Tag: 5+5

BGS 5+5: Coco Reilly

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Artist: Coco Reilly
Hometown: Buffalo, New York
Latest Album: Coco Reilly
Personal nicknames: Coco

What other art forms — literature, film, dance, painting, etc. — inform your music?

Oh, literature definitely. I buy books way faster than I can read them. I rotate books during the week depending on my mood. I’m usually working my way through 3-5 books at any time and they’re usually a mix of psychology and science with an occasional biography sprinkled in. I know it’s not very cool to say that science informs most of my songwriting, but it does trigger a lot of the introspection and curiosity about how things work and why we do what we do. Aside from that, comedy is my go-to in second place for most inspiring. It helps balance out the heavier parts of my brain and there’s also nothing better than making fun of yourself, which, as a musician, is really easy to do. It’s healthy for the ego.

What rituals do you have, either in the studio or before a show?

I usually do some quick stream of conscious writing in the morning to clear my head. I do that every morning, but it’s extra important on show days, because I get pretty anxious about performing and have to work really hard to keep my inner critic at bay. Any other middle-aged activity such as drinking tea, exercise, or a nice walk also helps. If I’m feeling really locked in I’ll meditate and try to set an intention, remind myself to relax and enjoy the moment.

What’s the toughest time you ever had writing a song?

If a song isn’t working I usually just let it go. I don’t fight too hard for them because it takes the fun out of it. Sometimes ideas just need more time to grow so I come back and check on them later without rushing them. That being said, arranging the songs in the recording process can be really tough for me, because I like to hear a lot of options before I settle on the thing that feels best. I struggled to arrange “Oh Oh My My” and “Mirror” the most. It was hard to find the balance of organic sounds and the bigger, more cinematic parts without tipping the scale too far in one direction. I think we recorded “Mirror” four or five times with different tempos and the band almost died from boredom. It’s a very long song. They have the patience of saints.

If you had to write a mission statement for your career, what would it be?

Well, the last song on the record, “Be True,” was really written as my personal mission statement. Be true, no matter who surrounds you. Regardless of what I choose to do in my life I just want to do it authentically, and try to leave the world better than I found it.

Which elements of nature do you spend the most time with and how do those impact your work?

Water and fire. I light a candle at my desk every morning and I am lucky enough to have a view of the sea for the first time in my life from my apartment in Reykjavik. I think fire helps soothe and keep me focused. It adds a nice warmth to the work space. Water helps me think. I could sit by water for hours and never get bored. There’s always so much going on beneath the surface, especially in the ocean. I do my best thinking near water and always leave it with inspiration and new perspectives.

Photo credit: Juliette Rowland

BGS 5+5: Canyon City

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Artist: Canyon City
Hometown: Fort Collins, Colorado
Latest album: Circling the Sun EP
Personal nicknames (or rejected band names): Nimrod (my first high school band name)

What’s your favorite memory from being on stage?

One of my favorite memories is from a couple years ago when I was playing an acoustic show at small venue in Camden Town of London called Green Note. I was still pretty new to the UK and even though it was a relatively small room, the show was one of my first that had sold out well in advance. It ended up being such a special night, one of those evenings where you can just feel that everyone is riding the same emotional wave and you have this feeling of connectivity that’s hard to describe. I remember sitting in the front lobby, kind of hidden away while people were walking in, and making an effort to remember as much about that moment as I could — what the walls looked like, what the chatter and noises of people walking in sounded like, the lighting, how it all felt. I’m so glad I did, because now I go back to that mental image often and smile.

What rituals do you have, either in the studio or before a show?

I’ve found that there’s an environment that really works for my creative process, and though I don’t always adhere to the same motions, it’s a set of tools that really help me get in the right headspace while writing. I start the day with some coffee, then before I do anything else, I try to go outside for a brief walk to start the creative day. After that, I set up the studio for whatever I’m working on that day, maybe light a candle, if it’s nice outside I open the window and go to work. At least once a day I also try to take a break to meditate, which is a huge part of my creative and emotional wellness. At the risk of showing my nerdiness, I also keep an air quality monitor going in the studio to make sure the inside CO2 levels aren’t getting too high and do what I can to keep a solid flow of fresh air. It’s all about creating an environment that makes it easier for the soft-spoken parts of the mind to get their say in.

If you had to write a mission statement for your career, what would it be?

Again, I’m really sounding the nerd alert here, but I actually do have a mission statement written out that I revisit and revise frequently. I’m not going to share it in its entirety, as it’s born of some personal places of the heart, but the essence is for my work to be a conduit for connection. Whether that’s personally connecting to the moment I’m in, or offering something that listeners can connect over or with wherever they are, or facilitating spaces like the concert I described earlier where people from all walks of life find themselves having the same emotional experience together. I think there’s a great healing to connection and I try to make the most of that opportunity wherever it can be fostered.

Which elements of nature do you spend the most time with and how do those impact your work?

Since my wife and I moved to Colorado this year, we’ve truly been in our happy place. Going out into nature isn’t just something I enjoy, I consider it to be a crucial part of my creative process. Whether it’s hiking, camping, cycling around town, snowboarding or just doing my daily walks throughout the neighborhood, going into places overtaken by life does so much to clear my mind, restore my soul and inspire me to explore new perspective. As a result my songs have lots of references to the natural world, especially as I see and appreciate more of life’s mechanisms that connect us all in this shared environment.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Oh man, if I could meet up with the late Tom Petty for some burritos and margaritas I would be in heaven. I don’t know if that meal and musician go together in any logical way, but listening to Wildflowers and digging into some delicious Baja Burrito — a favorite of mine from my old stomping grounds in Nashville — are two of the best feelings I can summon. Otherwise I’m a sucker for folk music early in the mornings, especially when I’m trying to pull that perfect shot of espresso.

Photo credit: Brooke Johnson

BGS 5+5: The Steel Wheels

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Artist: The Steel Wheels
Hometown: Harrisonburg, Virginia
Latest album: Everyone a Song, Volume 1
Personal nicknames (or rejected band names): Trent Wagner and The Steel Wagler

Answers by Trent Wagler

What’s your favorite memory from being on stage?

I remember a festival finale performance of “The Weight” in northern Alberta where we were thrust (last minute) into leading the song. Isn’t “The Weight” some sort of Canadian anthem? I don’t know, we felt a little like impostors, but it became even more hilarious when a whole bunch of volunteers and other musicians hopped on stage and we were given conflicting accounts of who was singing what verses. In the end Michael Franti surprised us by appearing on the drum kit and singing a verse that included a little change of lyrics name-checking the festival. It was memorable.

What was the first moment that you knew you wanted to be a musician?

When I was about 9 years old, I played Duffy the Fluffy in a small church Christmas play called Baa, Baa, Bethlehem. I slicked my hair back and wore sunglasses and sang a song that went, “Duffy the Fluffy is who I’m gonna be, come to the city you’ll be waiting to see me.” And the rest of the sheep sang, “Get a job, baa baa baa, baa, baa baa baa baa baa.” But I had a guitar strapped around my neck and I sang with confidence. Wait, maybe THAT was my favorite memory from being on stage!

What rituals do you have, either in the studio or before a show?

In the studio, I always tape a sheet of paper on the wall with the title of each song we are recording. On that paper, we keep a running list of notes, ideas, or whatever that song still needs. It’s helpful to have a visual representation of notes, and when things are dragging along, there’s a sense of accomplishment to crossing off each note. When the song is finished, it’s ceremoniously taped on a different wall.

Which elements of nature do you spend the most time with and how do those impact your work?

I try to ride bike everyday. Recently, I’ve been most excited about gravel road rides, a bit easier than mountain biking, but with a similar feeling of distance from civilization. I love the way riding a bike gives you respect for a mountain. The bicycle also turns you into a different kind of an animal. Sometimes a mule, sometimes a bird, but I usually feel transformed after a good bike ride. And the whole process, of getting away, being in nature, and riding is a great reset for my creativity. I live in the Shenandoah Valley and the beauty of the landscape finds a way into my writing all the time. There is a reason that rivers and mountains are cliché metaphors, because there is an undeniable depth and power to them.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

It seems like I should say I’d eat a fistful of cigarettes and a barrel of red wine and listen to Tom Waits and Leonard Cohen, but I can’t think of a better pairing than Brandi Carlile and some wild-caught salmon. There are musicians that garner praise from critics and others that have an easy-listening popular songs for the masses, but very few thread the needle like Brandi Carlile. She might be the only music my wife, 16-year-old daughter, and I can all passionately agree on. You know how salmon looks like it’s just a layer of pure pink muscle? Brandi’s songs are all muscle.

Photo credit: Josh Saul

BGS 5+5: Appalachian Road Show

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Artist: Appalachian Road Show
Hometown: Canton, North Carolina (Jim Van Cleve); Lexington, North Carolina (Zeb Snyder)
Personal Nicknames: Jibby (Jim);  Appalachian Zeb (Zeb)

Editor’s Note: As BGS and Come Hear NC team up in November, we present North Carolina natives Jim Van Cleve and Zeb Snyder of Appalachian Road Show for this edition of BGS 5+5. Their newest album is Tribulation.

What other art forms — literature, film, dance, painting, etc — inform your music?

I think in a subconscious way, film and photography likely inspire my writing and even playing in a powerful way — and especially when referring to instrumental pieces. I’ve often said that when I’m writing, I can almost see or even “feel” a scene from a movie or a compelling visual image or something. There’s almost like this “unseen visual” which informs the emotional content of the piece of music in question. In some subconscious way, the gravity of a scene from a movie, or in a powerful photograph, will inhabit the melody shapes and rhythmic feel I’ll gravitate towards.

And, I think when I’m writing, I’m often subconsciously wondering… “What is happening in the movie that THIS song is the score for?” It’s difficult to put in words, but I definitely feel it. With Appalachian Road Show, there are such compelling stories that come from the region of our namesake, that it feels like it saturates every note of every song when we’re at our emotional peak. I can often envision scenes from Cold Mountain or The Outlander or Braveheart even during certain songs we’ll perform. — Jim Van Cleve 

Which artist has influenced you the most … and how?

I’d have to say Tony Rice. When I think back on my growth as a flatpicker, I can see how Tony’s influence on me has changed and come from different directions over the years. When I first discovered his music at eleven years old, I was all about figuring out his lead playing on bluegrass songs and fiddle tunes. After that, I started getting into his original instrumentals and his work with [David] Grisman and on Béla Fleck’s albums, which taught me new chord voicings and more challenging leads.

The next and maybe the most important phase would be when I started taking rhythm playing more seriously as a teenager and started studying all of the subtleties of Tony’s rhythm pattern and embellishments, particularly on the Bluegrass Album Band stuff. I have so many favorite guitar players, but I always come back to Tony every so often and figure out things that I had never noticed or understood earlier in life. — Zeb Snyder

What’s the toughest time you ever had writing a song?

I believe maybe the one that was the most challenging for me was when I was asked to write a new IBMA Awards show theme song. The song was ultimately called “The Road From Rosine,” and there were a LOT of angles to consider with that one. For starters, the previous song, “Shoulder to Shoulder,” was written and recorded by one of my heroes Jerry Douglas, (and the whole band on that track is a bluegrass Mount Rushmore). The tune itself is a classic and had been used for years and years as the awards show theme. I’d grown up with the song, and it being a staple of the show, so I had this subconscious mountain to climb in the first place.

Then, on top of that, you have all of these “marks” — emotional and energy/dynamic-wise — that a song being used like this has to hit, because you know how it needs to be used throughout the show. So, it just had a lot of different roles it needed to fill, and in general you just want it to be as great as it can be, given the gravity of that situation. I wanted the song to capture the essence and spirit of bluegrass… the way the founding fathers of the music intended for it to feel, but I also wanted it to embody a sense of where the music is heading, with kind of a forward looking element. So basically, I was trying to write a song that would bridge all the gaps between the past, the present, and the future of our music, and also be theme-ish. — Jim Van Cleve

If you had to write a mission statement for your career, what would it be?

Every undertaking, big or small, do it to the absolute best of your ability, keeping integrity and transparency above all. If you’re going to do a thing, do it beyond the point of excellence. Be authentic and strive to treat the people you work with like you’d wish to be treated, even (and especially) when they make it difficult to do so! haha! 😉 Full disclosure: It’s been our intention from the start to adopt this philosophy in Appalachian Road Show, and we feel that it’s been an important part of our early successes. — Jim Van Cleve

What was the first moment that you knew you wanted to be a musician?

Well, I started playing music through classical lessons. I was seven years old, and my sister had just started doing Suzuki method violin lessons. My parents got me into the Suzuki classical guitar program. At that point, I enjoyed playing, but it was kind of like a favorite school subject, not a passion. Four years later I started playing bluegrass guitar. That was when everything changed. I was so passionate about playing, and I was acting on my own initiative instead of treating practice like it was homework.

I would lose track of time while I was practicing, figure songs and licks out on my own, spend hours researching and listening my favorite artists on the internet, and even get random ideas for my own little instrumentals and licks before I even really knew what I was doing. When my family band started playing a few gigs, that was it. I discovered that I could feel pretty calm and confident on stage, even though I was a shy and reserved kid by nature. My passion for the music took over, and I couldn’t imagine doing anything else for a living. — Zeb Snyder

Photo credit: Micah Schweinsberg

BGS 5+5: Darin and Brooke Aldridge

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Artist: Darin and Brooke Aldridge
Hometown: Cherryville, North Carolina
Latest Album: Inner Journey

Which artist has influenced you the most … and how?

Vince Gill has certainly influenced Brooke and I both in a big way since we remember hearing him the first time. We’ve admired him as a musical artist and person our whole lives. His songwriting and great stories he loves to tell, musicianship, the way he connects with his fans, and his love for his wife Amy Grant have always been inspiring factors for Brooke and what we set out to do in our own music. So happy opportunities have given us the chance to let Vince know just how much his music and big heart helped shape us to be the artists and people we are today.

What’s your favorite memory from being on stage?

Our favorite on stage memory is when we got to play the Grand Ole Opry on our 11th wedding anniversary in 2019. It’s always the most surreal experience to stand there on that sacred stage every chance we get to play it. To think of all the incredible artists we’ve loved and admired who’ve graced that stage and many who still stand there today. It’s also really special to share that moment as husband and wife. Two people who started out with the same goals and ambitions knowing that we once both dreamed of a time that we might get to play the Grand Ole Opry. We’ve had that privilege 25 times now and will be going back for our 26th appearance on November 27, 2020. There’s a picture of us holding hands on the Opry stage that will always hold our hearts. Go look for that on our Instagram page.

If you had to write a mission statement for your career, what would it be?

To encourage, uplift and leave people happier than we found them with every note played, song sung, story told and moment when you truly “become one” with the audience.

What was the first moment that you knew you wanted to be a musician?

Music has always been instilled in Darin and me since we were kids. Our families and communities where we were born and raised had a big hand in supporting and encouraging us since they first realized we had musical talent and a connection with people. I always had the natural ability to hear a song just once and know the lyrics. And Darin could pick up just about any instrument, even if he’d never played it before and start creating licks and melodies in just a matter of minutes. Growing up and hearing artists that our parents loved would eventually rub off on Darin and I and give us an even deeper appreciation for the music we loved and the dream of becoming professional artists ourselves one day.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

Every song that Darin and I have ever selected for a record or live show relates to us first in some way. We think it’s important to channel the characters in songs. This makes you sing the song the way it’s intended to be interpreted and allows every listener who hears it to feel that connection too.

Photo credit: Mike Lawson

BGS 5+5: Amanda Anne Platt

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Artist name: Amanda Anne Platt & The Honeycutters (answered by Amanda)
Hometown: Asheville, North Carolina
Latest singles: “Desert Flowers” and “There May Come a Day”
Personal nicknames (or rejected band names): I was in a band with my brother and my cousin when I was 8 that was called Crusty Chinchilla Rejects Recently Escaped from a Mental Institution…

What’s your favorite memory from being on stage?

I feel really lucky as I sit here and try to work out what my favorite memory of being on stage is… it’s nice that there have been so many. I think one of my favorites from recent memory was the last show of our 2019 tour opening for Amy Ray. It was at Club Café in Pittsburgh and I got to get up on stage for her last song, “I Didn’t Know a Damn Thing,” which is one of my favorites from her album Holler, and then the encore which was Tom Petty’s “Refugee.” I was enormously pregnant and the stage was already crowded so it was a tight squeeze! But I felt so cool just getting to sing along and dance. The energy in the room was fantastic.

What other art forms — literature, film, dance, painting, etc — inform your music?

Probably literature and film, the most. When someone can tell a story in a highly relatable, moving way, I am very inspired by that. When I finish a good book or leave the theater after a really well-made film I almost always want to sit down and write a song.

What rituals do you have, either in the studio or before a show?

I really enjoy making my band “quack” like the Mighty Ducks, but I would be lying if I said they were as into it as I am. And you can’t do it alone. So, mostly I just cry in the bathroom. Actually I am usually just scrambling to write a set list and eat something moments before we go on stage.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

I grew up in the land of all-night diners, and I’ve really been missing that especially now during the pandemic. So I would love to have a post-show burger at a proper diner somewhere… I feel like John Prine would have been a great guy to share a booth at a diner with. I have some questions for him about his songs that I kind of always hoped I’d have a chance to ask him in person.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

I might actually do the reverse more… I tend to always use “I” even though I don’t write autobiographically very often. So in that way I guess I turn every character into “me” and I hide myself in that way…?

Photo credit: Sandlin Gaither

BGS 5+5: Leyla McCalla

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Artist: Leyla McCalla
Hometown: New Orleans, Louisiana
Latest album: Vari-Colored Songs: a Tribute to Langston Hughes (reissue)

What’s your favorite memory from being on stage?

My favorite memory from being on stage was at the New Orleans Jazz and Heritage Festival in 2019. To be clear, New Orleans shows are always my favorite shows. People LOVE music in New Orleans and the connection you feel with the audience is transcendent. I have played Jazzfest almost every year since 2012, but 2019 was the first year that I got to play the Fais Do-Do stage. I invited Topsy Chapman and her daughters Yolanda and Jolynda to sing with me, which was a total trip, because I had never had background singers on stage with me. I also invited my friend Corey Ledet, the accordion dragon, to play on a couple of songs and the addition of accordion to the sound of my band is something that I continue to long for. We all left that stage flying high.

What other art forms — literature, film, dance, painting, etc. — inform your music?

I am deeply inspired by what I read. Something about reading words on a page and the mindfulness that it takes to absorb that information inspires me to write music. Perhaps it’s the quietness of that activity that helps me to hear music. While I really enjoy biographies, I also love poetry and the rare novel.

What was the first moment that you knew you wanted to be a musician?

I studied classical music very seriously from the age of 12 to 15 and was determined to make a career out of my cello playing. But the moment that planted the seed for the musician that I am today happened when I was 18 years old. I met my teacher and mentor Rufus Cappadocia, a phenomenal cellist who plays a self-designed five-string cello, at a party in Brooklyn. He was playing with a band called the Vodou Drums of Haiti. This experience absolutely blew my mind. Seeing the cello in that context instantly changed the direction of my musical pursuits and gave me a sense of possibility of what cello playing could be outside of the classical context.

What’s the toughest time you ever had writing a song?

The toughest time that I ever had writing a song happened with the song “I Knew I Could Fly.” I had been playing the guitar riff for the song for years, always struggling to figure out what the words, if any, should be to the song. Every path I went down felt insincere and I laid the song to rest several times before bringing it to the Native Daughters session in Breauxbridge, Louisiana. Alli Russell helped me to talk out my idea, which led to a breakthrough and we ended up co-writing the lyrics to the song and recording it the next day. I’ve always been surprised and pleased that of all of the songs on the Songs of Our Native Daughters album, that song ended up with the most plays.

If you had to write a mission statement for your career, what would it be?

I believe in the power of music as a healing force. I use the process of making music to understand the world that we live in and to direct my own healing. I share that process to connect with people and to aid in our collective healing. I am committed to understanding the role that history plays in creating our reality and how music can help us to process our emotions and increase our empathy for each other.

Photo credit: Rush Jagoe

BGS 5+5: Marc Scibilia

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Artist: Marc Scibilia
Hometown: New York/Nashville
Latest Album: Seed of Joy

Which artist has influenced you the most … and how?

I would say Paul Simon. His lyrics are so perfect. His music is so joyful. It’s complex to create, but so easy to listen to.

What’s your favorite memory from being on stage?

The first time I played my song “Summer Clothes” live after it was released as a single. There is a lyric that says, ‘They built a new casino and they called it Little Reno, but the blinking sign’s got a busted light says Welcome to eno…’ On a whim I paused on the word ‘eno’ and the whole crowd sang it. They got the joke. It’s a good feeling when you put a lot of time into a lyric and the audience gets exactly what you were trying to do.

What other art forms — literature, film, dance, painting, etc, — inform your music?

Film would be the most direct correlation. I can’t help when I watch a Terrence Malick movie to hear melodies and lyrics. He is such an amazing director. One of his latest films, A Hidden Life, really challenged me creatively while I was finishing the album. It really encompassed all that, in my view, art can be about. The human condition.

What’s the toughest time you ever had writing a song?

Some songs come really easy, a few hours and done. Others I have mulled over and rewritten over the course of a few years. Now having a daughter… most songs are hard to write, because there’s so much going on in our house. I need concentration to really get the best out that time.

What rituals do you have, either in the studio or before a show?

In the studio I have a pretty extensive day planner. I plot out my entire day, review my big goals in life and a few other points. I can easily blow a day on Instagram, which usually just leads to anxiety, jealousy, and a sad, lost feeling. So if I have a grid I can avoid that stuff.

Photo credit: Sean Hagwell

BGS 5+5: Alison Brown

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Artist: Alison Brown
Hometown: La Jolla, California
Latest album: The Song of the Banjo
Personal nicknames (or rejected band names): Mom (currently trending)

From the Artist: “‘Here Comes the Sun’ is a song I’ve loved for years. But I never thought about playing it on the banjo until I was inspired by stories of hospitals playing it over their PA systems to encourage staff and patients in their battle against COVID. As I started working on it I realized that the tune has a lot in common rhythmically and harmonically with ‘Águas de Março’ (‘Waters of March’), a Tom Jobim classic that’s one of my favorite melodies and recordings. So I put the two together and came up with this mash-up — setting the low banjo against a tapestry of piano and jazz flute.” — Alison Brown

What was the first moment that you knew you wanted to be a musician?

I didn’t become a musician in one lightning rod moment. It was really more a series of baby steps. When I was really getting into the banjo in the late ’70s there weren’t a lot of successful role models that pointed the way to how you could make a career as an instrumentalist. As much as I loved playing the banjo I really thought it would be a hobby that I would talk about at cocktail parties in my real life as a doctor, lawyer, or another respectable white collar professional. As it happened, I had to spend several years as an investment banker before I got up the nerve to try being a banjo player.

What’s your favorite memory from being on stage?

I have so many great memories it’s hard to pick just one. Collaborating with a skratji band on stage at the Opera House in Paramaribo, Suriname, during a State Department tour is one that has stayed with me. Guesting on Brandi Carlile’s collaboration set with the First Ladies of Bluegrass at the Newport Folk Festival last summer with Dolly Parton singing “9 to 5” is definitely another. Playing on the Banjo Stage at Hardly Strictly Bluegrass in front of a crowd that reaches all the way down Speedway Meadows never fails to blow me away and is one that always validates my decision to leave my investment banking job in San Francisco’s financial district to play the banjo.

If you had to write a mission statement for your career, what would it be?

Since launching Compass Records 25 years ago, my career has had two parallel tracks: one as an artist and the other as the co-founder of a roots-based indie label. When Garry West and I started the label in 1995, literally at the kitchen table, we felt there was a keen need in the market for a record company that was run by musicians. We were driven by the idea that our perspective gained from years of touring would position Compass uniquely in the market. Our goal was to create an artist friendly home for other artists; at the time I was halfway into a multi-album contract with Vanguard Records. Garry and I were, and are still, extremely passionate about discovering new artists and helping to bring their music to a wider audience.

Over the past two and a half decades, we’ve had a chance to help further the careers of an amazing roster of artists across the roots music spectrum and also have had the privilege of carrying the torch forward for some great label imprints through catalog acquisitions. One thing that I didn’t really anticipate when we started Compass was how running a label would inform my own creativity as an artist and producer. Knowing the challenges in the market has been very much of a double-edged sword: sometimes it makes it difficult to get motivated to create new music but, at the end of the day, having a handle on current challenges and opportunities on the business side has made it more natural for me to create music with specific target results in mind.

What rituals do you have, either in the studio or before a show?

For me, studio = food:) When I’m producing, or leading a session, I like to arrive with warm scones or banana bread to start the morning and then make sure there’s a kitchen full of interesting snacks on hand throughout the day. I know it’s not great for the waistline, but for me it adds to the fun of the creative process. I’m also a fan of having slow TV, sound off, running on the monitor in the control room. When I was producing Special Consensus’ record Chicago Barn Dance, we had a Norwegian winter train journey from Oslo to Bergen on a loop while we worked and it complemented our musical journey in a perfect way.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Hmmm, perhaps not your typical banjo player’s dream, but how about a simple dinner with Tom Jobim on a garden terrace in La Jolla, California, overlooking the Cove and a menu that includes Jacques Pepin’s roast chicken, haricots verts, and a bottle of Cakebread Chardonnay?

Photo credit: Stacie Huckeba.
“Here Comes the Sun” credits: Low Banjo: Alison Brown; Piano: Chris Walters; Flute: John Ragusa; Bass: Garry West; Drums and Percussion: Jordan Perlson

BGS 5+5: Madison Cunningham

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Artist: Madison Cunningham
Hometown: Orange County, Califoria
Album: Wednesday EP

“I challenged myself at the beginning of last year to learn and post a cover song every week as a way to stay inspired both in writing and performing. What started as a fun prompt cracked something open in me and stayed for good, freeing me up in the areas I tend to be too cautious in. After weeks and weeks of this, I decided to release four of these songs as an EP of interpretations, in hopes that they would bring comfort to people in the same way they for did me during this painful year.” — Madison Cunningham

Which artist has influenced you the most … and how?

It’s hard to give credit to only one as so many artists helped me along in different phases of my life. But if there’s one artist that encompasses all forms of my deepest interests, which is singing, playing, and writing, it has to be Joni Mitchell. She taught me how to sing and how to be a free thinker. Her music cracked me open as a young shy writer.

What’s your favorite memory from being on stage?

I was in Aspen, Colorado, last year opening for Amos Lee. I’m not quite sure if it was the elevation or the drunk audience, but it holds the record for being one of the most comfortable and freeing shows that I’ve played to date. For me, if there’s one small accident or interruption during the tuning portion of a performance, it makes me feel right at home. The conversation is the fun of it and makes the music feel invincible. Without it, I feel like I opened the door to the wrong apartment.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

I think the only answer to this question is to eat some sort of red pasta with red wine, while sitting across from Joni Mitchell underneath a New York veranda. Ideally at sunset. But the truth is, I’d jump at any chance, at any hour, to have such a meal.

What’s the toughest time you ever had writing a song?

Probably when writing “Something to Believe In.” It’s quite possibly my favorite song that I’ve written, but cost me most of my hair. I sat on the chorus, and verses one and two, for about six months. And on the day I decided to finish it, I was pounding my fist against the floor and standing on my head trying to come up with verse three. Even after I finished it, I wasn’t convinced this song was for me to sing. So I gave it to a friend and then ended up recording it myself later.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

I think every character is some three-dimensional form of myself. The only way you can write sincerely about someone is by relating to them, and you really only have your own experience to go by. Writing from a character’s perspective also gives you a kind of bravery to write about yourself, freeing you up to say things you’d normally feel was too forward. It’s an “I’m only the messenger” sort of a thing.

Photo credit: Claire Vogel