that my Dad had grown up in a carnival and he was all about having fun too so I knew that it would work for me and I didn’t have to modify myself in any way. You have to believe in that kind of magic!

LH: Did you have an innate feeling from a young age that music was what came naturally to you?

Kimmie: I think that you are born to be who you are meant to be. Life just placed me with the perfect people, in pretty good timing, to go ahead and develop into who I was. I have always had music in my life, even back to a babysitter who used to play the pump organ for me! She would let me play with the sheet music and that was one of my earliest memories of the magic of music. We were just transported.

LH: And the apple doesn’t fall far from the tree when I see your son, Gabriel with his amazing talent and natural flow on the guitar, among the many instruments he can play

Kimmie: He has been exposed to music all his life from the time he was a little boy and able to fit into Joe Gracey’s lap. He started with the recorder and then played the saxophone, then he started playing with all the musical people he grew up around. We had moved out to the hill country to be close to Willie’s studio because Gracey was working there. 

There were always characters hanging around like David Zettner, who was Willie’s first bass player after he had stopped playing with Ray Price and decided to form his own band. Zettner had also played bass on my records and there was Johnny Bush on guitar; Jimmy Day on the steel guitar; Paul English on drums; and Bucky Meadows, who had come from the Charlie Christian school of jazz players. Gabe just grew up around all that. 

I was with a British label and I went to record in Memphis before mixing and mastering in Nashville. Gabe was left with David Zettner and Bucky Meadows as babysitters and when I got back, they had taught Gabe how to play the guitar! It would have been almost unnatural for him not to have picked up on music as a young child. 

LH: By his mid-20’s he had progressed to producing your records

Kimmie: I had a publishing deal with Almo/Irving Music, Herb Albert and Gerry Moss, on the back of some success with Trisha Yearwood and Wynonna Judd. Part of that deal was that I would write songs for the company. Mostly I wrote by myself at that time so when I had to demo a song, Gracey would record it and Gabe would play on it, so it was the perfect vehicle for us. He just grew from that and passed me out. At one point, I would leave small instruments lying around the house and they would disappear. Later, I would hear Gabe practicing with them up in his room but he really cut his teeth playing on those demos for big publishing companies. 

I had been involved in writing a play with Joe Sears (small town girl) and while I was gone Gabe had cleared all the furniture out of the way and set up a small recording space where he took about 12 of my songs and made tracks on a couple of small ADAT machines (a magnetic tape format used for the recording of eight digital audio tracks)… He told me that he had gone ahead and produced my next record!! Luckily, I really liked it and it turned into Rich From The Journey, my next release.  

As a side story, Bob Ezrin, who had worked with Pink Floyd on The Wall, was working on a film, Babe, Pig In The City. Bob Ezrin was the music director on the film and one of my suggested songs he liked was Heart Of A Believer. We would be on the phone a lot and he said ‘those guys who are playing with you really know their stuff’ – to which I replied, ‘Well, that is my 20-year old son who just moved the furniture out of the room and produced that track’. 

So, Gabe ends up talking directly to Bob Ezrin, one of his heroes. He really had an almost instant success by producing something that he had no initial permission to do! So, we have had a lot of magic happen. 

LH: What’s it like to play in front of a live audience and make music with your son?

Kimmie: For the most part, I don’t think about it in those terms. We built it from the ground up and it is innate, will always be there, all the time. It is special and we are so close as a Mother/Son, so it is naturally something that people can see. He looks after me so well.

LH: As an artist and a performer, your craft is highly developed. Yet you have a generosity that allows your talents be shared by other stars who have taken your songs and had hits with them (Willie Nelson, Wynonna Judd, Trisha Yearwood, Amy Grant, Joe Ely, Waylon Jennings, Peter Frampton, Mark Knopfler, Emmylou Harris). How does this work for you; is it a conscious decision?

Kimmie: I love to sing and I love to perform but I feel like at some point my writing just surpassed my singing and performing. In terms of having to give up one, then I would always have to write. I would be writing a song for me and it never occurred to me that anybody would want to take one of my songs in the first place. By the time that people did look at my songs, I wanted to have success and it just happened to be that those people were really big stars at the time, so what’s not to like? 

Also, I needed the money. I was married to a man who could not speak for 30 years, but who was able to work with me. I had two sons and we had a daughter, but I just never wanted to be famous in the first place. Success for me was being good at what I did, make a living at it and being able to travel. One of the things about being famous is that you don’t have that freedom to walk down the street anymore. Another thing that was great for me was that I got an opportunity to make good money through writing songs at a time when my children needed me most. I still kept making records and they were always the best calling cards for my songs anyway, in that most of those cuts that were recorded by other artists came off of my records. 

I could travel to Nashville and keep living in Texas so it was a good situation to be at home with my family and then be able to tour when the time was right. I did not want to have a family at the end of a phone all the time so when I was at home I could see my kids in the morning and be there in the evening but when I travelled to New York or L.A. then I was out writing or playing and that got my full energy. 

LH: Do the songs come easily?

Kimmie: When I was working as a professional writer I got on a real roll; I got swept up into it, whether co-writing or writing solo. There was always a song that was unfinished in my brain, playing away and the lyrics were always full of meaning. I would be off in my own world and any downtime, in my brain, I would be always writing. I had 100% permission to do it as it was my job, I was getting paid well for doing it. I have a good work ethic and can be very disciplined when I want to do it. It’s like a journal to me and I always want to do my best. I have always written about what is going on. 

When Joe Gracey died I knew that if I was going to write around then, my songs were going to be just too dark. I didn’t have the perspective of being able to write from that place where you can see the darkness balanced with the light. A good friend of mine, John Gardner, who was a drummer with Don Williams and played on a lot of my records, suggested that we get our families together and just spend a week recording some covers that Gracey would have liked for different reasons. And so that ended up as my 'covers' record. Other than that, I have always been able to pick up the guitar and just write.

LH: Is the process of co-writing a compromise for you?

Kimmie: I got good at co-writing and I would go out to L.A. and write lyrics while the music was mostly written by others. That was an interesting experience. I worked with Kevin Savigar, who was a producer with Rod Steward, who was really great at programming tracks and coming up with melodies. Writing with people like Emmylou, Waylon Jennings, Al Anderson, Peter Frampton, Gary Nicholson was as much about hanging out with them and writing at the same time. I don’t have to write with anyone where it turns out to be a painful experience.

Another pleasure has been working with Chris Difford (ex Squeeze), who formed a partnership with ‘The Buddy Holly Foundation’ to run a week of writing at Pennard House, Glastonbury for aspiring young artists. It’s fun and I get to pass on what I have learned. I also get to visit universities and with honorariums where I get paid and talk with the students. We also do radio classes, women in music, poetry classes. It’s all a real privilege. 

LH: The book has taken up a lot of your focus over the last few years. In addition, your past projects have allowed you to collaborate in other creative mediums. Do you think that having Willie Nelson as a mentor so early in your career helped give you that confidence to try new things?

Kimmi: There are a lot of people with talent out there but when Willie mentored me I think he saw me as a wild child and someone who would have (as we say in Texas), a tough row to hoe and maybe struggle in the business.

 He had struggled in Nashville himself to establish his career as a recording artist and in Texas we didn’t have a music scene; we had a live scene with the dancehalls and he came back to establish himself. He was old enough then to be my father and came from those days when a farmer wanted to put the mule in the barn on a Saturday night and just go dancing. Those were his roots and he had grown up singing Gospel in Church and so had I, with my Father and my Brother. Singing in the choir on Sundays was what we did. We never really had a band but we also performed at sing-ins, with someone on piano where people would sing along.

There was so much focus went into all the things that I have done. The documentary They Called Us Outlaws was a 12-hour production and I was passionate about the Austin music scene and passing on all the relevant detail of those times in the mid to late 1970’s. Lots of people became involved including Doug Sahm, Marcia Ball, Bobby Earl Smith, Joe Ely and many others.

So much revolved around the influence of Joe Gracey and his activity as a DJ, Journalist, Engineer, Producer, Publisher etc. Growing up, Joe had never liked Country music but then he went to work at a Country music radio station in Fort Worth that had Lawton Williams as one of their local DJ’s. Lawton had written the song, Fraulein, that was a big hit for Bobby Helms and had also been on the Chet Atkins label as an artist before he became a radio DJ. Then along comes Chet Atkins making a new radio format called countrypolitan… 

So, Country music radio suddenly changed and then along comes the explosion of the 1970’s with Dylan, The Beatles and The Byrds. Joe is now playing Sweethearts of the Rodeo and Willie Nelson’s record, The Party’s Over, which he really liked. So, he ends up in Austin as a DJ and he started playing Willie and these other Country songs on his radio show and that starts a whole new direction for the scene there. 

All these things came together to create more of that magic. Pretty soon the whole scene took off with artists coming in from all directions. It was just like Hemingway and Paris! 

When I moved to Austin it was as if someone took a fish in the water and just let it go… I was with people who liked me and encouraged and helped me. I found my tribe and it just grew and grew over all these years.

Coda:

Kimmie was more than generous with her time, giving almost a full hour to our chat and we spoke after a very special house concert that our gracious host, Andy Peters, presented with great success. 

Her tours this year have been to support the book release and we met in the beautiful landscape that surrounds the village of Rathfriland, Co. Down, with its rolling hills and spectacular scenery framed between the Mourne Mountains, Slieve Croob and Banbridge.

Kimmie played guitar and told stories between two sets that covered much of her career and she was joined by her wonderfully talented son, Gabriel Rhodes (Gabe), who played some incredible guitar to both colour and lift the songs to new levels of feeling, technique and warmth.

Kimmie’s book is a must-read and captures many stories that will make you laugh and cry along with many insights into her music career. The full title is Radio Dreams: The Story of an Outlaw DJ and a Cosmic Cowgirl. A fitting description for this gracious and humble person who displays a real enthusiasm for life. Natural to a fault and very open to the magic that the World sends her way.  

Interview by Paul McGee

Interview with Minton Sparks

To describe Minton Sparks as unique hardly does her justice. Unparalleled is probably a more accurate description of the speaker/songwriter Nashville resident whose music, poetry and storytelling about people and places in the rural South are gossip laced, provocative, intoxication, hypnotic and spiked with black humour. Minton took time out from her hectic schedule to discuss her career path to date and much more.

Comparisons with Flannery O’Connor and Hank Williams regularly feature in articles written about you. Were they actual influences and what other writers and musicians stimulated your chosen career. I’m particularly interested in your musical inspirations given that your Gold Digger album suggests full on blues, gospel and jazz leanings, whereas your earlier work were more rural country?

I’m a big Flannery O’Connor fan.  Musical influences are all over the board. Tom Waits, John Prine, the Indigo Girls, Patti Smith. My collaborator guitarist, John Jackson, is one of the most versatile musical talents I know. Once the piece finds it home note, or what I’m trying to say, he finds a way to come under that and make it soar.

You are extraordinarily unique in that no one else (with the possible exception of punk poet John Cooper Clarke) is mixing the spoken word with music as you do. What was the deciding factor that inspired you to put music to your poems?

I was a published poet for years before it dawned on me that maybe twenty people were reading my work. My guitar teacher at the time, Rob Jackson, was willing to begin putting my poems to music. Together we forged a possible new genre. It took me a couple of records to figure out what I was even doing because I didn’t know an artist at the time doing the same thing.

I particularly love the logo on your shirts that reads ‘The best country singer that doesn’t sing’. Not an absolutely accurate characterisation to be fair. Had you ever considered singing in full voice when you decided to put your words to music?

The past few year I’ve begun song-writing, working with dear friend John Hadley. So today I have 2 or 3 songs in each performance.

Which came first as a developing artist, the stories or the music?

The stories always come first. It takes me forever to dig in and see what the tone is, once I know that the piece comes together. Stories always point to something larger. Gold Digger the title track to current album evolved over time. I tend to edit after I’m able to perform a piece before an audience.

Are you the nosy next-door neighbour and people watching type in creating your tales, or are they all very much works of fiction?

I’m a sponge for drama. Always eaves dropping on nearby conversations. So, I guess you could say I’m the spy next door.

There is tragedy, black humour and desperation in your tales and characters. You seem particularly sympathetic to the people you write about and their predicaments. Do you consider yourself as a conduit representing the relationships and circumstances of ordinary and often voiceless people?

I worked as a therapist in my early days, and then attended Divinity school (though I dropped out later) so I’m very interested in giving a voice to the voiceless, or more importantly listening to those who are not listened to traditionally.

Tell me about the Nashville Writing and Performing Institute that you founded and the motivation behind it?

After each performance, someone comes up desperate to tell the stories caught inside their throat.  After a couple of years, I decided to create the Nashville Writing and Performance Institute as an outlet for folks with trapped stories. We have an open mic for the school once every few months so that students have a chance to perform their writing for an audience. I taught Psychology for 10 years and absolutely love teaching transformation. It’s deeply rewarding to hear someone own a story that used to hold them back. Novelist Dorothy Allison always says, “we are every story we ever survived”. I love her.

From your experiences conducting storytelling workshops across the country. Can the gift be taught or does the student require an inherent skill set that just requires a framework?

The story finding the page is a birth right that a lot of people never discover. I feel like our writing voice is basic to humanity; and it’s a fabulous way to alchemize experiences that otherwise get stuck in the throat. Whether or not, the result looks like someone has “a gift” or not, doesn’t matter. It’s the storytelling that heals the heart.

Does the current political in The States situation give you food for new material or is it a topic you’d prefer avoid?

Oh yeah, the week after the last presidential elections I wrote a piece, Fight Club, out of desperation. I’m trying to see why “my people would ever vote for someone who is so against their basic interests, their basic decency.

You have been working and performing with guitarist John Jackson for ten years at this stage. How influential is he is creating the music that decorates your lyrics?

We’ve worked together long enough that he completely understands the under song of the stories I write. He finds a way into what I’m saying musically. It lifts the piece into another realm. Very lucky to work with him.

Your last album release Gold Digger was particularly powerful and somewhat darker than your previous work. It also rocked out gloriously on tracks like I Am From, Hi Helen and the title track and jazzed out on Mary Kaye Disciple and Black and Blue Tattoo. Was this experimental or a general change in musical direction for you?

We decided to record with a band on Gold Digger. At the time Joe McMahan a fabulous guitarist and producer here in Nashville suggested I do a record with some of the best musicians we could find. Go in the studio and see what we heard. He pulled in Dave Jacques on bass and Shad Cobb on fiddle. So, Joe produced and played on one side of the record and it was just going to be five songs. Six months later we went into the late, great, Brian Harrison’s studio to finish. Brian produced the second side. I’m constantly evolving musically because the stories are coming from a different place as time goes on. I’ve been incredibly lucky to work with folks like Chris Thile, Keb Mo’ and Waylon Jennings.

You’ve graced the Grand Ole Opry, which is a commendable achievement. How did the performance go?

The performance was a dream come true. My Dad always said that I couldn’t claim success until I was on the Opry.  What he wouldn’t understand is they never have spoken word artists on the Opry. So it was thrilling to play both at Ryman and out at the Opry House. The audience was incredibly open to us. Bill Anderson was complimentary after the performance saying, “I think we are going to be hearing a lot more from that lady with the purse!”

With the wealth of female talent in Nashville that find it difficult, if not impossible, to get deserved radio play, what outlets are available to you to market your work?

We almost have to make our own outlets. Americana stations will play us although it’s not an easy fit. We did play the first Americana show here in Nashville. We have a couple of loyal station in Ashville, NC.  We’ve been recently featured on the ACME radio show, and a local WXNA. We are touring and getting the word out that way. We really want to do a European tour next summer

And getting gigs, given how distinctive your shows are, easier or more difficult than regular musicians?

I have a regular series here in Nashville at the city Winery Lounge called, “No Lady’s Land” I’m trying to get the most brilliant talent as openers for the series. That’s how we met Emma Swift. Otherwise I’m out playing storytelling festivals, colleges, and performance spaces of all stripes.

You have worked with two of my favourite artists and indeed storytellers, Sam Baker and Jim White. How did that come about?

I met Jim White in Atlanta on a co bill at the Grocery on Home house show produced by the infamous Matt Arnette.

Jim and I became fast friends and he invited me to spend the winter in Calgary at the Banff Art Center with Sam Baker and Mary Gauthier trying come up with a Southern musical play of sorts. All those guys are brilliant and we had a wonderful time together. I’m so inspired by Sam, Mary and Jim.

I’m aware that you have had pieces published in literary journals but have you considered an anthology of short stories expanding on various tracks from your albums?

I’m in the middle of writing a collection of short stories having to deal with growing up working in an Amusement Park in Bunnell, Florida.

This will probably sound like a ridiculous question but your accent is to die for, to someone like myself from this side of the world! Is it altogether natural or exaggerated for greater affect?

I’m from a small town in Tennessee. I’m afraid it’s authentic. 

You performed in Ireland a few years back. Any plans for a return visit?

We loved playing the Belfast Songwriting Festival and would absolutely love to go back.

Interview by Declan Culliton   Photograph by Gina Binkley

Interview with Jeremy Nail

Texas born Jeremy Nail is a survivor in the true sense. His latest and most impressive album Live Oak was released earlier this year. In many ways it follows a similar theme to his 2016 recording My Mountain, both albums having been written following his recovery from sarcoma, a rare soft tissue cancer, which resulted in the amputation of one of his legs. Written in the aftermath of such trauma, both albums are powerful, soul searching, reflective and yet laced with positivity and resilience. Lonesome Highway tracked down Nail to discuss the albums and his chosen musical career path.

How did the writing process for your recently released album Live Oak, compare to your 2016 recording My Mountain?

It was a very similar process, actually. By the time I had finished My Mountain I had developed a style of writing that felt very natural. I like to work each line until the song can stand on its own as a written work. I like to experiment with melodies as well.  On Rolling Dice there was a version I had that was done on a keyboard, and had a few lyrical changes here and there. Live Oak had a sort of upbeat, Grateful Dead feel before I changed the melody completely. Once we get in the studio, we quickly realize what is working and what is not.   

Alejandro Escovedo is a man much admired and loved by Lonesome Highway and an artist that recovered from his own health issues to return stronger than ever. He appears to be like a father figure or even possibly a tutor, in your artistic journey. How did your relationship develop with him?

We hit it off when I filled in playing guitar in his band a few years ago. It was a great experience cut short by health problems that I had to stay home and take care of. When we reconnected, our relationship grew as friends and artists. I was going through this period, of learning how to walk again and dealing with some pain (after battling a rare form of cancer - Sarcoma - which resulted in the loss of one of my legs). He really took me under his wing, and shared a lot about what helped him get through his own health struggles. Alejandro guided me to make an artistic statement on My Mountain in the wake of suffering, which is something he is a master of. I am forever grateful to him for that.

What did you particularly learn from his production input on My Mountain?

I learned a lot about what it means to give songs space. When you add more layers, you still want to do it in a way that serves the song and story being told. 

The Zone Recording Studios in Dripping Springs would appear to be the most perfect setting for recording Live Oak, given how much landscape you use in your song writing. You co-produced at The Zone with Pat Manske, who has worked with the cream of Texan artists. What influenced your decision to work with him?

The last phase of recording for My Mountain was done at The Zone. Working with Pat, we got into a great flow so it felt natural to keep working there. This time around, we collaborated more and really locked in musically. He has a great attention to detail and knows what makes a song special. He also mixed the record onto 2” tape, brilliantly. There is a great vibe with him and the band. I’m anxious to keep going!

The album’s title is inspired by the 600-year survival of an oak tree in Texas and is a classic theme for the album. Was this always going to be the title track of the album or did it surface during the recording process?

For most of the recording process, I thought it was going to be called Abiquiu, but I was afraid people might have a hard time pronouncing it. Then it dawned on me where I was, in terms of place and phase of life. Live Oak was the perfect fit.

The opening track Abiquiu, a small town in New Mexico, articulates the presence of both beauty and decay residing side by side. The sentiment in the song could speak for so many small towns throughout The United States. Presumably it was written based on a live experience passing through the town?

Yes. I was driving through there last summer. What I saw and experienced felt spiritual to me. Both the beauty and decay I saw were very heightened, in such a way that I had to write about it. I grew up going to visit my uncle in Taos who was an artist there, Bill Bomar. There is something about the landscape and air there that is so inspiring to me.

Till’ Kingdom Come, which bookends the album, speaks of your recovery ‘to this new life that I live and breathe’. On reflection, had you not encountered your health issues, do you consider that your musical career might have headed in a somewhat different direction?

I think about where I was before I got sick, if I would have continued that way I don’t know if I would be playing my own music or doing this at all. Though I was playing in several bands at the time, I had sort of a creative block with my own songwriting. Having this experience changed all of that. I love what I do. 

There is a noticeable calmness throughout the album. Is this a reflection of your state of mind during the recording process?

Maybe so. There is a certain intensity in record making because you are listening so closely, seeing what works and what doesn't. I’m lucky to work with people who share the same instincts.

On the subject of your use of landscapes in your song writing.  Is this motivated by your upbringing in rural Albany, Texas surrounded by lots of open spaces?

Definitely. Going back now, I realize what an influence being raised there was. As I go further along in writing and music, as a listener as well, landscapes are like colours on a painter’s palette.

Your family appear to be either farmers or art purveyors. I understand that you studied agriculture. What encouraged you to the artistic career in favour of agronomics?

I was studying at Texas Tech and I wasn’t doing very well in school. I came home one summer and wasn’t sure what I wanted to do. My stepdad, who was also a rancher, was listening to me play guitar one day and said, “You ought to do something with that”. I enrolled in the Commercial Music program at South Plains College, and just took it from there.

Ironically, there are unfortunate similarities between farming and musicianship, given how both careers have dramatically changed from the opportunities they offered a few decades back. How difficult is it to survive in such a crowded musical environment at present?

Everyone is on different paths. At a certain point, you have to define what success is for yourself. Like ranching, if music is a part of you, hard times will come and go. You do it because that’s what you do and it’s who you are. If I stay creative and inspired, I know things will work out.

Two studio albums in two years is quite an output, particularly when the material reflects personal moments in time, reading in many ways like intimate diaries. Is this a theme you intend to pursue in further recordings and how precious is song writing for you in dealing with everyday challenges? I’m practically anticipating a third similarly slanted album to complete a trilogy!   

I can’t explain it, other than it’s just the way I write songs. As life goes on, so does art and the things you have to draw from. I imagine I will stay the course.

Like so many of your Texan contemporaries you cut your teeth playing in indie/rock bands. Is this a direction you intend returning to at any stage in the future?

I don’t think so. At this point, I am more satisfied making quieter music.

Any plans to tour Europe in the near future?

No plans yet, but I would love to play there.

Interview by Declan Culliton   Photograph by Todd V Wolfson

Interview with Paul Burch

Paul Burch's unique vision of American roots music has attracted characters and collaborators from punk to honky tonk and beyond. His debut album Pan American Flash (1996) was ranked No. 5 on Amazon’s Best Country Albums of the Decade and all of Burch’s subsequent LPs have been acclaimed up to and including the release of his most recent album, his 12th, Meridian Rising (2016). Lonesome Highway has been fortunate to have seen play in Ireland on a number of occasions and to have interviewed him during this visits. We thought it was high time to catch up with him and ask him a few questions about his musical memories and observations about the Americana music scene in general.

You’ve had a varied musical career that has seen you as an instigator of the scene that revitalised Lower Broadway along side Greg Garing, BR5-49 and others. It’s now a totally different area a regular tourist trap. How do you consider your involvement with the re-genesis of the area now or do you have fond memories of that time?

I do have fond memories of playing on Lower Broadway. At that time I was discovering the first generation of songwriters who had come to Nashville after WWII and started writing from personal experience. I already loved Hank Williams very much and had since I was a lad. But I also started listening to Floyd Tillman who was from Texas and was an influence on Willie Nelson. It’s challenging to write a song as beautiful as Afraid by Fred Rose or as direct as Floyd Tillman’s “Slipping Around” or as funky as Vic McAlpin’s Rocket In My Pocket. Many of the early writers from that era were still around Nashville. And the sound of our band at the time–just guitars and Hawaiian steel - was like a siren song. We had been playing just a few weeks before they came out of the woodwork. Many songs from that time were also admired by my favourite R&B artists like Ray Charles, Arthur Alexander, and Sam Cooke whose work crossed over into rock ‘n’ roll.  

Plus at that time in the early 90s, many of the musicians who played on my favorite records - both country and R&B - were alive and very approachable both in Nashville and in Memphis and Muscle Shoals. Bobby Hebb, who wrote Sunny, came to my work and did a solo concert with just guitar that was absolutely thrilling and beautiful. Though I never met Sam Phillips he was just over in Memphis as was Charlie Rich. I did meet Carl Perkins and George Jones. Everywhere I went I was introduced as someone who was a “pretty good singer” and who cared about the artists. And I was happy to be thought of that way. Downtown there was a kind of flea market junk store that had a whole room piled high with 78s. The good stuff had been picked through but there were lots of one-off pressings of sermons and funerals, odd demos. And it seemed like only Greg, BR549, and myself were interested in that stuff. We had it all to ourselves. To give you a picture of how unplugged we were, around 1995 or so, the Country Music Foundation put out Johnny Paycheck’s early records from the Little Darlin’ era - early 60s - and we each bought out all the copies at Ernest Tubb records. Probably the day it came out. And probably the only copies they sold! But we weren’t listening to the radio at all. I couldn’t tell you what came out between 1994 and 1997 or so. I might as well have been on an island.

We were totally engaged in the music. Everyone told us we would never get anywhere, which just stiffened our resolve - at least mine. My ambition was to make records which itself was considered a bit weird. We really believed that the artists we were covering were vastly underrated. We had the fantasy - mostly wrong - that the musicians from that generation before Elvis knew a change was coming but were not encouraged to be as creative as they could be. As for its current state as a slum for drunks, it was probably inevitable. A lot of investment was happening just as we were getting some press. One might have helped the other. But it didn’t take a lot of vision to see that it could be exploited.  

Your last album Meridian Rising was about an imagined musical telling of the life of Jimmie Rodgers, the Singing Brakeman. You tell the overall story on your website. Tell me what inspired you to create this set of songs that was conceived in musical style that would have been familiar to him?

By chance I heard an unreleased recording of Jimmie with Clifford Gibson, an African American bluesman who mostly worked out of St. Louis. The song was called Let Me Be Your Sidetrack. It was the surviving take of two that were made and you can tell because Clifford anticipates Jimmie’s yodel at the end. I think at the time I was either working on the songs for Last of My Kind - based loosely on the characters in Tony Earley’s Jim the Boy which takes place in the 1930s - or I was working on gathering songs for a documentary about Appalachia. Both might have been going on at the same time.  

But anyway, I was struck by the recording because Clifford was a good guitar player and played in an open-tuning with phrases that reminded me a little of Robert Johnson who was a few years in the future. In other words, his sound was contemporary to blues at the time but also a little more forward. That’s how I chose to hear it anyway. Clifford was also the only bluesman that Jimmie ever recorded with. So all of this just intrigued me about what Jimmie’s life was like as a musician. I had already read the biography by Nolan Porterfield but it didn’t give me the sense of Jimmie’s personality on record as it connected to the facts of his life. His personality is easy to hear in his music. But integrating the two was what I wanted to do. I thought it would be an interesting challenge as a writer. 

Gradually, after a few years of keeping the idea in my back pocket, it struck me that using the styles of Jimmie’s influences like the Mississippi Sheiks and others would be the best way to present the story. Occasionally I dipped into his forms but for the most part I had the freedom to draw on sounds and arrangement styles that Jimmie probably enjoyed but didn’t cover. For instance, If I Could Only Catch My Breath  has the kind of death-march sound I know from Duke Ellington’s early records for Okeh, which were out at the same time. Most of all it was a great writing trip. And I got to spend time in that world which is pretty wonderful musically.

Are you working on a new release or what consumes you creative energies these days?

I am working on a record. It might be a series of records - I’m not sure yet.  But I’m hunting and gathering as we speak for release next year. 

After eleven albums does get harder to find something new that you want to express?

Thankfully not. I feel more challenged after Meridian Rising to try to take more risks and do something that is hard to qualify but easy to like. Perhaps initially I wanted to state my case that I could write and sing a song and produce an album. For better or for worse - as far as the market place is concerned -I don’t have run that race anymore.  Ultimately, I’d like to create something so beautiful that it lives far beyond my name. 

You toured at one time as a member of Lambchop was it refreshing to be part of a band rather than leading it or do you still like to be the man in charge?

I like both. I’m not sure anyone was in charge of Lambchop - though certainly Kurt was and is the leader. They were his songs. I’m by nature someone who likes to help. I can’t keep quiet if there is an opportunity to encourage freedom of expression. In my own group there are several members who encourage me to take chances and they’re not afraid to disagree. I think there is a Keith Richards quote somewhere about first turning on the drummer and then the band. Once you’ve done that, look out world. As far as being in charge - I know there are better guitarists, vocalists, bandleaders - you name it. But I’m uniquely qualified to tell the story I’m telling in the way I think it should be told. If I can express myself freely, they will too. We’re in it together.   

Your current WPA Ballclub roster includes some 21 names. Do you ever all get together or do you have to pick and choose to suit a venue or budget?

I think you’re the first that’s put a number to it. Typically - on an occasion where everyone can make it - we work best as a quintet. I like the variety of sounds. But anything can work. Ideally it’s nice to have an array of colors that way you’re not boxed in. 

In that light, do you get to tour these days?

Not as much as I’d like to but as I said last time, if someone calls and says “go here”, “go there”, I’ll probably do it. I kind of like working in obscurity except for things that come with obscurity like lack of resources and fewer opportunities. 

A lot of the imagery on your website has a look that seems to be taken from the last century. Is that a time that hold s the most interest with visually and musically for you?

In most cases I used the photos that appealed to me. I was born in the last century so it doesn’t seem so far away to me. As for the photos of me, they where shot just where I happened to be. When the photographer says, “hold still” I’m not going to argue. 

What memories do you have of playing in Ireland?

Good ones!  I’m not there enough. My grandfather’s family was from Cork. I’d like to go back again soon.

Do you have a particular favourite in the albums you have release yourself?

I don’t - but I don’t say that in a disparaging way. They all have their sound, which I’m thankful that happened. I learned something from making all of them. In retrospect, even making one album seems remarkable. I remember thinking after Pan American Flash that it was a nice album and if I couldn’t make a better one or another one, that would be ok. I guess I suffer from being philosophical. I remember the feeling of wanting to write the records and putting them together. But the ability to actually make the songs happen, that’s as much of a mystery now as it was then.  

What about in you production and guest roles?

I’d like to do more. I always keep my ears out. Producing is a lot of work - it’s an investment. 

How difficult is it to keep control of your music in these times. It looks like you have the rights to your albums?

Glider Ltd. is my little label which the older records are available on. But I like labels. I wouldn’t want to own one but I don’t mind being on one at all. As Jason Ringenberg says, a team beats a single person everytime. 

What ambitions have you yet to fulfill? Do you have many interests outside musical ones that take up your time? 

I don't know about any specific ambitions other than to stay alive and keep working. I do still think Meridian Rising would make an interesting film or play so I hope a good young film maker or playwright might emerge from the dark who has an idea. I think perhaps I’ve gone as far as I can in its current form. I have a few more album ideas I’d like to pursue. I’m just happy to be interviewed, really. Will anyone be reading this? 

Finally what has music given you? 

A keen sense of purpose and desperation. 

Interview by Stephen Rapid  Photograph by Jim Herrington

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