Thursday, July 27, 2017

Album review: From the Bottom of a Well by Brad Butcher

If, like me, you have loved music for as long as you can remember, and even been obsessed with certain albums and artists at various times, your affection sometimes waning but generally keeping faith with those you have loved most, you'll have been lucky enough to feel the rapture that comes with discovering someone great, looking forward to their next release and being rewarded for your anticipation.

Brad Butcher is a Queensland singer-songwriter whose first album still has me in thrall. His second album, Jamestown, proved that the first was no fluke. Butcher is a terrific songwriter, and, yes, he can sing and all that good stuff. But some artists have magic in them – almost a sorcery that can make you think of their songs at the oddest times and all the emotions that those songs conjure are as strong as they were the first few times you heard that particular combination of notes and words. 

That is a kind of brilliance, and it's also something that can't really be defined, otherwise we'd all know what it is and go and pluck it from a shelf somewhere. Songs from both of Butcher's albums still make me stop and listen, and occasionally cry too, even though I know them well. His stories are not complicated but they are meaningful, and there's enough meaning in them to merit going back to them over and over, because they can deliver it each time.

So, listening to Butcher's third album, From the Bottom of a Well, for the first time, I obviously had expectations, while still trying to approach it with an open mind. I did not actually want a repeat of either of the first two albums, because they're perfect as they are – and that's lucky, because I didn't get it. Instead, From the Bottom of a Well is a beautiful evolution of Butcher's skills and sounds. One of his constant strengths has been has willingness to be emotional without being manipulative of his listener. He does not write songs to provoke a response – he tells the story as it is, and brings in whatever emotion is there without second guessing what's going to work (or perhaps he's just honed his craft well enough that the guessing gets eliminated early in the process). That is the authenticity that the country music audience loves, which is why he's found a home there.

His music is also a huge compliment to his listener: he is saying to us that he trusts that we'll understand what he's telling us, and he's inviting us into the experience. The compliment is also there in how he sings: he has always had crisp articulation married with a warm tone, and that combination, again, is an invitation to the listener.

The songs on this album are a mixture of personal accounts ('All Said & Done', 'More to the Story') and other people's stories ('Glasgow Train', 'Well Dressed Man'), and there is no sense that Butcher values one over the other. He understands his role as a storyteller, and he has always been adept at serving the story and the song.

These are also songs that grow in impact with each listening - several of them become more moving with time and consideration. That's due to the layers within them lyrically, and within Butcher's voice, and also, perhaps, those introduced in the recording process. Butcher's producer for this album is Matt Fell, who has given it a different sound to that heard on the previous two albums, with more texture and light and shade. These elements give the listener cues, but none of that matters if the songs aren't working. They do – every single one.

This is another album that will make me stop and listen for years to come, and as someone who has loved music for as long as I can remember, that is just the best thing ever.

From the Bottom of a Well will be released on 4 August 2017.

Wednesday, July 26, 2017

Fanny Lumsden announces new Country Halls Tour

With just one album Fanny Lumsden has established herself as one of Australia's leading country music artists. Her superb songwriting - each track on that album, Small Town Big Shot, is a gem - and her effervescent live performances have connected with audiences all over Australia. Not only that, but they've been awarded with a 2017 Golden Guitar, the CMC Best New Talent Award, and the APRA Professional Development Award

An important reason for Fanny's popularity is her willingness to tour to places that often don't host gigs, with her Country Halls Tours. Fanny has just announced that she will soon embark on her sixth annual Country Halls tour, in support of her new album, Real Class Act, which will be released on 22 September.

Fanny and her band, The Thrillseekers, will be heading to country halls in New South Wales, Victoria and South Australia, in towns including Burren Junction, Mullaley, Tullamore, Eurongilly, Tumblong and Andamooka. The tour will also aise funds for local communities, and will journey to metropolitan areas, BIGSOUND and Tamworth Country Music Festival along the way.

For the full list of shows, visit
Tickets are now on sale.

Friday, July 21, 2017

The Voice winner Judah Kelly heads to the Gympie Music Muster

Each year television show The Voice uncovers new Australian talent, and the winner this year - not that long ago, in fact, was Queenslander Judah Kelly. Judah was already known within country music circles, though, as he has attended the CMAA Academy - and he's played at the Gympie Music Muster. I had a chat to Judah a few days after his win about the muster, the academy and other things.

The obvious first thing to say to you is ‘Congratulations’.
[Laughs] Thank you.

How’s your work been?
Ah … quite hectic, to be honest. I won on Sunday night, had a half-hour sleep, then Monday morning I started my interviews. I did 36 interviews on Monday. It’s just been crazy ever since.

And there’s no way to prepare for that, really – it’s such an unusual circumstance. Around an album release you’ll do a bit of press but it can be a bit spaced out, whereas this was that big hit.
That’s right. I thought about what might happen if I would win and I certainly didn’t think it would be quite this crazy.

I imagine you haven’t had a lot of sleep even since Sunday night, so are you feeling almost like you’re in a bizarro world, or is it sinking in now that you’ve won?
Oh no, it’s definitely quite weird. I’ve spent a lot of time doing a lot of hard work, and to finally reap the benefits of all that is quite amazing. I’m the dog that finally caught the car and I have no idea what to do with it. Start chasing the next one.

You performed a lot before you got on The Voice – I’m really curious to know what it’s like to perform live on television as opposed to live at a gig, because at a gig you can see your audience and on TV you can’t.
I think it’s probably a good thing that I couldn’t see the people who were watching. It is quite different. Of course, you have the audience that’s there, which is super awesome, but just knowing that you’re going live to a million people across Australia, it’s ridiculous.

You obviously handled the pressure well, because you won. But I’m going to take you back, because I’m interested in your musical lineage. You’ve been to the CMAA Academy, so there’s obviously a little thread of country music there. What’s the first music you listened to as a child and as you were growing up, what music did you love?
I have a huge love of country music now but it wasn’t always like that. I grew up listening to stuff like The Temptations and Al Green and Marvin Gaye. Then I went to my first country music competition, and this was still when I didn’t even like country music – it was just something to do this weekend. And I went along and I met a lady who is now one of my best friends, and she showed me the music of Vince Gill, and it was literally from that moment I just fell in love. And the love for country has grown ever since.

Where was that competition?
In Sarina, just south of Mackay [Queensland].

If you love singing, there’s a lot of flexibility within the country music genre, and if you love storytelling, that’s there.
That’s right. And that’s what I love about it mostly. They’re songs with meaning and thought really put into it to create something that makes people feel something and that’s what’s most important to me.

After you’d have your Vince Gill moment what artists did you find your way to?
Merle Haggard, I love Merle. George Strait, I love. I love all that older country, and then along the way I fell in love with outlaw country – Waylon Jennings and all that kind of stuff.

So you went to the CMAA Academy – when was that and how did you find that experience?
I went once as a junior, in 2011, once as a singer and once as a band member when they started the instrumental course. I think it would have been 2014 and 2015 for the last two. And they were quite amazing experiences. I was thinking about this the other day – it helped a lot with what I’m doing now. I did my first big photo shoot the other day and shooting a video for the single today. We start work on the album tomorrow. And that’s all stuff we went through at the academy. I think it would have been a lot more overwhelming if I hadn’t gone through that before.

Do you like being a member of a band as much as you like being the singer?
That’s a tough one. I’ve not really been a singer for long. Once I left high school I just needed something to pay the rent and bills, doing session work and just playing for people. And it got to a point where I didn’t want to any more. If that’s what you want to do, that’s cool – there’s nothing wrong with it at all – but it just wasn’t what I wanted to do. Which is why I ended up auditioning for The Voice, because I wanted to change that. I didn’t want to just play for other people any more.

That’s really interesting, that auditioning for The Voice came out of a desire to have a change. It’s a big thing to do, it’s a big gesture to make.
I got comfortable just playing for people and I got comfortable being in the background even though I wanted to sing, which put me in a weird situation, because I felt uncomfortable being in front of people but wanting to be there. And I thought to myself, I want to sing more than I want to stay comfortable, so I gave it a go. And thankfully I did.

Speaking of being out the front, you are going to perform at the Gympie Muster. You have played the muster before as a backing musician. Now that you have established yourself as a singer, are you feeling relaxed about being out the front of a band?
Absolutely. The Voice was quite amazing with that. I just have a new belief in my own talent, and I know that the boys who are playing with me are super tight – they’re excited, I’m excited, and I’ve spent a lot of time seeing crowds’ reactions for people I was playing for, and now to know that that’s going to happen for me this time, I’m really excited.

How many shows will you have at the muster?
I have two.

What are you looking forward to experiencing again?
The crowd. The crowd is always the best part. Once they’re pumping and just that energy – that’s what I’m looking forward to the most.

How long ago did you sign on?
Not very long ago – a month, maybe.

They would be loving themselves`sick about that, then, given what happened on Sunday night.
[Laughs] Absolutely.

Given that the muster is in Gympie and you are a Queenslander, is it fair to ask you if Queensland audiences are better?
Of course – isn’t everything better in Queensland?

You mentioned you have a video to film today, and the live performances for The Voice all happen in a bit of a run, even though the auditions take place months before. How do you take care of your voice?
That’s the thing. Normally it’s fine but I just happened to get laryngitis in the last couple of weeks and haven’t exactly had time to let it heal properly. Delta [Goodrem, his coach on The Voice] is the best ever – she set me up an appointment with her doctor during the show, so that kind of kept me together as well as possible, and then today I’m going to see another doctor again just to have a check over. It’s kind of hard because I need rest, but also there is no time to rest at the moment. And that’s part of this career and part of doing this. So we get through it and do the best we can.

This album you’re recording – you probably have a whole lot of songs that you’re recording quickly. But down the track are you looking forward to writing your own songs? Or have you written some songs for this album?
The song list isn’t really final until the album’s printed, but at the moment a co-write has made the cut, which is really exciting. One we wrote on Tuesday [this interview happened on a Thursday]. I’m grateful to Universal [his record company]. I’m not much of a writer but they’re excited to get co-writes happening and help me improve on that.

After the album’s released I imagine you’ll be on tour – are you looking forward to that? Or perhaps you need to rest that voice a little bit first.
Nah, who needs rest? Rest is for the wicked [laughs]. We’ll just get the album done. It is very early days. The planning is there, it’s just making it all happen now and that takes a little bit of time. But the plan definitely is to do a tour.

What are the Queensland destinations that will be a priority when you do that tour?
The priority is everywhere and anywhere. I’m a big believer in just hitting the road and playing everywhere that someone will listen.

That’s a country music thing, too, to really want to connect with the audience. So even though you can obviously a variety of styles I think maybe in your soul, Judah, you are country music.
[Laughs] Definitely.

So does that mean we’ll see you in Tamworth?
At the moment, yes. We’re planning to get there and Universal are happy for me to be there, I really want to be there, it’s just trying to make that happen in such a busy schedule – but it is a priority.

Judah Kelly will be performing at Gympie Music Muster, held from 24 to 27 August at Amamoor Creek State Forest.  For further info check out

Find Judah on Facebook:


Thursday, July 20, 2017

Single release: 'Hometown' by Josh Setterfield

Australian singer-songwriter Josh Setterfield has released the first single from his forthcoming second EP, From Dusk. The song is 'Hometown' and documents an experience many of us know: going home after an absence, and the tug of wanting to be there but also wanting to leave. Setterfield's style is country rock but of the melodic kind that is embraced more by Australian artists than American.

Setterfield has performed with Shannon Noll on tour, performed at the Gympie Muster and Urban Music Festival, and will be headlining the Day Stage at the 2017 Deni Ute Muster in September.

Watch the video for 'Hometown' below.

Album review: Ben Bostick

When American singer-songwriter Ben Bostick released his EP My Country, I wrote that the future of country music in the United States would be safe if it were in hands like his. Upon the release of his eponymous debut long player, I have reason to believe that opinion is confirmed. That’s not just because Bostick is able to write and play to a high standard – it’s because of the breadth of style within his country music, and the fact that no matter what form of country music each of his songs takes, it feels authentic.

This suggests an artist who has a deep education: he’s listened to the albums, he’s studied how the songs are written, and he has found a way to exist within that lineage without it sounding like impersonation. This is noteworthy partly because of how voices work: a singing voice can suit certain styles of song and not others. Bostick has a distinctive voice, rich and gravelly, which is elastic enough to encompass different styles and stories.

The lyrical content of the album shifts from the serious (‘Paper Football’ and ‘Independence Day Eve’) to the outrageous and funny (‘The Juggler’), and all of it worth the attention of the listener. And while there may not be a theme at work - not everyone writes an album in an arc - the variety means this is a good first album: an introduction to Bostick's range and skills. As time goes on Bostick may find that he develops a musical sound that is distinctly his (as his voice is already distinctive) but for the moment I'll take the variety and enjoy it every single time.

Ben Bostick is out now.

Thursday, July 13, 2017

Fanny Lumsden and Tobias to tour central west Queensland

CMC and Golden Guitar winner Fanny Lumsden and Queensland singer-songwriter Tobias are soon to undertake a four-show tour of central west Queensland. Audiences are in for a huge treat, as both are luminaries in Australian country and folk music - and I chatted to them recently.

How long have you two known each other and have you ever shared a stage before?
F: We met at Gympie [Music Muster] last year. And this will be the first time [to share a stage].

So you obviously got on, as you’ve volunteered to tour part of Queensland together.
T: Yes, and we were on the same bill at Woodford Folk Festival this year and got to talk about doing these shows together – that’s how that cameabout.

Fanny, obviously you tour country areas a lot with your Country Halls tours – but obviously this specific kind of tour, you’re going to a very particular area, so when you were initially talking did you think it would just be nice to tour together or did you have a specific area in mind.
F: We were talking about western central Queensland specifically and getting out there.

Why western central Queensland in particular?
T: The story goes that I played a house concert. There was a Rotary member there, and she had some people doing some things out in Longreach. This guy had been doing a lot of fundraising – small community events to bring the people together – and he was really interested in doing some music. So we talked about doing some gigs together – he also runs a thing called the Western Queensland Drought Appeal, but his main thing was that he just wanted to create some awareness around it, and put on some music events, really just so people could come out and have a good time. I think that’s what the main thing was. And Fanny and I were talking and she really wanted to go to Queensland and these shows came up. So it was just a really perfect fit, and they’re really excited too that these are happening.

In terms of Rotary’s involvement, have they helped you organise it or they’re just making sure
that people get out on the day?
T: It’s kind of been a joint effort, but really they’re the machine behind it.

It seems like such a good fit that I’m wondering why it doesn’t happen more, that they get involved with organising tours because they obviously are in a lot of country towns and they know what their communities need, and bringing storytellers – which is what you are – to those towns would be hugely valuable.
F: I think it’s about finding a motivated person and then also finding people that often maybe they’d think it would cost too much money. I think there’s just a bit of a barrier there – a communication barrier. It should happen more.

So perhaps this is the start of a long and beautiful association between you two and them.
[both laugh]
T: Could be good.
F: We’ll do this tour first and then we’ll let you know. [Laughs] Just kidding – no, it’ll be awesome.
T: Yeah, that’s right.

Fanny, I’m thinking this will be slightly different to your Country Halls tours because you’re not just hopping in your caravan and taking off – except I know you organise your tours ahead. I know you’re from western New South Wales but I’m wondering why you make it a priority to play in country towns?
F: Why not? Basically. They’re just a town like any other town, and you could go to the city and get that. I grew up in the country and I know that people really appreciate it when you bring something to their town. If you live in the country people will travel. They have to drive hundreds and hundreds and hundreds of Ks just to go to live music. If you go there, I’ve found – or we’ve found with the Country Halls tours – they’re so supportive. I’m writing music about that world anyway so I thought why not share it with the people who are inspiring me.

And Tobias, for you, how do you feel about going out into country towns and making music, because it takes an effort to organise that too.
T: I’m really excited. I’ve spent a bit of time playing in rural areas. I’ve never been out to Longreach so I’ll be a real tourist, I think, but I’m really looking forward to it because I know that when you get out, off the beaten track, there’s much more of an appreciation for music and connection as well. That’s what I get excited about. Just meeting new people.

And I suppose also it’s that you’re storytellers going into these towns – there is that sense of an exchange, almost, and who knows what comes out of it for either one of you in terms of songs you might want to write or experiences you might want to document.
T: Yeah. It ticks all the boxes for me, I’m really excited.

Fanny, have you ever been to these towns before?
F: Yes. My dad’s idea of a holiday when we were young was to put the bags in the car and all of us kids and then drive northwest, and pull over to the side of the road and camp. So we would go up to Queensland a lot because he had lots of friends on different stations, so we would go to their stations and help them work as our holiday – which we were thrilled about as kids. So I did spend a fair bit of time there and I had some family who lived up there too. I haven’t been up there for a long time, too – maybe since I was in my teens. It’ll be nice to get back out there.

How did you choose these towns? Some of them are really small – one of them has just over a hundred people. Was it Rotary that suggested these particular towns?
T: Yes – David Phelps, who has helped put all this together, these are the communities that are really close to his heart, and he knows them out there, so he’s chosen those venues.
F: I don’t think that size really reflects how something will be supported, because we’ve found in the Country Halls tours – the Country Halls tours are separate to our caravanning tours. Country Halls are full band, all the halls apply – it’s a really different thing. We’ve found that the halls that we go to that are literally a hall in the middle of a paddock and a hundred Ks or more to another town, they’re the ones that sell out every time. Those are the ones that are way more supported than anything you would put on in the middle of the city, for sure. Because people don’t have choice – they think, ‘Oh my god, something’s happening – let’s go!’ It’s not, ‘I might go to that but I might go to this or I might not like them.’
T: [Laughs] That’s awesome.
F: People will drive hundreds of Ks to those kinds of shows, so when I’m choosing halls – and I’m sure that this will be reflected in the tour – I’ll choose the tiniest, tiniest places over the big places every time.

I’m just wondering at the things you’ve seen in the last couple of years alone. You’ve been to so many different places, it’s amazing.
F: [Laughs] Yeah. What are you wondering, though? [Laughs]

It’s more a comment than anything – it’s a range of experience that a lot of artists don’t have because it is a big commitment to go out to all those destinations.
F: Yes. I just think they’re the best shows ever. They’re just  funnest and,               like Toby said, you get to meet so many other people and it’s like this conversation rather than being a one-way delivery of something. It’s a two-way beneficial kind of thing that happens. It’s a risk, and that’s fun too.

Tobias, how are you going to organise the sets – who gets to go on first, are you going to play any songs together?
T: I think there’s going to be a few local kids in each town who are going to play a little bit first, then I’ll be playing then Fanny, and Dan [Fanny’s partner] will be wowing everyone with their set. And we might have a jam at the end – I’ll bring my banjo and we’ll see how it goes [laughs].
F: I reckon we should definitely have a jam, do some songs together.
T: I think it will be great fun.

You could add to the fun for everyone by springing songs on each other.
F: Haha! I don’t know the words to any songs, I would be so bad at that game.
T: [Laughs]

Shane Nicholson is known for doing Song Bingo, where he hands out tickets and if your number is called you can request a song. He said that sometimes he thinks people giving him the most obscure songs, and sometimes it goes badly and that’s part of the fun too.
T: For sure. I saw him do that at Tamworth – it was great. It was an awesome way to get everyone involved in the set.

You mentioned those local kids who will be playing – is Rotary organising that or are you going to do a stunt audition on the day?
T: It’s funny – putting this together, a lot of people have hopped on board, and there’s a group of people in Longreach called The Music Makers, and they do music workshops with people who want to play music, and they take it out to different and smaller communities. So they’ve really jumped at the chance to help out with that. We’ll be mingling with them a little bit before the shows and then their star pupils will get up and do a number or two.

Fanny, I also wanted to ask you about Broadbeach Country Music Festival and Gympie, because clearly Queensland is going to become a second home for you. What are you looking forward to for each of those festivals?
F: It’ll be the first time we’ve had our band together for a long time. We’ll have the full Thrillseeker line-up, so that will be amazing. And I’ve never played Broadbeach before, so that will be great. Gympie we played for the first time last year and had such a ball, such a fun festival. We’re going to be bringing some new stuff to the set, which is really exciting. It’s going to be really fun. We’re really going to work on our set and hopefully bring our best show. And I’m excited about the other artists, obviously.

And Tobias, you’ve played Gympie, obviously, because that’s where you two met, but have you ever played Broadbeach?
T: No, I haven’t. But I was at the Blues on Broadbeach, and I have to say it’s a fantastic event – the energy there is amazing. There are so many people and the great weather and all these outdoor stages. It’s really great.

The Country Music Festival should ask you, too – you don’t live that far away. You could drive down on the morning!
T: [Laughs] For sure. Maybe.
F: You should call them up and heckle them about it.

Or maybe stand there during Fanny’s set and heckle.
F: Either or. Come on the same and heckle.

Now, Fanny you mentioned putting new stuff in your set, so I imagine there may be a new album in the works – is that the case?
Yes, we just successfully crowdfunded the second album.

I actually was part of that – I should remember! [Laughs]
F: [Laughs] Awesome – thanks! We have announcements about that coming soon. We definitely will be incorporating the new music into the sets. We have some stuff in the works.

At a festival you’re not necessarily playing for your fans – because that’s the nature of festivals. It’s probably a really good opportunity to play some new stuff and see how it goes acros.
F: Exactly. We’ll play some of the old stuff as well, obviously, but I’m all for playing new stuff. It’s just fun for us, mostly. [Laughs] But there are fans who come and they get really excited about the new things as well, and if you’re telling a story around it and you give people context, they’re usually pretty receptive to new stuff, which is great.

And Tobias, I think you’ve always got something creative on the boil, but do you have a new definitive project, like an album in mind?
T: I’ve just recorded a new EP with a very dear friend who’s a music producer. We actually played in our first band together when we were thirteen, when we busked at the markets, Actually, we were in grade four – we used to do AC/DC covers. Singing things like ‘She’s got the jack’ – we had no idea what we were talking about. So that’s been a really great experience. And I’m the process of writing a new album, too – the third album – which has been really great fun.

Have you considered recording these Queensland gigs?
F: No, we haven’t.
T: Good idea.
F: We’ll see how they go. We have all our stuff with us, all our recording stuff, so we can if we feel like it at the time. I’ll definitely document as we go, film things as we go. We definitely won’t be livestreaming because there’s definitely not enough service out there.

The requirements sometimes with social media for artists, I sometimes wonder if they’re too much – you just want to get up and do your jobs.
F: Yes, it is sometimes too much. Especially when there’s lots of other elements or other organisations that are requiring something of you. But I wouldn’t want to take away from the actual event because we were filming it. We want to be focused on having a good time.

Well, I am curious to see what comes out of this – I have visions of different types of collaborations between the two of you. No pressure.
T: [Laughs] We’ll keep you posted.

Thursday 20th July Longreach Civic Centre  Longreach, QLD
Friday 21st July -  Ilfracombe Hall  Ilfracombe, QLD
Saturday 22nd July - Isisford Hall  Isisford, QLD
Sunday 23rd July- Yaraka Hall  Yaraka, QLD

Concerts in Ilfracombe, Isisford  and Yaraka are free entry. Please arrive early to guarantee your seat.
Tickets to the Longreach concert are FREE – registrations are essential.  Click here to register.

Wednesday, July 12, 2017

EP review: Lonestar by Hayley Marsten

Lonestar is the second EP from Queensland singer-songwriter Hayley Marsten and by her own reckoning it is quite a different work to the first. Marsten has a wonderful, rich, nuanced voice and a great sense of pace in her lyrics. There's an art to how to tell a story in a form as short as a song - what to reveal and when - and Marsten doesn't rush what she's doing. That sense of ease in the singing and storytelling automatically puts listeners at ease: if you don't feel like the artist has anything to prove, you know that they're not asking anything of you other than to listen.

The title song is about being left 'in a lonestar state' after the end of a relationship, and while it could be about wallowing in an ending, Marsten sounds almost defiant, just as she does on the first track, 'Second Fiddle'. The six tracks are a balance of ballad and nicely uptempo; there's the odd love song ('Cash' and 'Until You') but Marsten avoids the saccharine, swelling chorus and instead opts for genuine sweetness.

I have only one complaint about this EP: that there isn't more of it. In some ways these six songs sound like half of an album - or maybe I just want them to be. Instead I'll take them as evidence that Marsten easily has an album in her, and hopefully not too far away. She's a fantastic emerging talent in Australian country music with the right talent, pedigree and drive behind her - and the big audiences can't be too far away.

Find Lonestar on

Monday, July 10, 2017

EP review: The Yellow Line by Ferris & Sylvester

I'm fond of saying that country music is a broad umbrella, and it seems that's true everywhere, including in the UK. There's some great country pop and rock being produced there, and also the sweet sounds of duo Ferris & Sylvester. With their Americana influences and touches of 60s folk, it's clear they have an interest in storytelling, and in writing the songs that can convey those stories.

On this new EP, The Yellow Line, they have produced four bittersweet stories with lead vocals from Issy Ferris backed by Archie Sylvester. Ferris has a voice that could turn pretty much any type of song into an interesting proposition, and the production on this album is suitably restrained, to allow her voice to shine. Sylvester's harmonies provide an effective - and, actually, necessary - anchor. Alone, Ferris is a chanteuse, carrying you away; with the addition of Sylvester, the songs become earthier and more relatable. Which is not so say that you won't be carried away - but it's nice to have that feeling of being brought home, too. The sound of this duo is fresh and comforting all at the same time.

The Yellow Line is out now.

Find Ferris & Sylvester on Facebook.

EP review: Starting from Now by Catherine McGrath

Irish artist Catherine McGrath is no doubt making her mark in the burgeoning British country music scene with her new EP, Starting from Now. In her previous releases McGrath may not have quite found her voice - and she is only nineteen years of age, so that's allowed - but on this release she has a sound that is hers, and she sounds strong and confident in it.

McGrath has a voice that could suit traditional country - or traditional folk, for that matter - but it is just as well suited to her country pop sound. The four tracks (and one acoustic version of 'Just in Case') are tightly written and well produced. Lyrically they're not revolutionary - a lot of pop and country pop is like that - but given that they've been released in the northern summer, they would make perfect summer songs. 

Given the strength of her voice, and that she's been able to produce such a solid EP, it will be interesting to see what McGrath does next. There's versatility there, and years ahead for her to try it out.

Starting from Now is out now.

Sunday, July 9, 2017

Shane Nicholson prepares to launch new album, Love and Blood

The last album from singer-songwriter Shane Nicholson was the award-winning Hell Breaks Loose, released in the last half of 2015. Since then Nicholson has kept himself busy as a producer, but thankfully he has also readied another album of his own, Love and Blood, for release on 28 July. I spoke to him about the album and about his upcoming appearing at the Broadbeach Country Musical Festival in late July.

I’d noticed you were booking quite a few gigs, so I figured there had to be an album coming – and, of course, now we know there is an album coming on the 28th of July. Are you excited? Nervous? Calm?
Not nervous. Certainly excited. I’m always excited when there’s a new album about to come out. It’s always the culmination of a lot of work, I guess. It’s always exciting to have it come out, not just for other people to hear it but almost as a cathartic process as well. You purge yourself and kind of move on. It’s a nice feeling. It’s hard to explain. Almost like a release. There’s an album release and an emotional release as well. So I’m very excited. It’s been a little while since Hell Breaks Loose so it’s about time there was some music out. Although I’ve been really active in that time. I’ve made a lot of albums – about twelve last year alone for other people – so I’ve felt like I’ve been really active and making music every day. But it’s easy for the time to get away and you realise, wow, it’s been two years since I made a record. So I kind of knuckled down and made a new one.

I’ve interviewed a couple of people lately who’ve had you playing on their records, so not only have you been producing but you’ve been doing a lot of playing too.
Certainly in our little group – sort of country world, producers – we all play on each other’s projects and help each other out. There’s been quite a few projects, especially ones that Matt Fell has been producing, that I’ve come in to play on and vice versa: we’ve had a lot of people who were just in there, working, when I was in the middle of my record. Just singing because they were there, so we had them singing on my album. It’s nice making music with your friends all the time and sharing around the love.

And I’m interested in the impact of that on the output overall. You and Matt, and Glen Hannah as well, have experience as musicians, you have experience as producers, you’re able to play for other people rather than demanding that it’s always you at the forefront, and I think the quality of work that’s coming out is really interesting. I don’t know that there’s anything else like it, where there’s this band of people working on lots of different projects, so I’m see this really high-quality work across a lot of different artists’ output. This is a musing more than a question, but I think it’s unique and really interesting.
That’s nice to know – I guess we don’t think of it from the outside in, especially people like Glen and Matt, myself, Michael Carpenter at LoveHz [studios]. Josh, who plays drums in the band, he’s a producer and he’s incredibly talented – he was here yesterday recording an EP for me for somebody else. I work with him as a drummer on my projects but then also as a drummer on other projects. So I was producing him yesterday and he’s so good. He’s a producer himself – it’s weird telling him what to do in the studio. So even drummers can be producers – it’s crazy!

You mentioned that catharsis of releasing an album – is there a feeling of a lull for you after that, or do you feel like the next body of work starts to come in straightaway?
Whatever the next project is takes his place. Obviously there’s touring that comes after every record and I’ve got quite a few months of touring lined up, but it’s the next project. I’ve got three or four projects that are currently under way in the studio – I’m there now. Once these interviews finish today I’ll be back to making a record with an artist today and then tonight I’ll be mixing a different one. So other projects just come in and fill the void, as such, and that’s kind of what I like. It’s different and you’re always doing something new. There’s not really a lull or a down period – it always seems to be full-on, go-go-go. I think that’s because I’m really terrible at scheduling. I’m just hopeless at scheduling. I have my manager who looks after my Shane Nicholson career but I have someone else who looks after the studio and that scheduling, and I’m in the middle just telling people, ‘Yeah, we can make a record – no worries!’ Totally screwing everybody up, and they’re trying to make the schedules work. It’s just a juggling act, but I have to have things happening, otherwise there would be a lull. Mind you, I’d love to have a day off – just go out in the boat or something.

Yeah, you say that … But speaking of the lull, I also read that you went to the Hawkesbury River area to write a lot of songs, so you obviously had to physically remove yourself to do it.
Well, I’ve been doing that for quite a few albums now, quite a few years since having children and not touring as much, I realised I couldn’t write as much at home – maybe the environment wasn’t conducive with children. And certainly once I was working as a producer a lot I couldn’t work in the studio, because I was spending 80 hours a week in the studio. Way back in Bad Machines days I found that I had to go out somewhere to write. So every album I’ve been looking for a different place to centre myself and get away from everything. This really nice house on the Hawkesbury I found, and it’s only boat access so it felt really nice and isolated – there was no mobile service or anything like that, so it was a nice place to go and write. I wrote a lot of this album on the water. Just anchored a boat, fishing and lying on the floor of the tinny and writing. A lot of it was written out there, which was completely juxtaposed to the last album, which was largely written in the red centre, in the desert. So it’s like the coastal record [laughs].

As you were lying in that tinny, was your guitar with you?
Yeah, sometimes. But I don’t really write with the guitar a lot. I like writing without an instrument a lot. But I had the guitar and I’d play sometimes, have a beer and write songs. It was really nice, and it’s really removed in a boat because you’re surrounded 360 by water, so you know there’s not really going to be any interruption. It’s a nice place to write because your brain shuts down – my phone didn’t work, I was unreachable, so my brain just completely shut down to the outside world and songs started coming. It was a really fun process. But I went up there about three or four times, I had to get the record written in three or four days at a time. So it was intensive – I’d get up and write all day and night. With the schedules now, like I said, it’s crazy busy so it’s not like I really get to just write when I feel like it, like I used to – I don’t really have that luxury, so I’m creating time to write now. The fear with that is that the inspiration won’t come when you need it to, but I’ve just learned over the years that you just create the environment for it to happen and then cross your fingers and hope for the best. Once you’re in that environment, I can kind of orchestrate it to happen most of the time. The biggest thing with this record was realising that I hadn’t been listening to music much – I’d been making so much music last year, a dozen albums back to back and overlapping. It meant that, without knowing it, I hadn’t listened to music for enjoyment all of last year. Because after 14 hours in the studio you don’t really go home and put on a record to listen to. So I realised that when I started to write I wasn’t really that inspired to go back to being a lover of music again. I had to remind myself of the twelve-, thirteen-year-old that I was who was inspired enough by the music I heard to want to create my own music. So I had to find time, force myself to consciously listen to music for enjoyment again. I always enjoy it but it’s very different when you’re making it as it is to just putting a record on that you love. So that was part of the process of the Hawkesbury – I wasn’t writing every minute, sometimes I was just listening to music and becoming a music fan again. So it was an interesting thing to learn, that I’d had a year full of music – absolutely jam-packed with music – but was then struggling to write because of that. I’d just forgotten to listen to music and love music. It was a good lesson to learn.

Were you listening to new music, or going back to things you loved?
Sometimes. I’d always take my trusty favourite records and listen to records that I knew had always inspired me over the years. It was whatever I grabbed – there was no real thought to it. But I always try to listen to new stuff, and I’m exposed to a lot of new stuff through a lot of clients I work with – they come in and they’re referencing other artists that they love to listen to. I’m finding a lot of new acts that I wouldn’t be aware of because you do live in a bubble, producing and being in the studio. It can be trap. You need to be aware of what’s happening and what music’s around and what people are listening to. I larger find out that stuff through other artists I work with. It’s like they do all the research and hard work.

That’s like paying tribute to the emperor, I think.
[Laughs] There’s so much music around, too, that we’re in danger of being swamped by it. Sometimes it’s hard to define something that you really love because there’s just so much to sift through. So I love taking recommendations from people who come to work here. And if they’re working here it generally means they like the same music that I do.

You are taking this new album on the road and the Broadbeach Country Music Festival seems to coincide exactly with your release date – so I guess it will effectively be your launch gig.
Essentially. I consider that every show I do in each city the first time for each album is a launch for that state. But I think Broadbeach is extra special because it’s not only the first time that I play there but it’s Queensland and it’s winter, which means New South Wales is rubbish right now and cold, so I’m always happy to get back to Queensland in winter. But I think musically it’s going to be fun. The new album is released the day before we play there, so it’s essentially the main launch, and I do have my whole band of producers, which is very rare, that I can get them not only at the same gig at the same time but certainly a gig in a different state. That was a scheduling nightmare because these guys don’t really tour anymore, so to get them all out of the studio, all being producers - everyone in the band is a producer – it was kind of a challenge but I’m really excited that the first show of the album tour is going to be with them, the guys who made the record. I think it’s going to be fun.

Since you’ll be playing a lot of new songs from the album, obviously a lot of your older songs will have to be jettisoned from the set list – but is there one song that you can never get rid of, either because you love it or because people ask for it?
I don’t have any normally, but when the band’s with me the only song that’s always in the set is ‘Jackson Hole’ because it’s just for the band – it’s purely self-indulgent, it’s really fun, and massive big, long extended guitar solos. It’s just the chance for everyone to stretch their legs a little bit. That one’s never not been in the set when the band’s with me, so I’m pretty certain that’s going to be in the set – they’re not going to let me not put it in there. But I don’t really have any favourites. I certainly don’t ever do a show without playing some songs – ‘Trick Knee Blues’, but obviously that’s not a festival song so that may not be getting an airing in Broadbeach. There’s nothing that I really feel compelled to play. Eventually, over the years, the more singles you have the set list starts to write itself. The trick is to keep it interesting, I think, and some nights jettison a song and replace it with something else. A curve ball, now and then. But every record there’s more singles and more songs that appear in the set list and it does get a little bit harder. I try to recycle them. I don’t like getting bored. Probably ‘Rattlin’ Bones’, too, a lot of people expect that. But that doesn’t get played every show either. I’m lucky in that sense that I don’t think I have a defining song – it’s not like I ever had a huge hit single that I have to play. So I don’t think anyone comes to a show really expecting or wanting to hear that one specific song. I’ve certainly never had that impression from my audience. I kind of like that in a way; I’m really pleased with that. It just means that it’s more about the song catalogue in its entirety than one or two things in particular.

I have to say that as a longtime fan of yours I do come to shows expecting certain tracks and I am often disappointed! But that’s the way it goes.

I remember the last time you did a tour you put it out on social media to your fans to suggest songs – did you like that method of choosing your set list?
That was fun – and it ended up informing a lot of the set list. That could have been the tour when I recorded it and made the live album. So pretty much the track list of that record ended up being from the votes, or my pick of the songs from the votes. I really enjoyed that because a lot of the songs that came back weren’t singles – a lot of the songs that were repeatedly voted for were album tracks that had never been played on the radio or never had a video clip made for them, they were just hiding down at track 8 or 9 on an album. I loved seeing what songs connected to people – I thought that was really quite interesting and sometimes surprising. But always good. I really loved it. And we do it live, too, a lot. I do this ‘Song Bingo’ thing where people can request songs in the moment, and sometimes it’s really interesting what people will come up with. Sometimes they’re just trying to stump me, picking things that are really obscure, and sometimes I try them and it’s a trainwreck – but that’s the point of Song Bingo. Sometimes the song that gets called out I think, Wow, I would never in a million years have thought to put that song in the set list tonight. It’s always interesting, what people connect with.

And also what they connect with over time. If someone has all your albums and they can go back to them – I’ve certainly done this with your albums, and there might be a song that I perhaps didn’t love as much as others at the time but somehow now I do. When you’re very good at what you do, writing songs that can stand the test of time literally, your audience will have that flexible relationship with them.
That’s nice to contemplate, that idea. It’s something you don’t think about very often, you know – you take cues from the audience and you know what floats and what doesn’t at a show. But I don’t often think about the idea of somebody living with the music over time. I always think of my records as a point in time – it’s like taking a photograph of you in 2006, that’s that album, that’s you then. But I guess you’re right – there’s records that I love that I’ve lived with my whole life. Harvest – I’ve lived with that record forever, and you’re right, it evolves over time, different songs speak to you at different times. I guess I’ve just never considered myself in that – I’ve never thought of it. You don’t really see the forest for the trees when you’re the artist.

Love and Blood will be released on 28 July. You can pre-order it on  

Broadbeach Country Music Festival: 28-30 July in Broadbeach, Queensland. For all information, visit

Shane Nicholson is touring in support of his new album. For tour dates, visit

Thursday, July 6, 2017

Single release: 'A Long Way to Fall' by Lachlan Bryan & The Wildes

The Mountain, the most recent album from Lachlan Bryan & The Wildes, was released at the end of 2015. Fans (like me) might be growing a little impatient for a new album ... but if you're not yet a fan, the latest single from that fine album, 'A Long Way to Fall', has just been released, so take this as an opportunity to acquaint yourself with one of the best acts in Australian music - then you can join the ranks of the impatient.

Listen to 'A Long Way to Fall' on Soundcloud. Buy The Mountain on

Single release: 'Let's Go Driving' by Ben Ransom

Ben Ransom has been steadily building his audience over recent years, winning fans with his great country rock sound and energetic live shows. He has a new album, Ben Ransom 101, due soon, and in the meantime fans can play the new single, 'Let's Go Driving', as they're ... well, driving. It's a perfect song for a road trip. Maybe if you're heading to the Gympie Muster later this month?

Listen to 'Let's Go Driving' below.

Single release: 'Midnight Carousel' by Arna Georgia

In her catchy new single, 'Midnight Carousel', Sydneysider Arna Georgia namechecks her home suburb, Sans Souci, albeit by way of a farewell. The song, written with Catherine Britt. is about leaving things behind, starting again, stumbling along the way and learning essential truths. It's also the title song of her debut EP, due 3 August.

Watch the video for 'Midnight Carousel' below. Order the EP on

Monday, July 3, 2017

The Ekka has a country music competition

Queensland is (as far as I know) the only state in Australia that grants a public holiday so its residents can go to a show - and even then, it's only Brisbane residents who get the holiday to go to the show. But, then, the Ekka is not just any show. And the Ekka has a country music competition.

The Ekka is celebrating the 140th show this year, and one of its major drawcards is the Country Music Showdown presented by Ringers Western, returning for its fourth year in 2017. With last year's prize pool worth over $11,000, the Ekka wants to increase the opportunities available to the winners this year. So the prize pool is up to a whopping $12,500, with cash prizes included. This year the naming rights sponsor is Ringers Western, a country ringers clothing brand born in Queensland.
The Showdown is a great platform for emerging country music singers and singer-songwriters to compete and perform in a unique and friendly competition exposing them to the greater aspects of the music industry. The competition will be held on Sunday 20 August (the final day of the Ekka) between 10 a.m. and 5 p.m. (exact times TBC) with a mix of a Junior (ages 12 to 16) and Open Category (ages 17 and over) Competition.

For more details and a link to enter, visit:

Saturday, June 24, 2017

Album review: An Introduction to Failure by Daudi Matsiko

Technically An Introduction to Failure is a double EP but as it has eight tracks in total, I'm classifying it as an album review ... calling it an EP review wouldn't hint at the length of the work, and it would also suggest that, as the name suggests, it's merely an introduction to Matsiko, when really this is a complete work.

The first half - the first EP - is reflective, ruminative and minor-keyed, while the second half kicks off with a relatively more jaunty tune and turns back to make a musical circle by the close. From the first song, 'Home', Matsiko's voice has a hook in it that will either catch you or not. There's a sense of sadness there - perhaps it's just longing, but the fact that it's ambiguous (to this listener, at least) means that Matsiko knows to allow room for the listener to bring their own interpretations.

Matsiko was born in the United Kingdom to Ugandan parents and has been playing guitar from a young age. An Introduction to Failure is said to feature 'fractured folk techniques' that have been influenced by musical discoveries from Matsiko's heritage. That may well be the case, but what I hear is a collection of songs that, even when layered with instruments, sound stripped back to allow Matsiko's voice to connect immediately with the listener. There is confidence in that: Matsiko is not hiding behind anything, and he's not letting the listener hide either.

Categorising music - as folk, country, rock, pop, and so many others - while necessary, can sometimes make a potential listener turn away from work they may enjoy (this is never more true than in country music, where the mere application of the label can cause an adverse reaction in someone who declares they 'never listen to country music' but in the same breath will anoint Ryan Adams as their favourite artist). This is a roundabout way of saying that maybe Matsiko is folk, and maybe he's other things, but 'singer-songwriter' is the label that seems to fit best. So if you like singer-songwriters of any stripe, you may well like this fine example of the form.

An Introduction to Failure is available now. You can buy it on Bandcamp or ...

Album review: The Wide Horizon by Darren Coggan

Some would say it takes a brave man to cover the beloved Australian Crawl song 'Reckless'. For one thing, James Reyne's vocals are inimitable, so that brave man would be wise to not even try. But that brave man would also realise that a song so iconic has lingered for a reason: it's a bloody good song. Such a song is worth taking a tilt at then, and on his new album, The Wide Horizon, Darren Coggan is that brave man taking that tilt, with wonderful results. The occasionally hopeless melancholy of the original is still there in Coggan's interpretation, but this version has a bit more grit and determination. The song sounds completely contemporary, which is down to Reyne's skill, but also to Coggan's. And it is Coggan who has written most of the other songs on this impressive album.

Coggan is partly known for his Cat Stevens show, Peace Train, and there is plenty of Cat in his voice, but not so much that he sounds like an imitator. It's the warmth and slight edginess that's the same, and Coggan uses that to very good effect on this album of songs that are rich in sentiment and setting.

'The 'Bidgee' takes us to the Riverina of New South Wales - Coggan grew up in Wagga Wagga - and 'Inasmuch' to Norfolk Island (with guest vocals from Felicity Urquhart). 'Until We Meet Again' is a stirring farewell to a friend, and 'Seventeen' is an act of devotion to his wife. Each song is a story worth listening to over and over, and Coggan brings just the right amount of feeling to each.

In a country music culture as rich as Australia's, the standard has become very high. We have so much extraordinary music to choose from that even great artists who ply their craft with dedication and professionalism can get missed. If you are someone who likes their music to have heart and authenticity, who likes a good story well told, who doesn't need their country music to always sound country but who appreciates that at the core of country music is storytelling and respect for the audience, don't miss The Wide Horizon.

The Wide Horizon is available now.

Gympie Music Muster announces new artists

The Gympie Music Muster will take place from Thursday 24 August to Sunday 27 August, and an announcement of additional artists for the line-up proves that the Muster attracts the very best Australian music talent. Joining headliners Jessica Mauboy, Adam Brand and Busby Marou are Lyn Bowtell, Jody Direen and Kaylens Rain. Already announced artist Amber Lawrence has added her children's show 'The Kid's Gone Country'. Joining them are:

Chelsea Basham – Melanie Dyer – Joe Robinson
Hussy Hicks – Georgia Fall – Judah Kelly – Hurricane Fall
The Killer Queen Experience – Viper Creek Band – Fred Smith
Kaylee Bell – Pete Denahy – Christie Lamb – Matt Cornell – Karin Page
Kyle Lionhart – Blues Arcadia – Linc Phelps – Liam Brew
Tim Wheatley – Darren Middleton – 8 Ball Aitken – Shelley & Lawrie Minson
The Electric 80's – Simon Kinney Lewis Band
Bob Abbot & The Fabulous Green Machine – PC & The Biffs – Rachael Fahim
The Mercurys – The Faceless Men – Casey Barnes – Mitch King – Luella Widt
Freya Hollick – Route 33 – Emma Beau – Seleen McAlister – Mason Hope

Held in the Amamoor Creek State Forest in the beautiful Sunshine Coast Hinterland, the 2017 Muster will feature more than 100 artists in more than 300 performances across multiple stages. The artists cover a range of genres including country, bluegrass, folk, blues and rockabilly.

Run by the community, for the community, the Muster is a not-for-profit charity event which has raised in excess of $15 million for charities all over Australia since its inception. Proceeds from this year’s Muster will again go to charity partner Mates4Mates to help Australian Defence Force personnel with mental and physical injuries as a result of their service.

The Muster runs from Thursday August 24 to Sunday August 27, 2017.

To book tickets visit or phone 1300 GET TIX (1300 438 849).

Sunday, June 18, 2017

Single release: 'The Trouble with You' by O'Shea

Australian duo O'Shea now reside in the USA but regularly return to their homeland. Their next trip will be in July, in support of their new album, 61-615, which will be released on 28 July. Given that Jay O'Shea's voice is incredible live, I heartily recommend you catch one of the shows.

They have released a music video for the new song ‘The Trouble With You’, which is available as an instant download for digital pre-orders of 61-615, along with the album’s first official single, ‘Start Over.’

 You can watch the music video for ‘The Trouble With You’ at:

Fans can per-order the album now at:

The tour dates are:

Friday 28 July – Leadbelly, Sydney NSW
Saturday 29 July – Centro CBD, Wollongong NSW
Sunday 30 July – Lizottes, Newcastle NSW
Thursday 3 August – Black Bear Lodge, Brisbane QLD
Saturday 12 August – Mt Isa Rodeo, Mt Isa QLD

For ticket information, visit

Interview: Thomas Wynn

Thomas Wynn and the Believers are a Florida band who have been named number one country/folk as well as number one rock band by the Orlando Weekly for seven consecutive years. Their latest album, Wade Waist Deep, is all the proof you'll need as to why. Central to the band's sound are the vocals of Wynn and his sister Olivia, and when I spoke to Wynn recently I asked about their joint musical history as well as his songwriting, amongst other things.

Are you in Florida at the moment?
I’m not, I’m in New Orleans. We’re on the road.

How extensive is your tour?
This one’s a month long. We just started two days ago and we’ll be back home July 2nd.

Do you like being on the road?
Yeah. I certainly love playing, and that’s the way that you need to play. There are aspects that aren’t so great – I’m away from my family – but we all make sacrifices.

From someone in Australia, where we have a large land mass but not so many towns and cities, the logistics of organising a tour in the US seem to be enormous. It must take a lot of preparation.
Thankfully it does. There are a lot of cities and routing is generally pretty good. We try to do around four hours of drive time between cities, maybe less than that. We’re in New Orleans and then we’re in Baton Rouge, and Baton Rouge is only 80 miles so that’s not far at all. We have a wonderful agent, Jesse Rosoff over at the United Talent Agency, and he’s pretty great at working things out. We do have two seven-hour drives on this run but most of it’s pretty close.

The actual first question I was going to ask you was: do you recommend being in a band with a sibling?
If you like that sibling, sure. I certainly do like being in a band with Olivia. She’s wonderful and we get along great, and as far as musicianship goes, siblings can be tighter and more aware of where one person is going. Like an inner feeling – we just kind of go there. It’s ingrained in us somehow.

And from a singing point of view – there aren’t actually that many sibling singers. In Australia we have a group called The McClymonts, three sisters whose harmonies are out of this world, and there’s certainly a sense with you and Olivia that your voices are symbiotic in so many ways. It’s no doubt a result of singing together for a long period of time but also that understanding, as you said, about where you’re going. There’s something almost mystical about it as well.
It’s pretty cool that we have the same genetics and so our voices kind of do the same thing and have the same characteristics, so we can kind of get on a wavelength where it sounds like one big person. There’s another Australian group called the Vaudeville Smash – we met them in Austin a few years ago. It’s three brothers and they have two other members as well; they’re a disco revival band and their harmonies and their musicianship together – it’s very, very apparent that they’re been doing it together for potentially a lifetime.

Do you and Olivia have to work on how you sing together or is it something that does now flow so effortlessly that you don’t even really need to rehearse how you work those harmonies with each other?
I’d like to say that of course not, we just innately know, but practice makes everything better. I think it’s easier for us to get to the place where we want but it certainly takes practice and it certainly takes a level of awareness and trusting the other person to go where we’ve established. I can go off the cuff a little more than Olivia likes to but I really appreciate the fact that she doesn’t necessarily like to do that because with being rehearsed, it kind of ensures that we’re going to give you something good. And that’s the point.

The whole band’s sound on the album – it’s immediately apparent that we’re dealing with professionals. The sound is really tight and it does sound like it’s coming from people who take their music seriously, and that does involve rehearsing. It shows when that doesn’t happen – I was in a band that rehearsed a lot but one member did not like to rehearse, and that showed.
It does show. Live is a different animal than the studio. The studio, we certainly rehearsed a good bit before we went in so that we weren’t wasting time and we were able to do what we went in there to do, but live we’re a little more free, we’re certainly wanting to hit the parts together but we can stretch our legs when we’re live. But at the same time, you’re not able to do that unless you’re practised. You’re not able to do that unless you know, ‘Okay, they’re going to stretch this out a little bit.

You and Olivia seem to have almost been trained since childhood to be musicians, because you’ve been doing it for so long – does it feel like you’ve always been a musician?
Thinking about it, music’s always been in my life. I’d say we’ve always been artistic, always been creative in that our parents really gave us that ability and that freedom to express ourselves, and we chose for the forefront of that expression to be music. But all of our siblings are artistic in ways. All of us are musicians but then all of us express our art in different ways as well.

You grew up playing music in church, and your songs certainly don’t shy away from what might be called big questions and theme. It’s often not deemed cool, I think, particularly in contemporary music, to address those sorts of subjects – to be visibly looking for meaning, I think is what I’m trying to say. Have you ever doubted your lyrical direction, particularly on this latest album? You really are getting into some very meaningful, fundamental questions.
I appreciate that. I never doubted where the lyrics were heading. I might have doubted how they would be received. But I knew the direction I wanted to take the lyrics in the record – the songs that I was writing, and have been writing, go along with that vein of, like you said, the big questions in life. At this point in my life that’s a very important part of it, trying to find deeper meaning and then, if it’s found, trying to understand why it’s found in that way.

I think we’re also at a time in history where meaning is required, for many people, in day-to-day life. And in art, quite often, meaning is seen as being cheesy but to be entertaining and meaningful at the same time is what audiences respond to best, and you’ve certainly accomplished that.
Thank you. I was wary of how it might be achieved but in the end I trusted that our audience – and, hopefully, a large audience – would be capable of following that and asking even more questions. I think a lot of art these days is just about YOLO or whatever. It’s about bottles in the club or some stupid thing, and that doesn’t touch me. I wanted to give something to everyone and to myself, to my family, in the form of art that they would know I was thinking something deeper.

And that does require you, of course, to be vulnerable, as the lyricist and the lead singer and the band leader. In order to be vulnerable – particularly on a stage – that requires a certain courage, and I do hear that in your music, as well: you are not resiling from this, you want to connect to the audience, you want to take these questions to them. Where does that courage come from?
I don’t know. I think we all go through things in our lives and then at some point we have to reflect upon them. At some point the best of us reflects upon them. Thankfully I’m at that point in my life. I’m reflecting on in it, and if I’m choosing to be an artist and put myself out there, I have no other way to do it. I have on other real way to do it. One of my favourite artists of all time, Levon Helm, said, ‘You’ve got to give them something real.’ At the time that he said that it was late ’60s, mid ’70s, and I think people were on a different wavelength altogether. Nowadays it’s a little different but I still try and subscribe to that effort: give them something real. I’ll give you something real because you’ll know if I don’t. We all may like the cheesy songs, and they’re catchy – of course they’re catchy – but it doesn’t mean that we can’t also realise that it’s faith.

And to deliver the music you have to have this voice – and yours is a real instrument in and of itself. Has that voice always been there or has it taken time for you to develop that instrument to the point it is now.
Of course in some respects it’s been there, but I think … my son always asks for ‘Dadda’ on Youtube, so we’re listening to the old videos and then the new videos and I can definitely hear a difference in the maturity of it. I’m not stretching for things that I don’t think I can do and I’m confident in what I can do, so that’s what you’re hearing now.

You’ve said that fundamentally you want audiences to feel something, and I think the tracks are really layered and complex in such a way that we can feel that when you’re performing them. What was the studio experience like for all of you, creating those songs?
It was the best experience in the studio that we’ve ever had, and I think in large part it was due to Vance Powell, the producer. Another large part is that we were all together for a month just concentrating on the creation of this project that we’ve yearned for and worked for, for so long. And to hear it after every few days, listening back to what we got and hearing it really come into being and the fruition of that dream of this new record, it was just amazing. It was an amazing time – and we certainly hope to do it again in about a year.

Wade Waist Deep is out now through Mascot Records.