BGS 5+5: Gabe Dixon

Artist: Gabe Dixon
Hometown: Nashville, Tennessee
Latest Album: Lay It On Me

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

I think I was 11. I already loved music and had been taking piano lessons for a few years, but that summer, I went with my parents to see a music festival in downtown Nashville, and I watched a set by Béla Fleck & The Flecktones — the original group, with Béla, Victor Wooten, Future Man, and Howard Levy. Until then, I had no idea that people could be that good at playing their instruments. They were so virtuosic and fun, and the crowd loved it so much. Later that evening, I remember standing in the front yard of our house in Sylvan Park, looking up at the sky and thinking, “I want to be a musician when I grow up.”

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

I’m not a very religious person, but before I go on stage, I always take a moment to be grateful and to ask God to work through me so that something bigger than me — love, joy, goodness, light — will shine through me and into the hearts and minds of the people I’m playing for. Sometimes I do that in the studio too. But the stakes feel higher in a live setting, so I’m looking for all the help I can get!

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

For a handful of years, I was a “staff writer” at a publishing company, and the most difficult songwriting sessions were the “blind date” country sessions they set up for me — you walk in the room, meet the other person, and your job is to write a song for “the country market.” Often you’re just hoping some big country star will cut it, and you’ll make some money, and they almost never do. Those sessions often became an exercise in putting limitations on what I wrote in hopes that it would be what some generic country singer would like. I often heard, “That line makes him sound like a wimp. Jason Aldean would never sing that.” Or, “We can’t put that chord in there, it’s too fancy-sounding.” Some people are really good at that kind of writing, but for me it was pretty soul-crushing. The only songs of mine that country artists ever ended up wanting to record were ones that I wrote for my own albums. So I mostly just write for myself now.

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

It happens more than I mean for it to. The classic writing advice is to “write what you know,” but, to a certain extent you can’t help it. Even when you are trying to write from someone else’s perspective. I did this with my song “All Will Be Well,” “All Will Be Well/even after all the promises you’ve broken to yourself” and also with “Flow Like Wine.” “Why the furrow upon your brow / I see beauty between the lines / oh love, don’t you worry about our love / Let love flow like wine” were written for my wife, but when I really examine it, I realize I was probably writing to myself too.

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

Bring forth compassion, love, and peace through music.


Photo credit: Shervin Lainez

MIXTAPE: Songs That Changed Jon Stickley’s Life and Still Blow His Mind

When I was a senior in high school, my lacrosse teammate Andy Thorn loaned me a couple CDs and a mandolin. The two CDs were the original David Grisman Quintet album and Sam Bush’s Glamour and Grits. I was an angsty teen drummer in a punk band, and when I popped the Grisman album in my Sony Discman and pushed play, my life changed forever.

We started a little band and I started learning mandolin and making weekly trips to the local record store to buy every “newgrass” album I could. I didn’t know anything, so searching through the bluegrass/country section was an adventure of discovery. I learned to recognize the font that Rounder Records used and started using liner notes to find other musicians to listen to.

A lot of the tracks on this list are track #1 on the album, and I think that’s because when I heard them for the first time, they magically seared themselves into my brain. When I hear them today they inspire the same excitement as they did when I first heard them, and they have had an enormous impact on the music that I create for the Jon Stickley Trio. — Jon Stickley

David Grisman – “E.M.D.”

The first track I ever heard in the vein of bluegrass/newgrass. I heard David Count “1,2,3,4…” just like the Ramones! Then they launch into the most indescribable, unbelievable, clean, rockin’ jam I’ve ever heard. Also my first introduction to my guitar hero, Tony Rice. Nothing compares to this track!

Sam Bush – “Whayasay”

Another leading cut. This was my introduction to the one and only Sam Bush. His kickoff tells you everything you need to know about Sam’s music. It’s masterful, tasteful, and it freakin’ ROCKS. Then he goes totally Mark Knopfler at the end. Blew my young mind!

Jerry Douglas, Russ Barenburg & Edgar Meyer – “Big Sciota”

I picked this record up at the store because, on the back cover, they are dressed in gorilla suits. I thought, these dudes MUST be cool. Something about the tone of this record is unparalleled. It’s just the nicest-sounding acoustic record I’ve ever heard. Still cook dinner to it almost every night and my wife walked down the aisle to another track from the album called “The Years Between.”

Ricky Skaggs & Kentucky Thunder – “Pig In A Pen”

Holy crap. This is another album I bought blind at the record shop knowing absolute nothing about the music. To this day I have never heard anything rock this hard! Also, my first intro to a big guitar hero, Bryan Sutton.

Bryan Sutton – “Decision At Glady Fork”

Senior year of high school my uncle Pat took me to the Béla Fleck Bluegrass Sessions concert. I knew who Sam Bush and Béla were, but it was my first time hearing Jerry Douglas, Stuart Duncan, and the young Bryan Sutton. They played this song and the audience pooped their pants!

Béla Fleck – “Blue Mountain Hop”

The ultimate supergroup in my opinion. This song got me thinking about composition and arrangement in a new way. It seems like each new part of the song was written with each individual soloist in mind. Also the giggles and growls in the intro remind you that they’re having a ball.

Béla Fleck & the Flecktones – “Sinister Minister”

Two words. Victor Wooten. Blew. My. Young. Mind! I’ve listened to this version of this song more times than I can count, and it’s one of the covers that we do in the trio. The Flecktones probably had more of an impact on our trio than anyone else out there.

The Bluegrass Album Band – “Blue Ridge Cabin Home”

This is another album where I had no idea what I was buying. It wasn’t until I looked at the back of the CD that I realized that Tony Rice was on it. It was my introduction to J.D. Crowe, Doyle Lawson, Bobby Hicks, and Todd Phillips. I fell in love with bluegrass banjo by listening to this song, and I was thrilled to find out there were five more volumes!!!

The Nashville Bluegrass Band – “Dog Remembers Bacon”

Another record store score that I grabbed just because “bluegrass” was in the title. LOL. These guys became my favorite group for years and this was always one of my favorite tracks. I learned about Gillian Welch from this album. Stuart Duncan is the best fiddler in the world!

Acoustic Syndicate – “No Time”

Man, I love these dudes SO much. My Uncle Pat gave this album to my dad around ‘98, and I promptly stole it. The chill energy of this album really spoke to me and I feel like it really embodies the spirit of the North Carolina festival scene. Super sentimental band for me!

Tracks from our new album “Scripting the Flip” that draw heavy on these influences:

Jon Stickley Trio – “Scripting the Flip”

This song is pretty much a bluegrass fiddle tune turned on its head. It reminds me of some of my favorite newgrass instrumentals that take the music somewhere new.

Jon Stickley Trio – “Driver”

Well, given that my buddy Andy Thorn got me into this music waaaaay back in the day, I had to bring it full circle and write a tune for him to come in and play on. This piece definitely draws on the music of the Flecktones and some of the tunes they play in odd meters.

Jon Stickley Trio – “Bluegrass in the Backwoods”

Kenny Baker, Bill Monroe’s longtime fiddler, was surprisingly one of the most innovative of the classic bluegrass pickers! He is thought of as a traditional fiddler, but his music is really anything but. I think this tune was way ahead of its time and we love the elements of gypsy jazz and Latin music in the melody. We HAD to cover this on at some point and it was so much fun!


Photo credit: Sandlin Gaither