 Courtesy: McGuckin Entertainment PR -Tara
Already a favorite in their home country of Ireland, I Draw Slow is preparing to release their new album Turn Your Face to the Sun on April 21st. I Draw Slow - siblings Dave (acoustic guitar, vocals) and Louise Holden (vocals), Adrian Hart (violin), Colin Derham (clawhammer banjo), and Konrad Liddy (double bass) - merges American folk and Irish storytelling with close-harmony vocals, intriguing instrumentation, and compelling subject matter that results in a captivating sound that is sure to win over audiences worldwide. Ahead of their shows at Rockwood Music Hall on album release day, April 21st, Dave Holden took some time to answer a few questions via email about the band's roots, their new album, and more. You have been together for a decade, but for someone who is new to you, can you give a brief background as to how y’all came together? Well, my sister and I obviously go way back! Pretty much all 5 of us have played in bands together over the years in various different formations. Ireland, although it punches above its weight musically, is a pretty small place - everyone knows or is aware of everyone else. Being from Ireland, how did you come to focus on playing American folk music? About 20 years ago I was busking in Australia when I came across a banjo player playing bluegrass late at night in the red light district of Sydney (I was living there, not visiting!). I wasn’t really aware of that style of music, and he took me under his wing and we started playing together. I came home after traveling and brought my holiday romance with me! Are there any particular artists you site as inspiration or influences? We all love the old Appalachian style of American folk music, it just seems to have a resonance with us; it’s very Irish sounding which obviously makes sense given the background to it. We’re also big fans of Country and folk music, Townes van Zandt, Neil Young, Gillian Welch etc, but we also love the storytelling element in the Irish tradition.
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 Credit: Anthony Barlich -Tara
Texas by way of Mississippi singer-songwriter-guitarist Jason Eady merges well-crafted stories with stripped-down melodies on his latest full-length, allowing the listener to be pulled in by songs that are both personal, yet universal. The self-titled album, which features guests including The SteelDrivers Tammy Rogers, and Eady’s wife singer-songwriter Courtney Patton, as well as Vince Gill, is due April 21st and in advance of its release, Eady generously took some time to speak in depth about the project, his approach to songwriting, and more. Releasing April 21st, your latest self-titled record will be your sixth. Did you do anything differently with this one? Yes, we did. I play a lot with my band, but after shows, we often sit around hotel rooms, back porches, and other different places playing acoustic - and I realized I had never done that with a record before; so the point of this record was to strip everything down. I decided it was time to put my songs, many of which are very personal, together with acoustic arrangements that will support the songs and highlight the lyrics. So, we went into the recording of this album with a full band all unplugged – with the exception of steel guitar because I love it and cannot imagine one of my albums without it - with the idea being that if the power ever went out, we could still play the album. Once again you worked with producer Kevin Welch and recorded it in Nashville. This is my fourth time out with Kevin. We made the first two albums in Austin and the last two in Nashville. There are a lot of reasons behind going to Nashville to record the album, but we went there largely because of Kevin’s history. He spent twenty years there as a songwriter, so he’s plugged into that community. And, we got to record it at the studio [Blueroom Studios] where he made his acoustic-based records, so I felt comfortable going into it knowing we were using the same team he used. Some of these songs I recall hearing over the past few years when I have seen you live. Were they all written since Daylight/Dark or were some you had from years before? Most were written after, but “Waiting To Shine” I wrote back in 2006. It was on my second album, but this time around we changed the arrangement a lot so that it feels like a brand new song. Usually, as soon as I get done with one album, I hit a stride as far as writing for the next. I’ve unloaded all I needed to and the pressure is off, which then leads into a pretty productive time for me. I always say though, that when I think a song is done, it’s probably only about 70% done; the last 30% is something I cannot control, it’s something that happens when you get in front of people - it's there that you feel what works and what doesn’t. We [Jason and his wife, Courtney Patton] have a couple of monthly residencies and it’s in these settings where the editing process tends to flush itself out naturally. In fact, there are songs I’ve been playing for ten years that I’m constantly changing the words to when I play them live; they're a work in progress.  Courtesy of the Artist -Tara
Born in West Texas and now calling Nashville home, K Phillips began writing songs at the tender age of six. His first full-length, 2012’s American Girls, garnered accolades and on March 10th the singer-songwriter released his latest, Dirty Wonder, a dynamically eclectic, wildly literate, and sophisticated ten song set. A breakup record that’s part autobiographical, part imagined, and part observational, Dirty Wonder is an album filled with clever allusions, sexual tension, and richly detailed stories. Shortly after his performances at SXSW, Phillips graciously took the time to speak in depth about the album, songwriting, and more. Gordy Quist from the Band of Heathens produced the new record. Why did you want to work with him and what did he bring to the project? I love the Heathens, they’re an artist’s artist. They may not be a household name, but they’re wildly successful in the sense that they’ve been able to maintain control over their career and make the music they want without compromising - and that gave me the inspiration to do my thing. Gordy is a friend and mentor to me, and was one of the first people who heard the first songs I ever recorded. He’s that rare kind of genius, a Renaissance man really, who is successful at anything he sets his mind to, so when I found out he was producing I knew he would be great at that too and would contribute something terrific to the album, which he did. Between the first record and this one you left Texas and moved to Nashville, yet the album was recorded in Texas. Did you return to Texas or was it completed before you made the move? It’s kind of been a blur (laughing). So, the initial tracking was all done live at 12th Street Sound with myself, Rich Richards on drums, Ricky Ray Jackson on guitar, and Gordy behind the glass, but before we could finish, I had to leave to play some shows. So, in order to finish the vocals, which had to be overdubbed because the piano and organ I play tend to drown them out, I bought a mobile rig and completed them on the road. Some of the vocals were done in California, some in Phoenix, and still others in Connecticut and New York at Adam’s apartment [Duritz, who guests on “Hadrian”]. Then, the record was mixed at both Modern Electric in Dallas by Beau Bedford and in Chicago by Brian Deck. Both have areas they’re really good at - Brian did some Modest Mouse and Counting Crow’s records and Beau’s worked with Jonathan Tyler and Leon Bridges - and by working with both of them I knew we could capture what we wanted on the different tracks.  Hailing from California, singer-songwriter Jade Jackson will undoubtedly be making her mark on the Americana scene when her new emotionally stirring album, Gilded, releases May 19th. Wrought with stories dealing with regret, freedom, and love, Jackson’s songs are honest, intimate, raw, and intense. While on tour, she kindly took some time to answer a few questions via email about her roots, the album, and more.
Both of your parents were avid music fans who constantly had records playing. What were you exposed to growing up as the songs on Gilded seem to draw from roots rock, country, and even a bit of punk and pop as well? My dad mainly collected early country, punk, and rock and roll records. I was raised on Hank Williams, Johnny Cash, Echo and the Bunnymen, Tex & the Horseheads, Cowboy Junkies, etc. When I was six or seven I got my first Walkman and I listened to albums like No Need to Argue by The Cranberries and She Hangs Brightly by Mazzy Star over and over again. I also listened to a lot of The Pogues and Mark Lanegan at that time in my life as well. By the time you were thirteen you were writing songs and then at fourteen, you were performing. Since you’ve been writing for a decade, how far back do the songs on the album go? Are they recent, from awhile back or a combination? The demo that prompted Mike Ness to work with me had my song “Finish Line” on it which I wrote in the summer of 2014. “Troubled End” was an older song that I wrote when I was in a rockabilly band called The Royal Wreckers at age fifteen. The name was originally “Troubles End”, but when Mike heard it he suggested reworking/rewriting it. Together we co-wrote the new version which is what's on the album coming out on May 19th. “Back When” was a song I wrote when I moved home from college with the help from my bassist and old friend Jake Vukovich, I wrote “Better Off” with my drummer Tyler Miller later that year. The rest of the songs on the album are all under three years old. I never wrote with the intent of creating a specific album. Mike and I chose from the songs I had written to create the album we wanted.  Credit: Gregg Roth -Tara
Multi-Grammy winner Rodney Crowell’s latest full-length Close Ties, stretches back to the revered songwriter’s roots, mining memory and life experiences in a way that is not only deeply personal, but also incredibly honest and emotionally intimate. From the blues fueled opening track, “East Houston Blues” about Crowell’s childhood to “Nashville 1972” and beyond, Crowell’s narratives focus on a life lived thus far and all that encompasses: love, regret, lessons learned, wisdom gained, and hope. A few days before the album’s release Crowell graciously spoke about his vocation as a songwriter, Close Ties, and what’s ahead. Over the course of your career, you’ve released well over a dozen albums, so was there anything you did differently with your latest, Close Ties? Well, it was the first time that I worked with a female producer, Kim Buie. Before we even began the record, she and I had really in depth conversations about what we wanted to accomplish. Kim brought a unique perspective and was very helpful with figuring out what the tone and narrative of the record was going to be. We had such long conversations that by the time we went to record the album, we were of one mind. The songs on Close Ties are very representative of your life; were they all written for the album or were some ones you had written awhile back? I started the melody and my verse of “I’m Tied To You” way back in 1997 when I was in Ireland on a cultural exchange experiment with other songwriters and although I had tried for many years, I was never was able to unlock the female narrative. So when we hatched a plan to collaborate with Sheryl Crow on the song, I had to step up my game and get the female narrative of the song together because I wanted Sheryl to be proud of what she was singing. That song was twenty years in the making, but then others like “It Ain’t Over Yet” I wrote coming right up to the recording sessions and another, “Life Without Susanna,” I wrote maybe a year and a half before.  Photo Courtesy: Floore’s Country Store -Tara
Randy Rogers Band and Robert Earl Keen are set to kick off the beloved honky-tonk's 75th Anniversary year with two shows April 14th and 15th Opened in 1942 by Mr. John T. Floore himself, John T. Floore Country Store was not a store at all, but a unique Texas Dance Hall and Cafe. For over 70 years, this quintessential honky-tonk has hosted Texas and American music legends such as Bob Wills, Ernest Tubb, Patsy Cline, Hank Williams, Elvis Presley, Bob Dylan, Merle Haggard, Ray Price, George Jones, and many, many more. Now, the quintessential honky-tonk is celebrating its 75th Anniversary with two sure to be spectacular shows on April 14th and 15th featuring Texas favorites Robert Earl Keen and Randy Rogers Band. During a break from a Northeast tour, Rogers filled us in on his history with the venue, playing with his hero, and more. Robert Earl Keen and yourself are kicking off Floore’s 75th Anniversary in a big way with not one but two shows on April 14th and 15th. How did you come to be a part of something so very special? The owner of Floore’s, Mark McKinney, reached out to me. He knows how much of a man crush I have on Robert and how much of an influence he has been on me and the band, so the decision was a no-brainer; I said yes right away. I know that it will be a weekend that will go down in history for me as one of the highlights of my career. I can sing pretty much every Robert Earl Keen song if I wanted to and I’ll be singing my lungs out each night that’s for sure. Although it’s a few weeks away, have the two of you talked about anything special that you will do those nights? We did a photo shoot for the event together and threw some ideas back and forth, but you know, I get nervous around Robert. I think heroes are important in this world, and Robert is one of my heroes. To me, he walks the line, and in a way, created the highway we’re all rolling down. I know there were people before him that he would nod his head to, but I look up to him as a person, songwriter, and family man - the whole bit.  Courtesy of the Artist -Tara
Growing up in Texas, country music made a lasting impact on Kaylee Rutland. She was eight when she fell in love with singing while performing her first solo for a Christmas musical at her church, and then, as the saying goes, the rest is history. Over the past few years, she was named Country Living Magazine’s “Artist to Watch in 2017”, Billboard Magazine’s “Top 10 Artists to Watch” in 2014, was a finalist in the inaugural Nash Next competition in 2015, and accompanied RaeLynn on tour in 2016. Currently working on completing her studies at Belmont University, Rutland recently released her new single, “Pick Me Up” and kindly called to talk about the song, its accompanying video, and more. Your songs blend traditional and contemporary country. Did you always gravitate to country music? Growing up in Texas I was always listening to, and loved, country music, especially Reba who is my all time favorite. There wasn’t a moment when I decided it was going to be country for me, I’ve just always loved it and before long it was what I was singing, writing, and performing. Currently, you are a senior at Belmont University. Is it difficult to balance school and a career? It’s actually easier than I thought would be. I was definitely worried coming into it as a seventeen-year-old, but the majority of my professors are in, or have been in, the music business and are very understanding. It’s been incredible to be taught by people who work in the same industry, get their perspectives, and learn about all the different aspects of it. I love it.  Courtesy of the Artist Currently a student at Berklee College of Music, Ava Supplesa has already established herself as an artist to watch. Among her many accomplishments, Suppelsa got the chance to work alongside Josh Groban, Chris Young, and Desmond Child in 2014 and was also invited to Los Angeles by The Grammy Foundation to perform with the Grammy-nominated Hunter Hayes. In February of this year, she released her self-titled debut which was co-produced with Colin Lester Fleming and Dick McVey and features four self-penned tracks. Originally from Chicago, Suppelsa plans to relocate to Nashville this summer to further pursue her country music career and recently called to chat about her roots, the EP, and what’s ahead.
You began performing original material at the age of twelve, so it seems you knew that you wanted to pursue music since a young age? My earliest memories really are of me wanting to be a singer - my parents would even tell stories describing me as having the lungs of Leann Rimes (laughing). I played piano and was always singing, but Taylor Swift really was a big influence on me learning guitar. So, I started teaching myself and haven’t stopped writing and playing since. You mentioned Taylor Swift as an influence on your style. Is there anyone else you draw from? My house was split in terms of genres. My mom liked Johnny Cash and Dolly Parton while my Dad loved Jazz. So, on Friday nights we’d alternate between country artists and say, Frank Sinatra. I also like Norah Jones, Carrie Underwood, and Miranda Lambert and would say they influenced my sound as well.  A native of Florida, Jeremy Steding was raised on the sounds of Johnny Cash, Buddy Holly, Dylan, and Prine. While attending the University of Florida, Steding was turned onto Cory Morrow and Robert Earl Keen and eventually moved to Texas spending a decade there, becoming a staple in the Texas/Red Dirt scene. In June '16, Steding relocated to Nashville where he has created his latest album, Odessa (which includes the Top 20 single, “Late Night Love Song”). Prior to heading out on tour, Steding kindly checked in to talk about the release, the stories behind the songs, and more.
With Odessa being your fifth record, did you find yourself doing anything differently this time around? A little bit. I worked with the same producers, Chris Gill and Gavin Shea [Handmade Productions], but since we moved to Nashville in mid-2016, we recorded the record here - and because of that I was able to get into the studio and have more of a hands-on role with things like mixing and everything else which was really cool. Were the songs for the album all written after you moved to Nashville or were some ones you had in your pocket? It’s been three years since my last record and in the interim, I probably wrote sixty songs. Eight of the songs on the record are brand new and the others are ones that stuck with me and resonated with people when they heard them live. Those two songs “Get The Hell Off This Rig” and “Odessa” which were songs I had written for the Acoustic Saloon, were written before the move, three more were written soon after, and the final three were written for the album after the Indiegogo was done. I wrote them all myself except for "If It Takes A Lifetime" which I wrote with my good friend, Mike Ethan Messick. Even though you moved to Nashville, there is a lot of Texas in this record. You mentioned the title track and the closer. Why did you choose to bookend the album with those songs? For sure. I definitely consider it a Texas Country record as opposed to any type of mainstream country record and by having those songs as bookends, the album begins and ends with a West Texas theme. There’s really no place anywhere else like West Texas – it’s inspiring and/or depressing - and I took a lot of what I’ve seen from that culture and put it in the album. I chose "Odessa" as the starter because I always like to just jump into an album with something up-tempo so the album comes out swinging and then falls into a groove from there. And I closed with “Get Me The Hell Off My Rig” because I wanted to leave it on an almost eerie note.  Courtesy of the Artist Facebook From a very young age, music was present in Mark Melloan’s life. The Kentucky native’s parents were both musicians and singers who passed their love of music to their son. By his teen years, Melloan was writing and playing guitar and eventually released his first album The Shadowlands in 2002. After an extended break, Melloan debuted his latest full-length, Hallelujah Love, which mixes Country, Bluegrass, Rock and Pop, in 2016. Recently, Melloan graciously took the time to speak about his roots, the album, and the busy year ahead.
Even though you may be a new artist to some, you have been pursuing music for quite some time. I grew up in Kentucky with my Mom and Dad who toured in a gospel band [The Gospel Voices] and I guess when I was about eleven or twelve I got the notion to get involved with music. I took piano lessons, began writing and singing, and realized music was what I wanted to do with my life. It’s been a dream for as long as I can remember. At Western Kentucky University in Bowling Green, Melloan made a name for himself as one of Kentucky's finest singer-songwriters. He collaborated with a number of great musicians like Curtis Burch and Bela Fleck of Newgrass Revival, Kentucky Headhunter Greg Martin, and jazz pianist Beegie Adair. Additionally, his songs have been used commercially by the NCAA athletics department of his alma mater as well as the United States Department of Veterans Affairs. Your latest album, Hallelujah Love, has a real Americana feel. How has your musical style evolved over the years? When I was younger, I listened to a lot of Jimi Hendrix, The Beatles, and CCR. In college, I became interested in Bluegrass, Alison Krauss, and the music that is unique to our region. I’ve always enjoyed unconventional blends of music, so when I heard New Grass Revival it was a big deal to me because I saw that you could fuse musical influences and create something unique. In college, I made a lifelong friend in Curtis Burch [founding member of New Grass Revival]. He took me under his wing and helped me produce The Shadowlands. He was always encouraging and supportive and a lot of the success I had with that record was because of him. It was very affirming to have a person of that caliber think so much of my material, want to work with me, and then connect me with musical legends, like Bela Fleck. It’s still hard to believe even now. |