Could you share the story behind your latest song and what inspired its creation?
My latest song is being released by my new indie-folk/Americana band, The Secret Trails The song is called “Old State Street” and it was inspired by some of my family history. My great-grandfather grew up in depression era Oklahoma and lived through the dust bowl with his family before moving out to California for work. This song is sort of about that time and about how the human race never seems to learn from its history. The dust bowl was brought on by over farming and unsustainable farming practices that altered the landscape of the midwestern US during terrible drought and unpredictable weather. We seem to have a pattern of sucking the land dry for our own gain, and I think it’s a tragic part of human nature – greed that ends in disaster. The single, which was produced by Ken Coomer (drummer/founding member of Wilco) will drop for all streaming platforms on September 29, to be followed in early November by the second single.
How do you approach the process of songwriting, and are there any specific themes or emotions you tend to explore in your music?
In general, I tend to be inspired to write about the human condition and the pitfalls we find ourselves in throughout our lives. I often use songwriting as a form of catharsis, so my content usually addresses some issue that is eating at me. Sometimes that is love and sentimental feelings, and other times it might be human behaviors that seem claustrophobic to me, like habits and loops that people get stuck in.
As an indie musician, how do you navigate the balance between creative freedom and commercial appeal?
That’s a tough one. I think I tend to focus much more on creative freedom and that has been a hurdle in the past for me commercially. But I think it helps to put on your producer hat and try to step back from the work so you can experience it as an audience member. Then it becomes easier to assess the more broad appeal the art has. And, of course, sometimes I have to just scrap a song idea. But the more I can stay unattached to outcomes, the more honest I can be with myself about whether the work is ready for the masses or if it’s just too inaccessible. I often keep ideas around and use them for something, though, so it’s never a complete loss.
What do you find most challenging about being an independent artist in today’s music industry?
I think it’s probably the fact that being “independent” used to mean that you were simply doing things yourself, but now it seems to be a hip trend that everyone wants to be. That means that the waters get muddy. What I mean is that there are a fair amount of really, genuinely good artists; and there are a fair amount of okay-to-decent artists; and then there is a sea of crap. I know that sounds arrogant, but it’s just true. I have no problem applauding someone who is truly appealing to me and talented, but it’s rare that I find them. It’s also common nowadays to come across a lot of novelty acts – artists that have this one song that is good, or this one thing they do that is impressive. It’s hard to find new music that I want to actually listen to more than once, or listen to a whole album.
Can you talk about your experiences collaborating with other artists or musicians? How does it influence your creative process?
I love collaborating with people who I genuinely admire and respect for their talent, but again, I don’t find a lot of them. Part of that is that I live in a rural area – there simply aren’t a lot of people at all. Some of the bands I have been in have been made up of really great players, and some of them have really great musical ideas and original creations. For example, my collaborator for The Secret Trails is Kim Zunner, and she is freakin’ awesome. She is a great singer, a solid guitar player, and can also play drums and some other stuff. She harmonizes wonderfully, and she is totally behind the whole ethos of the project. People like that are rare. When I find people like this to play with, I begin to write to their strengths. I tend to consider new material in terms of how they might sound playing it, or how they might approach writing their parts. That’s a really fun part of collabs for me.
What role does technology and social media play in promoting your music and connecting with your audience?
Well, it’s sort of a make-or-break thing, honestly. If you’re not already headlining Madison Square Garden, then you must employ social media and digital platforms to market yourself. And I actually do like creating content for promotion. I have a degree in Film and Media studies with a concentration in business and marketing, so the marketing assets thing is a fun hobby of sorts. However, I really hate the constant updates and trying to relearn all the algorithms, but that’s just how it works, right? It plays a huge role in the process of connecting with the audience, but I have to try to maintain a work/life balance as well.
Are there any particular artists or genres that have had a significant impact on your musical style?
My mother was a folk singer, so I grew up with acoustic guitars and that 70s folk-rock vibe all around. My father listened heavily to Tom Waits, John Coltrane, Charlie Parker, and Industrial rock like Nine Inch Nails and stuff, so my early influences were varied, but they had a huge impact on me. As a teenager, I got into grunge rock and alt-rock, and then some electropop and hip-hop. A very short list off the top of my head would be Pearl Jam, Bjork, Radiohead, Mos Def, Tool, Iron & Wine, Elliott Smith, Thelonius Monk, Counting Crows.
Indie musicians often have a close relationship with their fanbase. How do you engage with your fans and build a dedicated community around your music?
I try to maintain a solid relationship with my email list, as well as interacting on social media. The email newsletter is great for dedicated fans. I usually do a video update and fill everyone in on my various projects. I also talk quite a bit about the things that are going on in my life. My email list is about 800 people, and they engage with the newsletters more or less at different times. Of course, social media is useful, depending on which platforms people are using. I try to bounce around and interact with people in their various digital worlds.
Could you describe a memorable live performance experience or tour that has had a lasting impact on you and your music?
A few years ago I went on tour in Germany for about a month. That was really great. It was really encouraging to see that some international audiences are very receptive to what I do. In fact, I would say my first time playing for those crowds were overall more successful than many US shows I have played. Americans tend to feel entitled and aloof, and are much harder to win over. Don’t get me wrong, I love the US, but it’s getting harder to find people who truly value art.
In an era of streaming platforms, how do you feel about the changing landscape of music consumption and its impact on independent musicians?
It’s a double-edged sword. Music is more accessible, but so is sharing music. This is where we run into the same issue I mentioned before – far more people are making music than should be making music. But it’s also super easy to find new music. I have found some really great artists through digital platforms. And for indies, it’s pretty much vital. Record labels are pointless anymore, so being able to get your art to the world via digital platforms is essential, and it’s probably not going away:)