Could you share the story behind your latest song and what inspired its creation?
“Answer” is a message from the ancestors. The themes in my music typically deal with spirituality in really earthy ways, because I’m reconnecting to the land-based beliefs of my Potawatomi and other Indigenous ancestors. It was the first song I’d ever completed before writing anything down. I recorded myself in a stream-of-consciousness flow state, playing the droning chords on guitar, and the lyrics presented themselves. Stanley Hotel brought out the magic with their composition on the track and elevated it far beyond what I can do with an acoustic guitar.
How do you approach the process of songwriting, and are there any specific themes or
emotions you tend to explore in your music?
I usually have a theme in mind before I sit down to write, but only sometimes. I write when I think I have something important to share, like when I’ve identified or noticed a thing to say that I don’t think has been said before. My songs typically address relationships between ourselves and the land, the past, inter-generational healing, and sometimes romantic love.
As an indie musician, how do you navigate the balance between creative freedom and
commercial appeal?
I have never concerned myself too much with commercial appeal. I’m always writing for the message in the song, playing for the love of the music and happy being justly rewarded for the energy I put into it. I’m very satisfied being a professional musician without the pressures of celebrity or feeling like there’s some point in the future when I’ll “make it”. I’m a strong advocate for self-defined success among creatives in my network.
What do you find most challenging about being an independent artist in today’s music
industry?
It is challenging for starting musicians to find their own path because this career doesn’t come with a manual. I was recently chatting with a friend about finding representation and how that’s a goal for a lot of startup musicians because the administration of finding and booking gigs is so time-consuming, and we are conditioned to go after that relationship as a sign of legitimacy when in actuality, everything an agent can do for you can be done on your own. As independent musicians, we are the content creator, the producer, the manager, and the booking agent. It’s a lot of work, but the work is rewarding when it is working toward a goal you’ve set, and a concept of success that you’ve defined. I think the challenges that arise help you define what you want and how you need to go about getting it.
Can you talk about your experiences collaborating with other artists or musicians? How
does it influence your creative process?
Wanderlust, as a collaboration with Stanley Hotel has been a transformative experience. I started working with them when I laid backup vocals for their album, The Moose, and they asked if I had anything I wanted to do in the studio at that time. That’s when I left them with “Mother”, back in 2017, and they worked on it and returned to me this beautiful, vibey creation that I absolutely loved. That’s been our process, that I leave a song with just vocals and guitar, and Adam, Isaac, and Doug will take their time in the studio working with it until they’re satisfied with it, then I go back and lay down the final vocals. We’ve never put any time limits on completion, so the music can develop fully and nothing gets rushed.
This isn’t my first collaboration, as my first “solo” album, Music is Medicine, was really a collaboration between me and Peter Oviatt at Moonflower Sounds, and my singles “New Song” and “Speak Again” were collaborations with Jenna Rae and Martin Farrell at Lost Cowgirl Records, and then “Speak Again” went on to be a music video that premiered in Hollywood because I was able to collaborate with Nicole Emmons on a music video, thanks to First Peoples Fund. Collaboration drives my work in many ways. I like working with a team.
What role does technology and social media play in promoting your music and
connecting with your audience?
I have a love-hate relationship with social media, as much as anyone else, but I’m encouraged that with all the ills of society perpetuated with social media, there’s also room to spread love, acceptance, and solidarity. It’s difficult to use it in a way that maintains a spirit of reciprocity, but I’m always learning what I want and don’t want out of it. I think it’s important to curate your social media experience, and it’s been really difficult to balance being informed and active with knowing what your limitations are and realizing that as humans, our brains are not wired to handle relationships with an unlimited number of people. I think small community care is where it’s at but our life isn’t as simple as that.
Are there any particular artists or genres that have had a significant impact on your
musical style?
I grew up surrounded by gospel, country, and early rock & roll in rural Oklahoma. There were a lot of Appalachian traditional songs that were handed down over generations that ended up with me. The raw authenticity of Janis Joplin was an awakening from the pretentious performance style I’d been trained in, and then the Winfield campground artists broke my world wide open. Songwriters like Lucinda Williams inspired me to craft songs that capture a feeling that no one has ever described before. And I’ve always been inspired by the land, whether my red-dirt Oklahoma roots or the Kansas Flint Hills that have nurtured me the past nearly 20 years.
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 have a Patreon page where I share songs just as soon as I write them, either on video or audio files. I’d like to keep moving toward more meaningful connections, and away from platforms that are playing with our emotions, literally through algorithms and advertising.
Could you describe a memorable live performance experience or tour that has had a
lasting impact on you and your music?
I’ve been attending the Walnut Valley Festival in Winfield Kansas for 25 years, now, and every year is an experience that reshapes how I write and perform, and how I work my career. Weda Skirts was born there, as was Heyleon. My musical life as a performing songwriter began at Winfield, and I think no matter where I go in life, that community will always be home. Having Weda Skirts perform on the main stages the last two years, and planning for 2024, I’m very grateful to the festival staff and volunteers, and everyone who makes it happen every year, because I would not be where I am today without Winfield.
In an era of streaming platforms, how do you feel about the changing landscape of
music consumption and its impact on independent musicians?
I feel motivated to help people understand that the whole system is messed up, and change is needed, not just for musicians but for everyone. We’ve been so brainwashed to believe that you have to be better than everyone else to deserve a decent standard of living, and the whole concept is inherently inhumane. Competition isn’t supposed to be our default. Community is our natural state. Everyone deserves to live a safe, fulfilling life, no matter their ability. I think the music industry has a unique hurdle with the arbitrary concepts of financial success when all most of us want is a home and the resources to share our music without putting ourselves into poverty.