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Meet Rick Brantley: the Springsteen of the South
CATEGORIES: Features

Rick Brantley performance

Credit: John Williams – HD Perfect Video & Photo

Rick Brantley released his new EP Hi-Fi today (April 14) and the six tracks from the project include some of the most descriptive and heartfelt lyrics you’ll hear coming out of Nashville. The South Georgia native recently sat down with The Shotgun Seat as part of their video series The Hang at George Dickel Distillery in Tennessee and You Sing I Write was on hand to ask a couple questions and learn the stories behind some of Brantley’s standout songs.

Brantley brought along frequent collaborators Tia Sillers and Mark Selby, both who co-wrote several of the songs featured on Hi-Fi and his previous release, Lo-Fi. The three songwriters sat together as the Shotgun Seat’s Annie Dineen hosted the livestream chat and performance. While Brantley is well known for his detailed characters and unique themes within his music, frequently drawing comparisons to Bruce Springsteen, both Sillers and Selby raved about writing with Brantley.

“I’ve never met anyone that’s such a method actor,” she says. “If we’re going to write a song about a person we have to go back to birth. We have to know what happened to him in fourth grade and we have to deliberate these things.”

Rick Brantley Tia Sillers, Mark Selby

Credit: John Williams

As Brantley explains, their collaboration often includes testing out what will work in his songs and what he feels comfortable singing. A fan favorite is “Claudette,” a song about Brantley’s childhood crush which appeared on his previous release Lo-Fi, and the singer/songwriter admits that he doesn’t remember writing the song.

“To be completely honest, I don’t really recall writing much of that song. That was a lot of Tia just talking to me writing shit down,” he says with a laugh. “Mark wasn’t there that day, he was on tour. It was incumbent on me to be the musical guy and I did that. I was thinking to myself, that’s all I have to do that day. That was a song we wrote and forgot about which is funny now because I can’t think of doing anything and not playing that song.”

Selby applauds the track, calling it “the perfect song.” Meanwhile, Sillers says Brantley’s “Hurt People,” featured on Hi-Fi, is a perfect song to her.

“I get this thing called song envy, incredible envy that I’m not a part of a song, and it’s gotta be ‘Hurt People.’ When he came in and played that I was so mad, I sulked for weeks. ‘Hurt People’ is a song that was so great and empowering to Rick . . . it raised the bar for him with all the other writing relationships too.”

Rick Brantley

Credit: John Williams

Brantley co-wrote “Hurt People” with Ashley Ray and the song details how often “hurt people, hurt people.” The first verse has Brantley recalling a childhood bully who frequently beat him up. One day he finally had enough and decided to confront him and when he rode his bicycle over to his house he found him, “sitting on his porch with his arm in a sling and a welt on his face in the shape of his daddy’s high-school ring.” As Brantley observes in the song, “Then it hit me. Hurt people, hurt people,” he sings on the haunting piano ballad.

A memorable track on his album, “Hurt People” is a profound one that the listener walks away replaying in his head long after hearing it. While Brantley says there’s a certain level of honesty to all his songs, he stresses there is also joy and hope.

 

 

“The thing I love about the new record is there is so much joy and so much hope. ‘Hurt People’ or ‘Enough Rope’ from Lo-Fi, they’re serious songs,” he notes. “I think one thing we’re good at is saying something that’s serious and to the point in a very joyful way. I would say ‘Fine So Fine’ is as honest a song as ‘Hurt People’ just in a different way.”

To watch Brantley’s livestream, visit Facebook. Listen to Brantley’s new EP Hi-Fi on Spotify below. For more, visit his website.

April 14, 2017 | | (0) comment comment
Carrie Underwood Performs Aboard Carnival Cruise Ship
CATEGORIES: Concert Reviews

Last week I had the pleasure of escaping to the West Coast for a cruise to Catalina Island and Mexico to witness Carrie Underwood perform aboard the Carnival Imagination as part of the Carnival Live concert series. When I started You Sing I Write nearly 10 years ago I never imagined I’d be taking a cruise to cover a concert, I was simply hoping to write about some of my favorite bands. It was an experience I’ll never forget! Read my recap below and for an interview with Carrie, visit Sounds Like Nashville.

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Passengers aboard the Carnival Imagination on Tuesday evening (April 4) were in for a very special treat when Carrie Underwood boarded the cruise ship in Catalina Island for an intimate concert. The singer played a nearly two-hour, 21-song set for a sold-out audience in the 900-seat Dynasty Lounge as part of the ongoing Carnival Live concert series.

Underwood’s performance culminated her year-long partnership with Carnival and Operation Homefront where the singer surprised several military families over the past year with meet and greet opportunities, tickets to her concert as well as a private show aboard the Carnival Vista in New York. Each audience member at Tuesday’s concert received a limited edition dog tag which benefits the Honor, Family, Fun initiative in support of Operation Homefront, an organization aimed at assisting military families.

The country singer was at ease in the intimate venue Tuesday night backed by her eight-piece band. Stories about her family’s whereabouts, her childhood hero Dolly Parton and frequently being told by her mother to “keep it down” when singing to her favorite artists as a child were peppered throughout her set as Underwood gave audience members a rare glimpse into her personal life.

“You guys seem like you’re having a great time,” she said two songs into her performance. “Of course you’re having a great time, you’re on vacation! We just ended a lot of travel. We were up in Toronto for a few days and then had the ACMs the night before last so we’re just going to pretend we’ve been on vacation with you all night long. It’s our night to cut loose and have some fun. Feel free to sing and dance and do whatever it is you want to do. There are no rules!”

Underwood segued effortlessly between the upbeat songs like “Good Girl” and “Cowboy Casanova” to poignant ballads including “Heartbeat” and “Jesus Take the Wheel,” a song she said she’ll sing a million more times and it will mean just as much, if not more, to her as the first time she heard it. Prefacing previous No. 1 “Heartbeat,” she dedicated the song to her husband before confessing that she wasn’t quite sure where he was.

“I see a lot of couples in the room. I don’t do too many love songs. When I was writing this one, it felt kind of nice,” she admitted. “I thought my husband could use it because I seem to write a lot of cheating songs and killing songs. He’s probably like, ‘What am I doing wrong?’ This one’s for my husband, wherever he is. Is he at home? Is there a home game tonight?”

After finishing “Heartbeat,” she told the audience that her husband, NHL Nashville Predators player Mike Fisher, had a home game that night.

“I know where my husband is. I feel like we’ve been away from home for a while so it’s nice to sing a little love song and think about him. He’s going to be gone when I get home,” she said as she received a collective “aw” from the audience. “I know! It’s all right. That’s our lives. My son will be there. He’s the one I really wanted to see.”

For more of my review, visit Sounds Like Nashville.

April 11, 2017 | | (0) comment comment
Songwriting Session with Barry Dean
CATEGORIES: Songwriting Session

Barry-Dean

Credit: Spencer Combs

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Barry Dean shares what he has learned as a songwriter.

 

Barry Dean was in his mid-30s when he started writing professionally. While he dabbled in songwriting throughout his teens and continued to make up songs while mowing the lawn as an adult in Kansas, it was never something he considered chasing after. In a candid hour-and-a-half interview in his writing room at his publisher, Creative Nation, Dean reflects on his long journey to Nashville. As he recalls, it all started one afternoon while having lunch with his wife.

“We were looking at what to do for a living, where I should go and she said, ‘Well, what’s your passion?’” Dean remembers with a smile while seated in his office surrounded by guitars, keyboards and inspiring quotes hanging from the ceiling light fixture. “I laughed about it. I said, ‘I don’t think mid-30s is the time to be chasing passions.’ I had kids.”

Dean then told his wife that he wanted to be a songwriter when he was a kid and often dreamed of being around record labels and musicians. When prompted by his wife about why he doesn’t write songs he admitted that he did, often while mowing the grass or in his journal. Surprised at her husband’s secret passion, songwriting was something she kept in mind when asking if he would take her on a cruise for their anniversary the following month. He obliged and as it turns out, Dean’s wife found a songwriting cruise hosted by Nashville Songwriters Association International (NSAI).

The cruise hosted discussions about songwriting in the morning and the remainder of the day would be a typical vacation setting. It was on this excursion that Dean wound up performing and was invited to Nashville for a song camp. Soon he’d find himself traveling back and forth from Kansas to Nashville throughout the year, booking co-writes and taking songwriting seminars.

While picking up a guitar, he describes his early songs as “weird because I was learning to play the guitar.” He then begins to play one of the first songs that garnered him attention from a publisher, “The Boots of Sunny Red.” A story song told from the perspective of a boot, the music could be featured in a Western movie. He says his future publisher knew the song wasn’t a hit, but he liked the way Dean was thinking.

One piece of advice that Dean has taken to heart came from Mike Reid, who often tells songwriters to ask, “what’s the next truest thing I can say?” Dean relates this to several of the songs he’s written including Little Big Town’s “Pontoon,” Martina McBride’s “God’s Will” and Tim McGraw’s “Diamond Rings and Old Barstools,” which garnered Dean his first Grammy nomination.

“It’s a pretty big deal to me to be allowed in this community at all. I really admire these writers. Getting nominated for a Grammy is really exciting,” he says, becoming reflective. “For a guy who never thought he’d get to do it at all, that is amazing that it’s possible that it can be done. I’ve been watching that show since I was a little boy and I got to go and we got to get dressed up and be with our friends and somebody liked the song, that’s pretty cool.”

“Diamond Rings and Old Barstools” was a co-write between Dean, Luke Laird and Jonathan Singleton and almost wasn’t recorded. The three friends spent most of the day working on something else but didn’t feel like they were getting anywhere so they switched gears. Dean remembers Laird playing a guitar riff first and the song was written 40 minutes later. He admits they didn’t think many artists would be interested.

“It’s really country. There was a discussion, ‘do we even demo it because it’s so country?’” he says. “We decided we would do it because we wanted to hear Jonathan Singleton sing. They played it for George Strait and thought he would cut it and then he didn’t and we thought, ‘Well, that’s probably about it.’ Then McGraw cut it. That guy, he’s a song connoisseur. McGraw has an understanding of his audience and himself and songs. It’s just amazing, really. To think of his catalog… to be a part of that catalog of songs is a big deal.”

 

 

For more of my interview with Barry Dean, visit Sounds Like Nashville.

April 9, 2017 | | (0) comment comment
Tin Pan South 2017 Takes Over Nashville
CATEGORIES: Concert Reviews

The 25th Annual Tin Pan South Songwriters Festival was held last week in Nashville, Tenn. The world’s largest songwriters festival, the week included nightly showcases around Music City featuring some of the biggest talent in country music. I was on hand to cover the festival where I spent my nights catching sets by Old Dominion, Mickey Guyton, Kristian Bush, Craig Campbell and many more.

The combined talents of Old Dominion’s Matthew Ramsey and Trevor Rosen alongside frequent collaborators Shane McAnally and Josh Osborne amass countless No. 1 songs that include everyone from Kenny Chesney and Dierks Bentley to Miranda Lambert and Sam Hunt. The friends and co-writers kicked off night one of the 25th Annual Tin Pan South Songwriters Festival on Tuesday (March 28) at The Listening Room in Nashville where the evening served as part writers round and part comedy show.

Ramsey, Rosen, McAnally and Osborne have been writing together for years and that camaraderie was showcased throughout their 90-minute set as the good friends frequently finished each other’s sentences and poked fun at each other. “We’re going to play some songs for you guys,” he told the packed room. “Hopefully you’ll know some of these. We are not all collectively Old Dominion but half of us are.”

McAnally then jumped in, pointing to Ramsey and Rosen while telling the crowd they were Old Dominion and he and Osborne were Young Dominion as the audience laughed. After back-to-back No. 1 songs with McAnally’s “American Kids” which was a hit for Chesney and Rosen’s “Sangria” which topped the charts for Blake Shelton, it was Ramsey’s turn to play.

“I remember moving to Nashville and wanting to be a part of Tin Pan South and I couldn’t afford to even come into a show so this is nice to be here,” he reflected. “It’s even weirder that I’m about to play a song that’s a hit that I wrote that I also am in the band that performs it. It’s pretty mind blowing whenever that happens.”

He then segued into Old Dominion’s most recent No. 1 with “Song for Another Time” as fellow band member Rosen assisted on guitar and harmonies. For my complete recap on their showcase, visit Sounds Like Nashville.

The Late Late Night with Creative Nation showcase at Tin Pan South 2017 was one not to be missed and those attending the songwriters festival were well aware as the line to get into the show wrapped around the building and down the street of the Listening Room. For nearly two hours on Wednesday (March 29), those lucky enough to get in the door witnessed four of Nashville’s most respected songwriters perform up-close and tell the stories behind their hit songs.

Longtime friends and co-writers Natalie Hemby, Lori McKenna, Luke Laird and Barry Dean, all writers with Creative Nation, played in the round and the evening tugged on the emotions. At one point, after several heavy-hitting songs were played, Dean joked that maybe Kleenex should be a sponsor while Laird advised the audience to take an Uber home.

“After a night of hearing some more of these songs you may want to call an Uber. There is going to be a lot of alcohol sold and a lot of picking yourself up off the ground,” Laird reasoned.

Fittingly, Hemby kicked off the round with her most recent No. 1 song, Justin Moore’s “You Look Like I Need a Drink.”

“If you live in Nashville you have to write a drinking song eventually,” she mused. “We’re a drinking town with a music problem.” Read my recap here.

Additional highlights of Tin Pan South included the CMA Songwriters Series showcase, Mickey Guyton, Rick Brantley, Victoria Banks and Tenille at The Station Inn and Kristian Bush and Craig Campbell’s set at 3rd & Lindsley.

April 8, 2017 | | (0) comment comment
Songwriting Session with Mike Vial
CATEGORIES: Songwriting Session

Mikevial_PressPhoto2small_PhotoCredit_AnneGlista

Credit: Anne Glista

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Mike Vial shares what he has learned as a songwriter.

 

Mike Vial has had a whirlwind six months. Days after the release of his new album, A World That’s Bigger, the Michigan-based singer/songwriter was hit by a car as he was walking to play a show. Vial soon found himself hobbling on crutches and lucky to be alive. He admits that, thankfully, his guitar has more cracks than him. Now fully healed, Vial chatted with me over the phone about his new album, his journey to becoming a full-time musician and some of the stories behind the songs on the record, which details the birth of his first daughter and the loss of a family member.

Vial has been a songwriter for as long as he can remember. The 35-year-old began writing poems and playing guitar in high school. He’d continue crafting songs as an adult in between his day job as a high school English teacher where he taught for eight years. In 2011, he decided to quit that job to focus more time on his artist career. Six years later, Vial continues full speed ahead with his songwriting and looks back on how it all began.

“I do remember the first song I wrote, and it was when I was a freshman,” he recalls. “I wrote a bunch of crappy songs that were more like the terrible poetry you would read in high school. I had a whole binder and I threw it away. I wish I still had it. The first song that I ever kept was when I was leaving for college. One classic breakup song. It was the first time I was singing.”

Vial admits that he had always pictured himself as a guitar player and not the frontman. During his senior year of high school, he and his friends were showcased as part of their school’s talent show where they performed three songs. Since no one could sing harmony in the band, Vial sang and he remembers it going pretty well.

“Finding my voice as a singer has been a very long journey. I think writing the song gave me another step in that direction that I was going to be the singer, and then I was going to be the artist in the front,” he admits.

While college mostly involved him reading books and teaching classes, he made some time for playing guitar and writing songs. He says that there were many little victories along the way that kept reminding him once he graduated that music wasn’t just a far off dream.

Years into his professional career, Vial often found himself playing bar gigs throughout Michigan after a long day of teaching. It was the steady money that eventually convinced him to finally leave his teaching job after eight years.

“I’m learning that there is no clear transition. It wasn’t like I had the perfect sign that it was right to quit my job. I just had to take the leap,” he explains. “It was the little victories along the way, and just in knowing I had to give it a shot. I think one thing is, and now that I’m a dad I definitely can relate to this whole thought I had. I needed to give myself time to figure out what music was going to look like before we started a family.”

As he approached his eighth year of teaching he realized it was “now or never,” explaining that the more comfortable one is in his lifestyle, the harder it is to leave. He describes music as a calling and says that when crafting a song, the music often comes first for him before the lyrics.

“There’s a moment in songwriting for me, where I feel like there’s enough development and there’s enough to go on, where the song is going to get finished, and it’s going to be pretty good,” he shares. “I know when I have the feeling, and I can’t explain what exactly it is. There’s enough structure there, there’s enough interesting parts. For the first set of lyrics, they usually come in the process when I’ve got a set structure of music and then I start humming and finding melodies. Then I find some lines, and the lines usually lead me to an idea. Then I’m off to the races.”

Vial adds that songwriting for him is “very chaotic.” He says the chaotic and messy process is the fun part for him.

 

 

“A World That’s Bigger” is the first song that Vial wrote as a father and is the title track to his latest release. He said it started with a Neil Young-esque riff that he jammed to before stumbling upon some melodies. He recalls humming as his daughter, Ginny, was sleeping in her bouncer.

“I was playing as quietly as possible. She’s just a baby, she can sleep through anything. I was lucky to catch that idea of the first verse, which is the first thing that I wrote lyrically for it during the processes of finding the chords that I was liking,” he recalls. “I was thinking about Ginny and I walking to this historic one-room schoolhouse down the street from our house and the baseball field and the church there. Then the theme of the weight of responsibility as a parent took over. Once I had the first verse and the chorus done, I knew that that was going to be a song.”

“Burning Bright,” meanwhile, was inspired by his late relative, David Plawecki, who started a pay-it-forward movement where he would give away $100 to everybody he knew for them to then give that money away to somebody else. Vial says he tries to write songs that are universal and this song embodies a universal theme of loss and death.

 

 

“I’ve learned I have to write about what I know,” he shares. “The way in which I approach is totally up to me because I’m writing the song and I’m not writing a memoir. That is another key balancing act of what’s going to do the song justice versus what’s going to do my ego justice. I have to be writing about what I know to get to the part where I don’t get stuck in a loop and I have enough to go on and I have enough interest to explore it.”

Vial admits that he’s been wanting to write a murder ballad but if he’s writing one, he needs to know that he’s relating to the speaker in the song.

“If they’re angry, I have to feel that anger. Fortunately, I’ve never hurt anybody but I’ve got to relate to that anger to get that song done,” he explains. “When it’s a relationship song, I’ve got to relate to them on a very personal level to get the seed of the song. It might grow in a different direction, but my seeds have to be really personal to get to the end. Otherwise, I just don’t feel like I have enough to go on.”

One song that has struck a chord with listeners is Vial’s “Girl On the Mountain, Boy On the Beach.” It’s a song for refugees that was entered into the Grassy Hill Songwriting Competition. While it didn’t win the prize, it did allow Vial to travel to Connecticut and play the song for the folk community there. He says it was a victory for him as a songwriter as so many people came up to him following his performance explaining how moved they were by it.

“It was the kind of song that gave myself permission to go in the folk direction,” he concedes. “Anytime we get to go to another city and play for a small or large audience is a win for the artist. That’s a part of the challenge. It’s a dream to just keep writing, let alone trying to play to people.”

 

For more on Mike Vial, visit his website or stream his latest album below.

March 26, 2017 | | (0) comment comment
Songwriting Session with Steve Moakler
CATEGORIES: Songwriting Session

Steve-Moakler

Courtesy: Essential Broadcast Media

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Steve Moakler shares what he has learned as a songwriter.

 

Steve Moakler released his fourth album, Steel Town, on Friday (March 17), but he admits it feels like it is his first record. The singer/songwriter co-wrote 10 of the album’s 11 tracks, which he says makes for a personal release. As he explains, Steel Town has so much “chapter one information” and as a result, many of the songs vividly paint the picture of his roots. On “Steel Town,” Moakler discusses what life in his hometown south of Pittsburgh was like and how it shaped who he has become.

“In a steel town you learn how to bend and not break / How to hang in, how to cut loose, how to find a way / How to start from nothing and build it from the ground / Everything that matters most I learned about in a steel town,” he sings on the chorus.

“There are a lot of songs about looking back, and also a lot of songs about trying to be in the moment and appreciating the moment,” he tells me of Steel Town. “All those looking back moments come from my roots in a steel town. And I think it’s taken me, really, 10 years of being gone to really understand how much I’m a product of that place and how much it has given me that I bring with me everywhere.”

Another personal song is the rowdy “Siddle’s Saloon,” where Moakler pays homage to his grandfather’s home bar. Located in his grandfather’s basement, it’s a place his family still gets together to reminisce about old times. “Siddle’s Saloon” is a song that marks new territory for Moakler and one that he can’t wait to play live.

“It’s a very personal song but it also is the most up-tempo, rocking [one],” he says. “It sounds honestly like a Celtic bar blue collar anthem. It’s got a great energy to it and I think it’ll be really, really fun to play live, and should add a lot of energy to the show. That, paired with what it means to me, probably puts it in the running for the song I’m most excited to play.”

At heart, Moakler is a songwriter first and foremost and fans get a glimpse into his life throughout the entirety of Steel Town. Well known for penning songs for other artists including Dierks Bentley’s “Riser,” Moakler says songwriting is what first brought him to Nashville, adding that it is his deepest love.

“The thrill of the chase of writing a song, the feeling that comes over a room and over you when you’re writing a song you love,” he says, pausing. “When we wrote ‘Wheels’ and when I wrote ‘Steel Town’ and really all the songs on this album, that excitement of tapping into something new and special and real, that feeling keeps me going. I really don’t know what else I would do. If I ever lost my voice or for some reason couldn’t travel anymore, I could write songs and I could still be a pretty fulfilled, creative person. That really is my first love.”

 

 

For more of my interview with Steve Moakler, visit Sounds Like Nashville.

March 19, 2017 | | (0) comment comment
Songwriting Session with Jamie Meyer
CATEGORIES: Songwriting Session

Jamie Meyer

Credit: Lukasz Malyszka

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Jamie Meyer shares what he has learned as a songwriter.

 

Jamie Meyer describes himself as a Swedish fish in a sea full of cowboys as the Gothenburg, Sweden, native currently splits his time between his homeland and Nashville. While he grew up on an eclectic blend of music including Swedish country, Rod Stewart, Queen, Del Shannon, Bruce Springsteen and Roy Orbison thanks to his mother, he recalls frequently listening to Def Leppard, Bryan Adams and Bon Jovi.

“At the end of every month, when she got paid from work, she always promised that I could buy one CD,” Meyer recalls. “I would spend the whole month watching hours of MTV in the ’90s trying to decide which artist I wanted to buy a CD from.”

It wasn’t until his first trip to the States years later that he would be introduced to American country music. Meyer was in Chicago and he vividly remembers being in awe of the many country radio stations here as there were no country stations for him to listen to in Sweden. An early favorite for Meyer was Kenny Chesney’s “She’s Got It All.”

While Meyer raves about the music festivals each summer in Sweden, he says the live music scene in Music City is incomparable.

“In Nashville you’ll find it everywhere, 24/7, and you can’t help but rise to the occasion and push yourself to becoming better. I love that about Nashville,” he shares. “Writing songs in Nashville is different, too. You often start with a title. In Sweden, we often start with the melody. To me, that was a big challenge to navigate. Nashville has helped me in writing better lyrics, even though I will probably always be a melody writer. Marrying Swedish pop melodies with the Nashville way of telling stories has become an interesting mission for me.”

As Meyer explains, country music is not about where you’re from, it’s about “feeling it on the inside and sharing your story.” Meyer is currently sharing his story with he world in the form of his brand new EP Miss This Town, which was released earlier this month. The seven-track recording was all co-written by Meyer with frequent collaborators including Swedish producer Hakan Mjornheim, Johnny Garcia, Jimmy Mattingly, Bridgette Tatum, Steve Dean, Adam Wood and Sarah Derr.

 

The collection of songs are personal for Meyer as two of the tracks touch upon the death of his grandparents. He calls “Holy Ground To Me” the most honest song on the EP as he wrote it while struggling over the loss of his grandparents.

“Sarah Derr did a phenomenal job putting my thoughts into words. Jimmy Mattingly on the fiddle, Peter Ljung on the piano and Hakan Mjornheim’s string arrangement and production is a match made in heaven,” he adds.

The title track, meanwhile, was inspired by Meyer’s eventual move from his hometown.

“It started with a hashtag I wrote on Instagram when I was taking a photo an early morning in Gothenburg, Sweden. I lived with the title for a while and after my grandfather’s funeral the storyline of the song was obvious but it’s also a very universal song,” he explains. “I can see how it can connect with anybody leaving a place or even someone getting ready for graduation.”

 

While Meyer’s heart is showcased on every track on the EP, so is his energetic live show. “Live to Die Another Day” is a guitar-fused jam that details living on the edge. It’s the EP’s standout song that also showcases Meyer’s uncanny pop melodies and striking guitar parts.

For more on Jamie Meyer, visit his website. Stream the album below via Spotify.

March 12, 2017 | | (0) comment comment
Songwriting Session with Jessie Jo Dillon
CATEGORIES: Songwriting Session

Jessie-Jo-Dillon

Photo credit: Kate York

Songwriting Session is a column that goes behind-the-scenes with artists and songwriters. Each Sunday, a new songwriter will share their journey and provide lessons they’ve learned along the way. This week, Jessie Jo Dillon shares what she has learned as a songwriter.

 

Songwriting runs in the family for Jessie Jo Dillon. The daughter of Nashville Songwriters Hall of Fame inductee, Dean Dillon, she admits that her father was often a huge shadow to be in. As a result, Jessie Jo frequently discouraged herself from becoming a songwriter. It was only a matter of time, though, that she realized music was her true calling.

Dillon grew up in a musical family with her songwriter father and two musically inclined brothers. She remembers being surrounded by music with everything from country to rock ‘n’ roll from the ’60s and ’70s being played in her home. The Eagles, the Rolling Stones, Led Zeppelin and Bob Dylan were frequently on the speakers and she recalls constantly writing as a child.

“I was always fascinated with words and the way they made people feel,” she tells me over the phone during a break from a writing session. “I had an English teacher that encouraged me all the way through, ‘You’re a writer, you’re a writer,’ [she said] even when I was trying to discourage myself from doing it.”

Adamant about not following in her father’s footsteps, Dillon moved to Los Angeles for a year where she soon found her songs being critiqued by a woman in publishing who urged her to go home. Taken aback at first, she thought the review was harsh but that wasn’t what the woman meant.

“No. You really can do this but you’re a country songwriter,’” she recalls her saying. “You need to go home because you really can do this.”

That was the push Dillon needed and she moved home around 2008 where she hit the ground running, but again was determined to do things her way. She didn’t want anyone to think she was joining the trade because of her father so she put more pressure on herself to strike out on her own and her hard work eventually paid off when she acquired a publishing deal a year later at the age of 21.

In 2010, she’d receive her first Grammy nomination for her very first cut, a song she wrote with her father and Casey Beathard called “The Breath You Take” that George Strait recorded. The song was nominated as Best Country Song at the 2011 awards ceremony. Dillon had the idea for “The Breath You Take” and called her dad and told him about it. That day he was writing with Beathard and invited his daughter to join them.

“We wrote it super quickly and I think it meant the same thing to all three of us, even at different stages in our lives: slow down and take it all in,” she explains. “We get so caught up in trivial things that don’t really matter in the grand scheme and it is just a moment of, ‘You’re going to miss the point of all of it if you don’t take it all in.’ That was a really special song for all three of us.”

 

 

For more of my interview with Jessie Jo Dillon, visit Sounds Like Nashville.

March 5, 2017 | | (0) comment comment
Dashboard Confessional End Nashville Residency with Fiery Sold-Out Show
CATEGORIES: Concert Reviews

Dashboard Confessional closed their fifth and final night at Nashville’s Basement East on Tuesday (Feb. 28) to a sold-out crowd. The packed room had longtime fans singing along word for word throughout the band’s lengthy catalog that spanned back to 2000’s The Swiss Army Romance.

The band’s residency was a homecoming for the musicians and the evening struck a chord with frontman Chris Carrabba, who remarked that he loved being able to drive to work every day. “It’s weird to be able to drive to work,” he admitted mid-set. “This week has been the best week of my entire life.”

Some famous fans in attendance agreed, as Kacey Musgraves and Paramore’s Hayley Williams posted videos of themselves singing along throughout the night. As Musgraves noted, Dashboard were “making my dreams come true tonight.”

Carrabba & Co. kicked off their set shortly after 10 p.m. with “Vindicated” and as the first guitar lick was played the venue erupted into screams. While the audience sang along, Carrabba wasn’t convinced they were fully into the show.

“Stop acting like you’re in L.A. and put your hands up,” he commanded.

The audience more than obliged and the Basement East quickly turned into a sweaty rock club as Dashboard fired through their set. While many of the songs played were well over a decade old, you’d never know it based on the audience’s reaction. Hands were in the air and voices were at an all time high screaming along.

Several songs into the set Carrabba asked if the crowd liked love songs. “You wanna sing a love song?” he asked before slowing down the performance for fan favorite “Stolen.”

“We live here too,” Carrabba later said. “It’s nice to be home with you guys. This is the last of a six-night stint and I really don’t want it to end.”

Throughout the band’s 90-minute set, they peppered in some new music. One song was the striking “We Fight,” which urges the listener to make his voice heard among those who frequently try to shut him down. “Somewhere there’s a kid who needs to hear this,” Carrabba sang alongside soaring guitar accompaniment.

“I never really fit in anywhere,” Carrabba prefaced the song, adding that finding music helped him feel included. “The thing that I’ve always loved about this music scene is that when I look around at a show, everyone is represented. There are people of every race and who practice every religion . . . we all seem to get along in here.”

He then urged concertgoers to bring that acceptance outside of the club and into our everyday lives. It’s a statement we can all get behind. Following the performance of “We Fight,” Carrabba closed the wall between performer and audience once again as his band left the stage and he was alone with his voice and his acoustic guitar. His three-song solo set included “The Places You Have Come To Fear The Most,” “Ghost of a Good Thing” and “The Swiss Army Romance.”

The night was far from over and when the band rejoined Carrabba on the stage they kicked the energy right back up where they left off. Highlights included the impassioned “Screaming Infidelities” and set closer “Hands Down.” Not quite ready to leave, as the song came to an end Carrabba asked the crowd if they had “a little more” for another sing along of the chorus. They did and the night ended in an epic sing along.

“See you soon,” he promised his Nashville neighbors. “If you see me on the road stop and say hi. I like people.”

March 2, 2017 | | (0) comment comment
Album Review: Aaron Watson’s ‘Vaquero’
CATEGORIES: CD Reviews

Aaron Watson

Credit: Joseph Llanes

Aaron Watson shocked the country world in 2015 when his independent album The Underdog debuted at No. 1 on Billboard‘s Top Country Albums chart with no major support or label. The milestone made Watson the first-ever independent male country artist to have an album debut at No. 1.

Since then, the Texas singer/songwriter has been hard at work on his follow-up, Vaquero, which was released on Feb. 24. Watson wrote or co-wrote every song on the 16-track album and the record showcases his unique brand of traditional country music. Each song tells a striking story that stays with the listener long after the last note is played. Many songs include country instrumentation at the forefront whether its soaring fiddle accompaniment, boot stomping rhythms, pedal steel or acoustic guitar.

Vaquero kicks off with the sweet ballad “Texas Lullaby” about a young Texan who finds himself called off to war. While fighting for his country and fearing for his life, his love back home in Texas keeps him hopeful of returning. Meanwhile, the poignant song’s vivid imagery keeps the listener intrigued and rooting for the soldier’s safety.

 

While the upbeat “Take You Home Tonight” keeps listeners tapping their feet with soaring fiddle accompaniment, the nostalgic “These Old Boots Have Roots” dig deeper as Watson sings of how he’ll always stand his ground and not forget where he comes from. “So I’ll march to the beat of my heart pounding like a drum,” he sings.

Penned by himself, “They Don’t Make ‘Em Like They Used To” is one of Vaquero‘s standout tracks. It’s a song that Watson says is his best-written on the album and this is evident as the ballad has the singer looking back on his youth and remembering the important values many people were taught as children.

“So you live the kind of life so long after you’re long gone / You’ll always be there in their hearts and your love light will shine on / And someday they’ll sit around down at John T’s Country Store / They’ll be laughing over stories you told a thousand times before saying / They don’t make em like you anymore / They don’t make em like you anymore,” he sings.

 

Other highlights include the sultry “Run Wild Horses” with driving electric guitar and the striking “Vaquero” where Watson tells a tale of meeting a Mexican cowboy mourning his departed wife at the bar. Struggling financially, the cowboy asks Watson for a shot in exchange for some wise words. It may be the best tab he’s run up as he goes home to his wife, reassessing the blessings in his life.

“He said don’t leave your beer in the hot Texas sun / Don’t argue with a woman when she’s holding a gun / Never cheat when it comes to love or dominos . . . don’t live your life like a sad country song,” Watson sings.

Good advice runs deep on Vaquero. Another track, fittingly titled “The Arrow,” this time has Watson offering lessons he’s come to learn in his life and bestowing them on his children (and listeners). “Don’t you forget every sunset will become a sunrise soon again / So be bold and be brave and beware . . . stay razor sharp and find your mark as you go chase your dreams,” he offers.

An album that offers just as much escape as it does wisdom, Watson leaves his mark once again on Vaquero. The Texan proves just why he launched to No. 1 with his last release and if Vaquero is any indication, he will do so again.

For more on Aaron Watson, visit his website. Vaquero is available now.

March 1, 2017 | | (0) comment comment
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