Tag: BGS 5+5

BGS 5+5: Callie McCullough

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Artist: Callie McCullough
Hometown: Nashville, Tennessee
Latest album: After Midnight
Personal nicknames (or rejected band names): “Floofy” which is based on my giant hair and “Muckoluck” which is a riff on my last name “McCullough.” We’ve decided the Muckoluck is some sort of mythical bird creature that should be made into a cartoon…

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

I’m a proud book nerd and definitely guilty of being a movie binger! The title track of this album After Midnight was heavily inspired by the movie Midnight in Paris. I am somewhat of a nostalgist myself, so I really connected with that movie, I’ve watched it at least five times. I’ve got a deep love for not just the music but for the writing of the past; language was just more fluid and poetic before we all started texting short forms. I’ll read things as old as 14th century literature, although sometimes it can take a little deciphering. The more I am reading the more my brain is thinking lyrically; I tend to be a melody driven writer so it helps me to draw inspirations, sometimes even subconsciously. When we wrote “Feathers” I didn’t realize the influence until my producer, Dustin Olyan, pointed out that it reminded him of Edgar Allan Poe’s “The Raven.”

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

Almost never in my own writing… I didn’t really think about it as we were writing these songs or even pulling them together for the album, but every one of these songs is from the “me” perspective. There’s a vulnerability in that for sure, but these songs are my stories, it seemed obvious writing them in that way.

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

I’m not sure there was an exact moment. I just always did. I was putting on soapbox shows in the living room for my family, and wandering around the yard making up little songs and singing them to myself by the age of 3. Both of my parents were full-time musicians and it all seemed pretty normal to me. I was playing guitar and piano by 8 years old and by the time I was 14 I had started really working at it, going out and getting my own gigs, joining a few bands and trying to write songs. I’ve always loved music on a visceral level, I couldn’t imagine not singing or playing an instrument; it’s a part of me and it’s in my blood.

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

Studio traditions… Well, food is a big priority when we’re in bigger tracking session days. Everyone is always happy when there are snacks! Tracking the bigger sessions of After Midnight I was pretty intimidated starting out surrounded by an all-star cast of our musical heroes like Ron Block and Barry Bales (Union Station), Jeff Taylor, Billy Thomas (The Time Jumpers) and the legendary Stuart Duncan! But quickly we were all laughing it up in the most casual way — and of course eating cookies.

There was a funny little tradition in the vocal sessions of this album. My sister had given me this silly white winter hat for Christmas (we call them “tooks” up in Canada) and it made me look like a Conehead; I had put it on to keep my hair out of the headphones the first day and we dubbed it “my cone.” I ended up recording all my vocal tracks that way, sitting in a cozy chair, wearing my “cone,” wrapped in a blanket sipping tea like a 90-year-old lady! I’m definitely at ease in smaller sessions, the pressure is gone and you are just making music.

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

To make music that moves people. I make music because I love it and I need to do it to stay sane; but it is my hope that something I make will matter. I hope that somewhere along the line I will write a song that stands the test of time, or sing something in a way that catches someone’s heart, if even for a second. Because I think music matters, even if we sell it for less than a cent these days…

Photo credit: Chrissy Nix

BGS 5+5: Anna Lynch

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Artist: Anna Lynch
Hometown: Sebastopol, California
Latest Album: Apples in the Fall EP
Release Date: March 13, 2020
Personal nicknames (or rejected band names): My name is pretty short so I have never really had a nickname… although when trying to get my attention both my mother and friends will use my middle name. Nothing quite like hearing someone yell “Margarita!” across a room. My middle name is really Margarita, and it was my grandmother’s first name.

Which artist has influenced you the most … and how?

Patty Griffin, hands down. I heard a song that was included on some American folk compilation in high school, then bought her 1000 Kisses album and walked the tiny streets of my hometown crying about some boy who didn’t love me back while simultaneously begging the universe to let me be her when I grew up and moved away from that town.

What’s your favorite memory from being on stage?

Honestly, though I have been on stage a lot, the memory that will be with me forever is playing the Freight & Salvage in Berkeley with my dad when I was 5. My dad was always a musician and performed a lot. Being a kid I just thought he hung the moon and jumped at the chance to perform my favorite Bob Reid song at the open mic my dad played every week.

We had agreed to split the words, until dad, mid-song, left me hanging to finish the song by myself. I remember being angry he didn’t feed me the words like he said he would, but then I remember the crowd cheering and feeling proud of myself. Call it an addiction, a bug, a calling. My dad knew exactly what he was doing. He probably created a monster.

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

I am secretly a huge WWII history buff. My great uncle was in the war and left me with an amazing curiosity for the life he lived before I met him. He was also a lifelong artist, and though most of his works were abstract paintings, while he was in the war he would sketch the people and scenery around him. We have notebooks upon notebooks of sketches he made during that time; some are even made on the backs of old maps. In a weird twist of interest I have started embroidering these sketches. It’s relaxing in a way and also a way to connect with him a bit.

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

Oh man, the ones you haven’t heard yet… Songs are like little word children you let into the world, some you wish you had worked on more before you let them out into the big scary world, some come out as they should and some just don’t see the light of day.

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

I have written a few “story” songs. I use them as more a vehicle than anything. It is really hard to create an emotive work and perform it like a song, like a conversation, if you come right out of the gate saying, “Hi, my name is Anna, I’m a little depressed but that’s OK, also I love walking on a beach for hours alone, hoppy beer, sad songs, staying up late, waking up before anyone else in the house, WWII documentaries, dark jokes, old wood, playing acoustic bass, strong coffee, cotton sweaters, salted butter, gas stoves, handmade mugs and watching who splits the last cookie on the plate in half….” Not exactly a place to start a conversation. I use story songs as a sort of place to hide real things in plain sight. I hide little bits to make it both more “palatable” for me and more relatable to an audience.

Photo credit: Jessie McCall – Little Green Eyes Media

BGS 5+5: Danny Barnes

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Artist: Danny Barnes
Hometown: Port Hadlock, Washington
Latest album: Man on Fire
Personal nicknames (or rejected band names): Possum Grunt. Crawfish Ate Your Face. Why Me Lord. The Crumbled Earth. Dirt Is My Witness.

Which artist has influenced you the most … and how?

I’d say Stringbean. I saw him in about 1970 when I was nine. The type of work a man was expected to do where I was from was roofing, something in the farming industry or construction, which were really hard and not fun, and here was this guy traveling around the country making people happy with a banjo, and I thought, “That’s what I’m going to do for the rest of my life,” and that turned out true, at least the traveling and the banjo part.

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

Well I love poetry, especially William Blake, and I read the Bible a lot, and I’ve read lots of classic novels and philosophy. I got the idea from John Hartford and Paul Leary of the Butthole Surfers to make records that were like movies in your head, so I do get quite a few ideas from old movies. I like Westerns and sci-fi, old ones.

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

To uplift people when they are really down, especially when you are of an unmoneyed heritage and things are overwhelming and it seems like the cops, society, the church, your family, God, and everybody has it in for you. And also to show that despite all the conventional wisdom on the subject, if you want to make art you can, especially if you must make it!

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

I walk on the beach every day when I’m home. I like the salt water. And I like seeing God’s handiwork in the sky and in the plants and animals.

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

Well, a normal person only has about four songs based on their life, then you run out of life and you have to start making up stuff, or reading an awful lot. So, pretty much never. I write about some horrible characters, ha ha. Though in my defense, it’s not that they are “bad,” they are just trying really hard to figure out a way to lay their burdens down.

Photo credit: Sarah Cass

BGS 5+5: Jonathan Wilson

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Artist: Jonathan Wilson
Hometown: Forest City, North Carolina
Latest Album: Dixie Blur

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

Painting more than others really, I’ve always admired the visual arts so…..I want to be a great painter and the painters want to be a musician…….

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

The studio ritual is weed, the live ritual is multi-faceted: setlist, vocal warm-up for good luck, a tequila onstage and voila.

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

I live in nature and have for most of my recording career, it’s hugely important, the moon, the sunsets, they inspire new work, they make everything feel meaningful and magical … I live in the woods.

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

A Gjelina dinner with Neil Young is on my bucket list.

Photo credit: Louis Rodiger

BGS 5+5: Taylor Ashton

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Artist: Taylor Ashton
Hometown: Brooklyn via Toronto via Winnipeg via Victoria via Vancouver
Latest album: The Romantic
Personal nicknames (or rejected band names): Roger

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

Paintings, drawings, movies, dancing … all of those things give me feelings that I want to express through music, and that’s a big part of what inspires me, to see if that’s possible. For a little while I was obsessed with the idea of trying to write songs the way David Lynch directs movies. That idea floated around in my head for a couple years and then I realized David Lynch sort of directs movies in a way that is kind of like songwriting — you don’t always understand the literal connection between all the elements but they give you a really emotionally affecting end result that feels personal.

I’ve been into visual art a lot longer than I’ve been into music — as a kid I used to draw constantly no matter what else was going on. I discovered music in my teens and the drawing took a backseat for a while. Then, a few years ago, after my old band Fish & Bird stopped being on the road all the time, I moved to New York and stayed still for a while. I took a few years off of touring and releasing music, and in that time I got back into making visual art in a big way and it was such a huge relief. Right now those two halves of me feel pretty balanced. Music and visual art work well for me because if I’m stuck in a rut with one of them, I can usually turn to the other for relief, and actually I sometimes use one medium to directly process my frustration with the other. And then the cycle continues!

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

I’m fluid with this… some of my songs are very biographical in that they accurately express my actual feelings toward one specific other person, and only use details that are from my life. Then there are others where the characters in the song are amalgamations of different people, or exaggerations, or sung by a healthier version of me, or by a stupider version of me. Different stories call for different angles.

Sometimes if somebody has told me about something hard that is going on between them and another person, I’ll find myself walking away from that conversation chewing on the situation in my mind. Some stories, after you hear them, just seem to roll around in your brain, and you can’t help but imagine yourself in the shoes of the people involved. So, let’s say somebody has told me about a new relationship they are in, where they really like the person but they’re not feeling connected to them and they can’t figure out why. I might subconsciously imagine that I am them or that I’m the other person, and I’ll wonder how that would make me feel.

Of course, to imagine how you would feel in somebody else’s shoes you have to draw on your own experience, so I have a number of these songs where the “I” or the “you” character is sort of a combination of myself and somebody else I know or that I’ve read about. In “Anyway” for example, I think I’m the “I”, the “You”, AND the implied third person, at different times. And certain lines really make me think of specific people when I sing them, but it might just be that one line in a song and then I’m me again for the rest of the song.

But I don’t know if it’s “hiding” exactly because distancing yourself slightly the “I” you’re singing from can let you be more fearless in exploring vulnerable spaces that might feel off-limits if you thought people were going to assume you were always singing about yourself. OK, maybe it is hiding.

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

Usually the hardest songs to write are the ones I don’t end up liking very much. For me, writing songs needs to be basically enjoyable. If it’s not, I’m afraid my resentment toward the process will come out in the finished product and infect all who hear it. I have songs that I’ve labored over for months, joylessly chasing some idea I felt like it was important to express, and then once I finally put the finishing touches on it I felt completely unmoved to share it with anybody.

So, if the writing is “tough,” I try to just set it down, especially if it’s something I really like. “If You Can Hear Me” was one that was like that … I came up with the seed and got really excited about it, but then I just couldn’t finish it. I tried to fit so many things into the empty space and everything just made it worse. In that case I just had to stop fussing and trust that I just wasn’t ready to write the rest of that song yet. Sure enough, months later in the shower, I thought I was having a completely new song idea, until I realised it was the other half of “If You Can Hear Me.” I really wanted to finish that song, but I kind of had to trick myself into stopping wanting it so bad in order for it to happen.

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

MISSION STATEMENT: To make art that inspires people to be honest, true to themselves, and compassionate toward all people and their natural world; to help little girls know they can do anything; to help little boys know they can have feelings and ask for help; to cause all to laugh and cry.

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

I would love to go to the Mermaid Café and have 1971 Joni Mitchell buy me a bottle of wine … y’know, laugh and toast to nothing, and smash our empty glasses down. (Does wine count as food?)

Photo credit: Jonno Rattman

BGS 5+5: David Starr

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Artist: David Starr
Hometown: Fayetteville, Arkansas
Latest album: Beauty and Ruin
Personal nicknames (or rejected band names): Folks call me Big D for some unknown reason…

What’s your favorite memory from being on stage?

One of my favorite moments on stage was pretty recent. I worked with a group in the small Colorado town where I live to build a performing and visual arts center (The Grand Mesa Arts & Events Center in Cedaredge) a couple of years ago. On opening night, I was mid-song playing to a full house when I realized that we’d “done it.” We’d made this place where there had been an empty shell before. That was an emotional moment of pride and gratitude; both for the appreciative crowd I was singing to and for the success of our hard work.

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

I’d have to say that my writing is most informed by the written and spoken words of others, for example how Beauty and Ruin is inspired by my grandfather’s 1972 novel, Of What Was, Nothing Is Left. I really enjoy taking a phrase or saying and building a song around it. That might come from a book I’ve read in the past or from a snippet I hear on the news or in the coffee shop. It can truly come from almost anywhere!

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

Like so many of my generation, I recall seeing The Beatles on The Ed Sullivan Show when they first came to the States. Though I was just a kid, I already loved music. And it seemed to me that those guys had it figured out! But to be honest, it’s only been in recent years that I made myself believe in me relative to being a musician. I’ve made a more serious commitment to writing, recording, touring and collaborating. And it’s been very rewarding!

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

Strive for excellence when writing, performing and in all my interactions.

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

For the longest time, I wrote very much in the first person. But as time goes on, I find it really fun and liberating to inhabit a character’s skin when building a song. My recent book-based project gave me lots of room to run in that respect. More often than not, it ends up being a composite character with a healthy dose of me included.

Photo credit: Jason Denton

BGS 5+5 Cup O’Joe

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Artist: Cup O’Joe
Hometown: County Armagh in Northern Ireland
Latest album: In the Parting
Personal nicknames (or rejected band names): Mug O’Tay

Answers provided by Tabitha Agnew

Which artist has influenced you the most … and how?

I would have to say that it would be Alison Krauss! Her solo recordings and recordings with Union Station have been some of the most impactful recordings for me. The first introduction to bluegrass music that I remember hearing was “Every Time You Say Goodbye” from Now That I’ve Found You: A Collection. Her releases have swayed within the bluegrass/country/gospel realms and I’ve been enjoying her music for years.

What’s your favorite memory from being on stage?

One of my favourite moments being on stage with COJ was probably getting to play at IBMA in North Carolina back in 2017 in a lineup with our good friend Niall Murphy on fiddle. It was a hoot! Glancing around on the workshop stage representing the international scene and trying to not get too nervous when we saw legends and some other top pickers walking by!

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

I try to have had at least one cup of sharp black coffee before a show and lots of water! (Both are definitely needed!) Yep, I know it sounds like a cliché, but I definitely run on coffee!

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

This question has really made me stop and think, but I think I can safely say that trees are a big source of inspiration that impact our songwriting. Two songs off the new album refer to the concept of change happening as quickly as the changing of the leaves on the trees in each new season. Currently living in the countryside of County Armagh is a big source of inspiration in general, with rolling green hills and plenty of apple trees (County Armagh is “orchard county”).

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

Oooh! What a tough tough question! After getting to know Mr. Ron Block, I would have to say that I would pair him with a Scottish Cheese board (with Rough Scottish Oatcakes). I think that’s a pretty 10/10 combo in my opinion and I think he would totally be okay with that!

Photo credit: Katie Loughrin Photography

BGS 5+5: Kerry Hart

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Artist: Kerry Hart
Hometown: Los Angeles, California
Latest album: I Know a Gun
Personal nicknames (or rejected band names): KerBear

Which artist has influenced you the most … and how?

I have been most influenced musically by Peter Gabriel. The record I first burned into my brain was So. Each song dances, a lush landscape of emotion and movement and melody. The sounds painted visuals for me, the percussion is ever present but gentle, structural and textured, the layers of melody and counter melody, the sense of time and place. His voice is used not just to tell the story, but to give it depth and color. The significance of the lyrics, a feeling of humanness, and a lack of perfectionism. These are all things I took into my expression of my experience of the world.

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

I was fortunate to grow up in New Jersey, just outside of New York City, and I was exposed early in my life to live theater, to actors and plays, to paintings by the masters, to poetry and to poets and to live jazz. I always possessed a love for novels and I really tend to think that each of my songs happens in a time and place to a “someone,” a character if you will, and I can see clearly that my expression in music has been absolutely altered by my exposure to artists in real time, expressing themselves right before my eyes. My live performance aesthetic is definitely inspired by the sensation that what you are about to share with us will only ever happen now, in this time and space. It’s ephemeral. You have to be there or you will miss the bolt of lightening in our hands.

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

I have a very consistent meditation practice that is the basis of my well-being. Before any musical work, writing, rehearsing, vocalizing, tracking, or a performance for an audience, I do my meditation to really drop into my center column and root into the Earth and awaken my breath and my vision. I sort of leave myself to a degree, I leave the me that is bound to my story, bound to my life’s joys and burdens, and I breathe into more of an everyman space. I like to move in music from a place of high compassion and passion, so I come to the work both more awake and more in a dream. In music, there is incredible latitude to welcome the truth. I really try and honor that, as I believe it serves the songs.

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

I think each and every song has a moment where there is something tough about it, except for those gems that land fully formed like gifts. There is no room for playing small with songs. The song and the audience need me in humility and in power to properly honor taking up their sweet time with my creation. I think living in that resonance is a challenge, staying positive against life’s lesser fortunes – and that is before you get to the heavy lifting of crafting a verse, refining your hook, editing out what is superfluous to the flow of the thing. But wow, I love the hard days as much as the best ones. Song life is a trip.

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

I never feel like I am hiding when I play the character that is the singer of the song. Each one is me, thru different colors of the kaleidoscope. Which is not to say my songs are autobiographical. Most are not, but in each one I find the kernel of truth where I can align with the narrator of the song’s tale, and then I leap from there with total abandon. There are single lines in the work that are right from my direct experiences but truly most often, the blend of my emotions from life with the way others move through time and space is where the magic tends to happen. Writing for me is a sacred process. What I need to come through usually does, for me and for the characters in each composition. I love to meet the pieces of the puzzle.

Photo credit: Lauren Dukoff

BGS 5+5: Vance Gilbert

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Artist: Vance Gilbert
Hometown: Born in the Philadelphia area, but Boston has been home for the last 40 years
Latest album: Good Good Man
Personal nicknames (or rejected band names): Bentfield Hucks

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

I see much of my songwriting as writing a great script for a movie. I’m most often intent on telling a story and making it as visual as I can muster. However, literature plays a great role too, as word usage and wordplay get the tongue’s mind involved. I remember reading Louis de Bernières’ Corelli’s Mandolin, and wanting to sing the whole thing when I was done, like some slightly overweight Black Homer.

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

My freshman year, while I was at Connecticut College in New London, Connecticut, a crew of us piled into a classmate’s yellow tonneau-topped Pontiac Sunbird and drove the 2 hours to Boston. We parked at another classmate’s house and took the MTA into town. At one of the stops on the “Red Line,” there was a guy playing jazz standards on a vibraphone, and I simply don’t remember the rest of my stay there (save for the lo mein in Chinatown). From that moment on, I wanted to be in Boston playing music.

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

That would be writing “The Day Before November,” the closing piece to my new album, Good Good Man. OK, you asked — the tough part was fear. I had a storyline in mind, like a Rod Serling sci-fi movie about a neighborhood “spooky-old-man-in-that-house” and a loving prank a small, parentally-abused little boy plays on him at the urging of his group of friends. It has ended up as a spoken word piece, but I was afraid to even begin the thing for fear of screwing it up. Isn’t that something? To not even begin to create something for fear of doing it badly? The storybones of the piece existed in notebook after notebook and in my head for about 12 years. Yes, 12 years. Once I rolled it out in some kind of pentameter it took about 2 weeks to write and 2 1/2 months to memorize.

My poor dogs. Memorization repeats happened during late evening walks in the fall of 2016. Now that I think of it, neighborhood windows were open — maybe I should be apologizing to some neighbors too…

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

Never mind the calendar. Things happen when they happen. If it takes 40+ years to figure out how to sing with nuance instead of bluster, write to tell the story rather than to just spit out alliteration, and to stop comparing myself to others that seem to have the whole package together at 23 years old, then that’s how long it takes.

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

It would most certainly be chicken wings with some sort of awesome sauce/rub, a root beer, sweet potato fries with just a little heat, and Richard Thompson just hanging out and playing tunes at the table. I’d even share my wings with him. Do you know how far out of my zone that would be? Particularly the sharing the wings part? NO ONE, not even Richard Thompson, better reach across that plate uninvited. NO ONE. …What fool would do that to a brother anyway?

BGS 5+5: Riley Pearce

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Artist: Riley Pearce
Hometown: Melbourne, Australia
Latest Album: Acoustic EP
Nickname: Still yet to be determined

What’s your favorite memory from being on stage?

It wasn’t actually a good memory but it was an important lesson to learn. I played a small gig in a coffee shop overseas and had a few drinks with a friend beforehand and temporarily forgot about the show. I don’t recall forgetting any lyrics, but remember stepping back from the mic at one stage and feeling very unbalanced. That was enough to make me not drink much before a show going forwards.

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

Well, part of me still doesn’t consider myself a musician. I’ve made it this far though, so maybe I am. I used to busk a lot growing up and loved the interaction you’d get with complete strangers or your friends at the different market stalls. There would be great connections formed through music and that really spurred my love for it all. It’s amazing how songs just become, from nothing. I was quite hooked and spent the first few years really trying to learn everything I could. I wanted to make this something I could do for the rest of my life.

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

Oooh I like this question. I’ve been really enjoying Foy Vance’s work of late so perhaps him and some pasta and wine. Is he at this dinner? Or am I just listening to him while I eat pasta and drink wine… alone? Or is he singing to me while we both eat pasta and wine? It’d be quite close and I’d probably get food spat on me. I’m confused.

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

Very rarely, if ever. The songs need to be authentic and come from a real place. I often treat concepts like time or distance as if they are people in songs so it gives me more to write about than my actual human relationships. I also find what happens to me more is that I may write a song or a lyric and it’s meaning to me changes overtime and if it started being about one idea it’s morphed its way into something else. I love how music can do that.

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

I really want to have some pre-gig rituals, but besides a pre-gig toilet trip and some water I’ve got nothing. In the studio I often eat this rice-cracker snack called Delites which I mispronounced for two years as Deletees until someone told me it’s just a play on the word delight. But I still call them Deletees. I find my voice sounds nice after eating them, plus they taste great.

Photo credit: Rachel Claire