Tuesday, October 10, 2017

On missing Sam Hunt

Given the amount of country music being produced around the world, it's impossible to keep up with it all, especially when you're not working on it full time. I'm reliant on press releases and other industry information to let me know what's being released, and the information skews Australian. Lately, I've been receiving more emails and PR from the northern hemisphere. In 2014, however, I wasn't getting that much. So that's the reason, I think, that the release of American artist Sam Hunt's Montevallo passed me by. I've searched my email history and I can't find anything about it (and I tend to keep all the press releases). So it was a surprise to come across an article on Vulture recently that said, in short, that Sam Hunt is 'the biggest star you're not listening to'. I couldn't believe I'd missed him - although the article essentially says that he hasn't been given the amount of attention he should, especially as his latest (non-album) single, 'Body Like a Back Road' is, as the article says, one of the most successful country crossover songs of the past few years.

Hunt's sound is far from traditional country. But it's not even country rock or country pop. It draws on country traditions and sounds, certainly, but Hunt weaves in whatever suits the song. Parts of songs are spoken word, some of the sound is R&B, some of it is gloriously constructed pop. Hunt has written songs for other artists - like Keith Urban, and Montevallo's 'Cop Car' appears on Urban's Ripcord - and also writes for himself. He's not a novice. Nor is he playing with genres for the fun of it. The inescapable conclusion when listening to Montevallo is that the songs evolve as they need to, and as he needs them to, and they have arrived sounding perfectly right. That's the work of someone who is confident in what he's doing and also curious about he'll discover along the way.

What's surprised me the most about this album, especially since it's taken me three years to find it, is that it's pretty much perfect. It is not for the Americana or traditional country purist, but nor does it necessarily exclude those listeners. It's not bro country, but it wouldn't exclude that audience either. Where it differs from bro country is that when Hunt sings about having a good time, as on 'Leave the Night On' and 'Raised On It', he doesn't sound like he's trying to wring every ounce of fun out of the song in his drive to prove that he is really, sincerely having fun. These are not get-drunk-and-party songs - these are songs that evoke common experiences. Every word sounds true, not because he's overworking the sentiment but because every note sounds effortless. That's the most country thing about the album: the authenticity that is quite clearly behind the writing and the singing of these songs.

There's another quality that distinguishes Hunt's work from some other (American) country rock: the other people who are mentioned in his songs, whether they are romantic interests or police officers or friends, aren't targets. There's no sense of Hunt - or his narrator, if it's not him - trying to get anything or game anyone. The closest he comes is on the opening track, 'Take Your Time', and even that is stretching it. These are the songs of someone who seems to be genuinely interested in people and how they live, and not overly interested in how he lives relative to them. That suggests that he's a natural storyteller who doesn't have an agenda when it comes to his subjects.

And there's another quality still to this music - something that is not ordinarily associated with country music: Hunt's sound is seductive. There is proof laced throughout the album but the core of it is in the bridge of  'Ex to See' when the narrator decides to turn the narrative around. In those few bars there's understanding and self-awareness, power and generosity, and the polite way of summing that up is to say that it's seductive. Maybe I'm reading too much into it, but I've listened to that song a lot and I hear it every time. It pops up elsewhere too, and in large part it's to do with how assured the sound is.

Musically, the album is incredibly entertaining, especially if you love pop music - that is, the catchy, sing-along, toe-tapping part of pop that makes the great songs memorable. Hunt has excellent pop sensibilities to go along with his country background, and he also has a neat way of tying up a lyric so that it's clever without being condescending. I was prepared to think of these songs as lightweight confections but I can't get them out of my head.

In short: it's a brilliant album. But I don't regret missing it three years ago because I'm not sure I would have appreciated it three years ago. I hadn't heard as much country rock then and I couldn't have put it in its context, and also realised that it has its own context. Hunt is not so much pushing boundaries and overstepping bounds as creating music that feels true to him and finding the connection with audiences accordingly. He's also decided not to rush out a new album, instead releasing singles as they're ready. That will help satisfy the younger fans who, apparently, are turning out in droves to his shows. He may be the future of country, or of pop, or of something entirely in its own category. If you're at all curious about new music the way I am, this album is worth listening to - and if you simply love to get hold of a great collection of catchy songs that dig in deeper each time you hear them, the album is a pleasure. Not a guilty one or a shallow one or a passing one: just pure pleasure.

www.samhunt.com

Sunday, October 8, 2017

Album review: Queen of Boomtown by Gretta Ziller

Victorian singer-songwriter Gretta Ziller released her first EP, Hell's Half Acre, in late 2014. There was great talent, and great promise, in it - and, consequently, her fans (including me) have had an impatient wait for her first album, Queen of Boomtown. The wait has been worth it, not that there was much doubt: the talent and promise of Hell's Half Acre were not of the fleeting kind.

On Queen of Boomtown Ziller has resisted making another version of Hell's Half Acre. The songs on both are distinctively hers, but the album is a progression. These songs are the work of someone with more life behind her - more wistfulness, by the sound of it, and perhaps some cynicism that gives her voice even more of a knowing tone than it had before. And what a voice it is: Ziller has long sounded like she could emit the battle cry of an outlaw queen and follow it with a torch song, and that mix of mellow tone and strident edge is even better balanced on this album.

There is some melancholy on this album, most notably in 'This is Gonna Hurt' and 'Alright with Me', but that is not the predominant tone, for even 'Go On', which could be a song about a broken heart, is more about independence and self-determination. The lyrics of the title track could suggest hard times but no one could really call herself a queen if she wasn't feeling something close to assured about what she's doing. And Ziller does sound assured throughout this album - as well she should. These songs are great stories and musically wonderful, and at the centre of it all is Ziller's majestic voice and her commanding presence, which is clear in each note. This may be a debut album but Ziller doesn't sound like a beginner. If this were a third or sixth album she could be proud of it - for a debut, well, let's just say it sounds a lot like a queen claiming her throne.

Queen of Boomtown is out now from Social Family Records.
or Google Play.
grettaziller.com

Interview: Paddy McHugh

Singer-songwriter Paddy McHugh couldn't have avoided having country music roots if he'd tried: he grew up in Tamworth and the country music festival was a fact of life. Yet it's taken him a while to circle back to the music of his first home, and that circle has taken him via Sydney and now to Brisbane, and also through punk music. McHugh is a passionate and pedigreed songwriter and performer, as I found out when I talked to him recently. His latest album is City Bound Trains, and we talked about that as well several other things.

I note in your bio that you grew up in Tamworth but I don’t want to make any presumptions about your musical background: what did you listen to when you were younger?
I listened to a lot of classic rock – my dad was into that sort of stuff. But growing up in Tamworth it’s pretty standard fare that you get all the country stuff. I grew up with John Williamson and Slim Dusty and Stan Costa – all your classics. But I rebelled against it. Growing up there, it was pretty stifling, to be honest. When I turned seventeen I said, ‘Nup, I’m out – I’m going to Sydney’, and I went down there pretty quick. I started playing punk rock and thrash. But as a got older and a bit softer around the edges I thought, That stuff was pretty good, and I sort of drifted back to country and that’s where I find myself today.

In some ways the directness that goes with country music – the authenticity that the audience expects and requires – is not a softer edge. It requires quite a lot of courage on the part of artists sometimes.
I think that’s why going into punk was a pretty easy transition, because essentially country music and punk rock are the same ideals. It’s about keeping it simple, keeping it honest, and telling the truth and telling your story. One might be from a less urban environment and one’s from an urban environment, but essentially it’s the same thing.

I spoke to an emerging country artist called Josh Setterfield who has come from punk but has also loved country. We talked about how the discipline required in writing punk songs probably serves you very well in writing country songs.
There are definitely similarities. In fact, with this new record I’m toying with the idea of recording all my new songs as a punk-rock record just because I know it would probably work well. And, in fact, all the guys who play on this record, they’re not country guys – these are the guys I used to play in punk bands with, back in the day, and we’re all just faking it. My drummer and my guitarist, they cut their teeth in death metal bands and punk-rock bands, and we’re just having a go at the country. So we’re just impostors, really [laughs].

So how did that conversation go?
They’ve always understood that there’s that authentic, great side to country that’s always been accessible to everyone, and I think they were just sympathetic to it. When I brought the songs to them I think they could see some merit in it. Couple that with an offer of a few free beers and I had a band [laughs].

I like the idea of you doing two different versions of the same songs.
I think it can work. As a musician it’s good to have a challenge and the opportunity to try something new. It keeps it fresh and exciting.

In terms of your background: when did you start singing, playing guitar and writing songs?
I played in cover bands when I was a kid and you used to catch me busking on the streets of Tamworth when I was ten, playing Slim Dusty songs. Then when I left Tamworth I went to Sydney and jumped into the punk scene, started a thrash band called Povvo. We’d play songs that would go for about twenty seconds and got them out as loud as you could. I always kept at it. But I was probably not writing songs until about ten years ago. I had a next-door neighbour who had an incredible life story, and it was just so good, and I thought, If I can put that into a song it might work. So I wrote essentially his life story and made it rhyme and put guitar to it. The song went quite well – everyone who heard it liked it. I suppose it gave me the confidence and wherewithal to say, ‘Maybe I can write a few songs’, and ten years later I haven’t looked back. I’m still at it and still enjoying it.

Are there particular songwriters that at that time you were looking to as inspirations, or was it more just trying to document what you were hearing in your own head?
There’s a couple of artists who are big influences on me. One of them would be Billy Bragg – I like his authenticity, his honesty. I like his irreverence. It’s kind of nice to hear about an artist’s thoughts unfiltered, and you really can connect with them in that sense. I definitely have that bit of an inspiration when writing. I try to be honest and not tone it down and hide behind hyperbole or phrase, and just try to be me. One of the big things I’ve always stuck to is singing with an Australian accent, because that’s all I know. Others do it well, and I’m not looking down my nose at anybody else, but I’ve always thought that if I tried to sing in anything but my own natural accent I would lose a sense of authenticity and lose a lot of people along the way.

Kasey Chambers sings with a very distinctive accent and it is such a part of her style. If you can do it, and it comes from an authentic place, then no doubt more people relate to it than not.
And I understand the reasons why sometimes sing with accents. I don’t sing with an American accent but I play with an American guitar style and I borrow elements from everywhere else, all my other musicality. Some of my favourite artists are people who sing with an accent that might not necessarily be their own. I’m a big fan of Kasey Chambers and her work. When it came to me it was a thing that just happened naturally and I decided to stick to my guns with it and always sing with my accent in the most natural way possible. And often people tell me that that’s one of the elements they like about my songs.

You talked about honesty in your songwriting and I also note in the press release it says, ‘For the style of music I wanted to make, honesty was paramount. It had to be about something I knew about or cared about.’ I’m interested in your songwriting process – does what you care about start with an emotion or a thought, or does it actually start with a story idea?
It can be both, but generally it’s an emotion. If I hear or see something that evokes an emotional response in me and gets my attention, generally it’s something that I think will translate well and would [generate] a similar reaction in others. So often when something comes to me and grabs me and doesn’t go away, I usually think, well, there’s a kernel for a song there and if I just stick at it and it doesn’t seem to fade, usually it will end up in a song when I get around to writing it.

And n order to access that kernel, or that emotion, you not only have to access that in the recording process but you have to do it over and over again on stage. Does your well ever feel like it’s running dry when it comes to drawing on that when performing?
It’s a good question. Yeah, it does, but that’s what the audience is there to do: they top up the well. And sometimes when I sing about a topic – for example, I have a song about mesothelioma and about James Hardie – sometimes that does drain the well, getting up there and singing it three, four nights in a row. But occasionally someone will come to me after a show and say, ‘My sister passed away from mesothelioma’, and they’ll thank me for singing about that because it’s important to them. As a songwriter, when you get those little bits of feedback from the audience and you realise that you’re having an impact, it tops you all the way back up and you’re ready to go again.

And that kind of response loops into the role of being a storyteller. It’s an ancient role – it’s a primal role, it’s common to all culture – and that exchange that happens when someone can come to you and say, ‘That story has meant something to me’ – do you ever have a sense of being part of that bigger purpose of storytelling?
I suppose so. I don’t have a false image of what I’m doing – I know I’m just a dude that strums guitars in bars on a Saturday night and gets paid for it. But I come from an Irish heritage, and the tradition of the bard or the troubadour is a very strong one. And in all cultures the storytellers have been revered and a crucial part of the harmony of society. Without trying to put myself on some kind of pedestal, I do see the value and importance of what we do as songwriters. And, to be perfectly honest, I’m just very blessed that I get the opportunity. We live in a country where we’re wealthy enough and I’m healthy enough to go out and indulge in this passion of telling stories. I definitely think it’s a very important thing, and if it wasn’t then people wouldn’t still be engaging with music as they’ve done for thousands of years.

Given this drive to honesty in your songwriting, have you ever run into trouble with people in your life who feel you’ve been too honest?
[Laughs] A few times. I was actually worried I was going to get sued once. But I stuck to my guns and thought, If they ever take me to the courts, god help ’em, because I could get bankrupted pretty quick and it wouldn’t change my lifestyle very much. And I just thought about the headlines: ‘Large multinational takes stinky punk rocker to court’. I thought I had nothing to lose and it’s more important to stick to your guns than be afraid of any consequences.

This new album was produced by Brendan Gallagher – how did that relationship come about?
I am a big fan of Karma County, which is Brendan’s band, and he’s also made a couple of cracker records – he made Messenger with Jimmy Little and he did a good record called Namoi Mud by LJ Hill, who’s a Koori singer-songwriter from round where I grew up. I really, really liked this album and I noticed it had been produced by Brendan, and I remember saying to my guitarist, ‘I wonder if Brendan’s still making records or how I can even get in contact with him.’ And then about a week after I had the conversation, I was in Tamworth at a pub and I got chatting to this guy called Brendo at the bar and we hit it off really well, and then after about twenty minutes the penny dropped that I was actually talking to Brendan Gallagher – ‘You’re the guy I’ve been wanting to talk to!’ Because we’d already hit it off I said, ‘I’m making a record – do you want to help out?’ and on the spot he said ‘Yes’, I’d love to.’ And for the next couple of months we started contacting each other and sharing ideas. He very kindly agreed to step in and help, and did an amazing job.

It’s still an act of faith on your part, because the producer can be an important collaborator, but also you’re entrusting your babies to someone. I guess by then you’d already decided he was the one – you weren’t auditioning anyone else.
No. The thing is, my skill set’s very limited – I know how to get up and strum a guitar, and I like to think I can write a song. But I’m not deluded enough to think that I know how to make a record. All the recordings I’ve done in the past have been DIY home jobs on cheap mics, and I knew that this record, I wanted to make it well and I wanted to make it so that it could be accessible to people and that I could be happy with it moving forward. I’ve got kids – I can’t afford to muck around and blow money on a record that I’m not happy with. And I just knew that I had to outsource it to somebody who knew what they were doing. Brendan had a great track record, and after meeting him and chatting with him, we got on very well, and anybody who can work with Jimmy Little and produce an album like Messenger is good enough for me. He proved his worth very quickly, and once we started getting together with the band his ideas were gold. He delivered all his ideas very gently and supportively, and it just worked really, really well.

Did you come in with a brace of songs, some of which you had to discard as the process went on? Or is the set of songs that’s on there now what you’d always intended?
I hear about these people who say, ‘I’ve written twenty songs and I picked the best ten.’ When I hear that I think, Oh my god – how do people do this? I’ve got two kids and a job and a dog, and all these other things, and unfortunately I don’t have the time to scrap songs. So I think I came to him with eleven and in the end ten made it on. The eleventh one, I haven’t thrown it away – it’s just already sitting in the bank for the next record. I pretty much came in with the finished product – he just helped us polish the turd and get it over the line.

That whole notion of having the time to write extra songs – when you are telling stories, it’s less likely that you have superfluous songs, because it takes a lot of attention and crafting, particularly the way you write your songs. There’s a lot of detail in there that’s not in there, which is what happens when you know how to tell a story: you’ve already learned to edit. So it doesn’t actually surprise me that you didn’t have fifty songs to bring in.
Each of the songs I’ve tried to put as much of myself into it and it’s kind of a big effort to get over the line. I’m not writing for any other reason except things that I actually really, really want to communicate. If I didn’t want to say it I wouldn’t bother writing a song about it or waste my time trying to explore it – I’d just let it go and wait for the right one to come along.

The album has very striking cover artwork and it’s of the Sydney Harbour Bridge. The title is City Bound Trains, so it could have been any city that was depicted on the cover – how did you come to use that image?
A lot of the stories on the record are based around experiences I had when I was living in Sydney. I lived in Redfern for ten years. I’m up in Brisbane now but it was a very formative part of my life, playing music down there, share houses and all that. These songs could really be about any city or any urban environment and any urban people, but Sydney’s kind of got a place in my heart. I don’t want to live there – I hate it in some respects, it’s a very harsh and cruel place to live, particularly if you’re poor, which is what City Bound Trains is actually about. But also I do love that place and it’s got a lot of charming qualities. So I thought Sydney was the city that best repress       ented the songs and the stories.

But you have moved to a musically fertile city – Brisbane has a lot of good things going on.
It does. A lot of people rave about Brisbane because they grew up here and they feel they have to, but I’m not from here. When I rave about Brisbane I’ve got to let you know that I’m not from here, so I don’t have to – I’m not on any payroll. But I really do love this city. It’s big enough that you get all the benefits of living in a large, multicultural, modern city, but it’s still small enough that it’s still personable and there’s community, particularly in the music scene. People up here – everyone still knows each other and there’s no factions working against each other. Everyone’s in the same boat, to look out for each other. As you say, it’s a very fertile place and a very joyous place to be in musically. For me it works very well. I think every artist has their insecurities and their challenges, but when you’re in a community and you’re surrounded by other people who are supportive and constructive, it just makes it so much easier to get over the line and do things like make records and release them.

You’re doing a bit of touring and playing at festivals – have you always enjoyed playing live? I’m guessing from what you’ve said that you do, but was there ever a time when you didn’t?
No. Some people ask me why I make music, and sometimes I look at my bank balance and ask myself the same question [laughs]. But the answer that I come back to is that I really like people and I like meeting new people. And a really great environment to meet new people is at a gig, because people who come out to watch live music, generally there’s something special about them. They’re social beings. I suppose in a way I’m addicted to the social side of playing music. I love being out in venues, I love talking to people, I love sharing stories and having connections with people and conversations. So as a result I’ve always loved the live show – in fact, that’s probably the sole reason that I’m doing it. I can’t think of any other reason why anyone would do it, except to connect with people.

I suppose a weird thing about making an album when you also love playing live is that the album is a static version of songs that are probably changing shape each time you play them live.
Absolutely. I’m trying to make them as true to the album as I can just so people aren’t confused as to what I’m doing. But I’ve already let my game slip a little bit because I’ve already let one of my songs turn into a seven-minute reggae dub epic just because it sounded really fun and I’m having fun playing it. By the time the tour starts we might be a dub band but I don’t know.

It may seem obvious and logical that you’ll play the Tamworth Country Music Festival because you’re from Tamworth, but I’ll ask about your Tamworth plans anyway.
I’ll give you the long answer to this. Because I grew up in Tamworth I’ve done twenty-four country music festivals – admittedly most of them as a kid. But I’ve busked for half of them, I’ve played them as a musician for four, five, six years as an adult and in bands. I must admit, Tamworth is a tough thing because it is a bit archaic and conservative in many ways, but that being said, the last few years that I’ve gone up, I’ve seen a really awesome wellspring of new music and youth and enthusiasm that’s come into Tamworth, and the amount of artists from different types of gigs that are coming there is exploding. I feel like the old guard of Tamworth – which I grew up in and rebelled against when I left town – is starting to slip, and there’s a whole new generation of artists coming through and it’s incredibly exciting. So, that being said, I cannot wait for Tamworth. I look forward to getting back up there and I look forward to getting in that melee. Because the times are changing, to paraphrase Bob Dylan, and it’s a really exciting time to be in Tamworth. And I encourage any artist who’s out there and sitting on the fence, or who went ten years ago and got a bad taste in the mouth, come up and join in the revolution.

An artist called Matt Henry has had a hand in that revolution, I think, because he started Late Night Alt at the Tudor Hotel about three, four years ago. Part of what has interested me about who plays at that is that, yes, it’s a new guard, but that new guard is usually really respectful of what’s come before and see their music as an evolution.
That Late Night Alt is a great example of the kind of thing we’re seeing change in Tamworth. And you’re right, it’s not about disrespecting what’s been there, because Tamworth wouldn’t exist without the history of it. I definitely don’t want to give anyone the impression that I don’t like Tamworth at all. In fact, I love it – I love it very much because it’s a huge part of my identity growing up. But I tell you what, I love it more now because I’m seeing the changes that as a young man - I got frustrated with Tamworth, and I’m seeing those changes starting to happen, and it’s exciting. Guys like Andy Golledge – I grew up in Tamworth with Andy skateboarding and he’s just played in Nashville and I used to play gigs with him. Watching my old skating buddy who used to cruise around on a Peralta deck at St Nick’s Primary School at three o’clock in the afternoon rip it up in Nashvile … this is the Tamworth that we dreamed of when we were cutting our teeth in places like Sydney and trying to create a scene. And it’s great that it’s come back. I get to go down and visit Dad and hang out for a week and have a really good time every year, it’s great.


 City Bound Trains is out now through ABC Music/Universal.
or Google Play.
www.paddymchugh.net

Tuesday, October 3, 2017

Single release: 'Better on You' by American Young

American Young are the American duo of Jon Stone and Kristy Osmunson. Stone has been a solo act, then a successful producer and songwriter, while Osmunson was a founding member and the fiddle player of the duo Bomshel. As a duo, Stone and Osmunson have written songs for Kenny Chesney, Lee Brice, Rascal Flatts, Blake Shelton and others. So they bring incredibly good country-pop credentials to their new song, 'Better on You', and they bring something else too: fantastic harmonies. It turns out each encouraged the other to become a singer - and the result is a pair of voices that sound made for each other.

American Young's tightly crafted sound has won them fans not just at home but in Europe and the UK, where they are nominated for a British Country Music Award. Their debut album, AY, was released late last year in the US and is being released in the UK by Curb Records through Proper.

Watch the video for 'Better on You' below.





www.americanyoung.com

Single release: 'The Basics of Love' by Lachlan Bryan and the Wildes with Shanley Del

I've been waiting a long time for Lachlan Bryan to release a bad song - and I'm still waiting. Because, yet again, he seems incapable of turning out an unsatisfactory tune, and this time he has roped not only his band, the Wildes, into the failure but ARIA award winner Shanley Del as well.

Bryan and bandmate Damian Cafarella wrote 'The Basics of Love' with Melbourne songwriter Nia Robertson, and the track is from the forthcoming Lachlan Bryan and the Wildes album, due for release in 2018. I'm not holding my breath in anticipation of that being a dud, either. In fact, I expect it to be another extraordinary collection of great songs, just like the last few albums.



Watch 'The Basics of Love' below.




lachlanbryan.com

Single release: 'The One' by Suz Dorahy

Another from the better-late-than-never files is the single 'The One' from the EP Stolen by Newcastle (NSW) singer-songwriter Suz Dorahy. 'The One' is the story of a childhood best friend and the friendship that is now lost. The song, and the video, are poignant and heartfelt. Dorahy is relatively new to recording music although she has been writing songs for a while.

Nine years ago Dorahy was diagnosed with post-traumatic stress disorder and then depression and chronic fatigue. She says that she spent seven years being a recluse and music became a form of escape. The result is Stolen, which was produced by Trent Crawford and recorded and mixed by Shane Nicholson.

 You can watch the video for 'The One' below.



Monday, October 2, 2017

Single release: 'Painted Lady' by The Mezcaltones

This is not so much a single release as a video release from Sydney band The Mezcaltones - and, frankly, this video is highly entertaining, which is in keeping with the band's live vibe. They have gathered quite a following in their home town as well as at the Tamworth Country Music Festival, where they will be appearing again next year.

In the meantime, enjoy 'Painted Lady' below and their debut EP is available now.



www.the-mezcaltones.com

Interview: Casey Barnes

Queenslander Casey Barnes is having a very good, and very busy, year - and, as is usually the case, it's the culmination of years of working consistently and always seeking to learn more. It was a pleasure to talk to Casey recently about how his music is made and what's ahead for him.

What is the best part of your job?
That is a really good question … it’s probably the moment you get to bring a song to life from conception, and that can be the very first time you hear the final mix of a song – there’s nothing that beats that, when you write a song, you record it and you get the mix back, and you listen to it for the very first time. There’s only been a very few times when I’ve heard a mix and said, ‘That’s perfect, I wouldn’t change a thing.’ And I think that’s one of my ultimate things, when you take it from start to finish and it turns out exactly the way you envisaged it. Probably equally [great] is the first time you get to perform it live – that’s pretty awesome as well.

For both of those things it’s so hard to control the conditions – the idea of a song that you have in your head, it’s impossible to describe that any other way than by playing it or hearing it mixed, and the same with playing it live: the conception of what that song is in your head requires lots of elements to come together to make it manifest. So in some ways being a musician, being a songwriter, must be a frustrating job in that there is only that one language you can use to express what’s in your mind.
That’s exactly right. And it’s also up to how the listener interprets it. Part of the fun is that you become so close to your songs when you write them and then when you release them it’s a really exciting experience to get the feedback from punters, your fan base and your family, people who are hearing it for the first time. I always use my two little girls as really interesting barometer with my songs because they’re just super honest – there’s no filter, they’ll say exactly what they think. And if they’re bopping around or they ask me to play certain songs in the car when I’m taking them to school, I find that’s a good sign.

Little kids won’t just listen to any music – they can be tough customers.
They are, and they’re brutal. My nine-year-old, there have been a couple of songs I’ve released in the past where she’s said, ‘Dad, I’m not real sure about that bit – I don’t know if I like it.’ She’s pretty brutal. But thankfully all of these new ones I’ve been recording lately, and especially the ones I’ve released this year, they’ve been by far the most popular with the girls, so I’m happy with that.

You’ve had a lot going on in your career, particularly in the last few months – what has been the most unexpected thing to happen to you this year?
I’ve always, for some reason, built up in my head that you really need a record label and a high-profile manager to get you to where you want to be with your career, and that’s always been a perception that I’ve had. The biggest thing I’ve realised this year is that you can actually achieve a heck of a lot on your own. That’s probably been one of the things I’m most proud of – things have been ticking on well this year and we’ve been able to do some amazing gigs, and this week we’ve got our third number one with the single on the country charts. We’re getting lots of support on radio, we’re getting some great festivals, and there’s a bit of stuff opening up in America at the moment which is looking good for next year, and it’s all been done without any label, no manager, just hard work and persistence and probably a good ten years of building relationships with a lot of people, and it’s starting to pay off this year.

I talk to a few independent artists in Australia, and it’s really interesting how successful you all are and also the quality of the product. These albums that are coming out are really high quality. There are great producers around and great musicians who can play on them. But also marketing, promotion, distribution is all something you can handle yourselves – to the point where I’m wondering if the major labels are going to find themselves out of a job when it comes to country music. You and other independent artist are showing that you can reach your audience, you can get your music out there, even beyond Australia if you want to.
I think the other fantastic example of someone doing it exceptionally well is Fanny Lumsden. Fanny and I were both signed to the same label and we have both moved on from that label and not looked back in any way, shape or form. So I’m probably doing better on my own, to be honest, and Fanny’s kicking massive goals. She’s about to release another album. She and her partner work together exceptionally well – they put in the hard yards. It’s a heck of a lot of work but if you can do it yourself I think the rewards are far greater as well.

The perception might be that if you don’t have a label, how can you guarantee the quality – except I think with country music, where it functions so well is that you have that audience that’s huge and knowledgeable and passionate, and you guys all seem to really understand your audience and you’re creating music for them. So that is the quality check, in a way.
I think so. The landscape overall is changing massively and really, really quickly, and there’s a lot of radio stations out there that are willing to take a risk now on artists that aren’t necessarily signed to the big labels. There’s definitely still pretty big hurdles that you have to try to get over with some opportunities that are made a little bit more difficult if you aren’t signed to a major. But I guess this new single that I’ve just released, ‘Keep Me Coming Back’, I’ve been lucky to get some great support at country radio and community radio, but we’re crossing over into commercial radio – stations like KISS FM in Sydney. They don’t play country music [but] they’ve given the new one a spin. They’re playing guys like Morgan Evans and Sam Hunt from America. So there’s a bit of a transition now where that modern country sound, especially, is getting a bit more support across  few different platforms, which is great.

You’re all producing great sounds so you’re giving radio that to work with. It seems self-evident but I know there’s a lot of hard work and networking goes into it. But I’ll move on to your music. ‘Keep Me Coming Back’ is not on your latest album – will it be on the next one or are you looking at creating singles or EPs in between album releases?
There’s a bit of a plan in place. One of the hurdles when you’re not signed to a major label … I guess the public’s attention span now is becoming less and less and less with things like Spotify and music getting turned over so quickly now that when you’re an independent artist and you spend anywhere from thirty to fifty grand on an album, it’s sometimes tough when you only get two or three singles off that album that might see the light of day or go onto radio. So I’m planning a staggered release this time. I’ve already had two singles out this year and I’m looking at an EP, at least, coming out in the new year. There’s a few things that are up in the air at the moment that I’m waiting on some answers, but there’s at least going to be an EP and, if not, I’ll look at a full album.

In terms of your songwriting - and song creation, if you’re working with other writers – that turns it into an interesting process. Ordinarily you might want to get a brace of songs ready for an album but if you’re really looking to do singles or even EPs, I would imagine it’s a really focused process, as opposed to thinking, I can come up with twelve songs and maybe five of them will be great.
The guys that I’ve been working with since late last year are two incredible songwriters down in Melbourne – a guy called Michael Paynter who I think is one of the most gifted musicians, singers and songwriters in the country at the moment. His partner is Michael Delorenzis, and they run a production company called M Squared. We’ve been working on tracks ever since late last year. It’s like the perfect formula with the three of us, because they’re coming from a real fresh, modern country sort of sound, but they do a lot of pop stuff as well. Every time we sit down and write, we write with the intent of releasing it as a single – a single that’s going to do well, not just an album track. We have a plan: what do we want to do with this song, what’s the vibe. A lot of the stuff I’ve been writing this year, we’ve wanted it to be tracks that we can put in the live set where it’s really engaging and up-tempo. We want people to walk away from a show and be entertained. There’s been a lot of thought put into the stuff that I’ve been doing lately, anyway.

And it shows – and I don’t mean that to sound like it’s really obvious or that I can hear the wheels turning. Your songs are really tight, and I always mean that as a compliment, because when you’ve got something that is well produced, well written and the vocals are great, to me it indicates that the artist has been thinking of the audience – as you said, ‘How can I entertain people?’ The country music audience in Australia is really sophisticated. Even if they don’t listen to country all the time, the quality of the music here is so high that they know when they’re listening to something that is not good and they know when they’re listening to something that’s really good. When you’re putting out that high-quality music, it is a compliment to your audience.
Thank you. And it’s also been a deliberate move. I’m not trying in any way to sound like anyone else in Australia either, especially in the country genre. I’m trying to forge my own path and my own sound. It still definitely falls under that modern country umbrella and that’s exactly what we want to know, but I’m not necessarily trying to sound like Travis Collins or Adam Brand or Troy Cassar-Daley, because they’ve got their own sound and they’re doing really well. I’ve got a lot of respect and admiration for those guys but I’m trying to do my own thing as well. So far, so good.

The sort of music you play requires quite a lot of touring – you’re not sitting in the corner of a bar with your guitar, you’re putting on shows. Your recorded music is high-energy and so are the shows – how do you sustain that kind of energy and enthusiasm for your performance and for your work?
I think one of the reasons I’ve moved in this direction – not even consciously but maybe subconsciously – is that I’ve done my apprenticeship of being the guy with the guitar in the corner at bars for fifteen years and I tell you what, I’m done. I’ve had enough of that. I think especially working with Michael Paynter and the boys, he’s brought me out of my comfort zone and discovered a different range in my voice, and a whole different energy. And you’re right – this is the sort of thing that we want to make into a really big show where we’re playing hopefully main stage at festivals. We’ve been lucky enough to team up with the PBR [Professional Bull Riders] here in Australia. It’s like the Nitro Circus of bull riding here in Australia. I was able to sing my last single, ‘The Way We Ride’, up at the Brisbane Entertainment Centre. It was a packed house and being able to sing in front of that many people was pretty awesome. It looks as though I’m going to be doing all the major PBR events around Australia for the rest of this year and some into next year. I’m doing Townsville on the 18th of November and then Melbourne and Adelaide, which is going to be great fun.

Talking about going out of your comfort zone – it’s not easy to do that. You’ve been doing what you’ve been doing and that probably feels safe. So did it make you feel uncomfortable to go beyond that or did you think, This is what I want to be doing?
‘The Way We Ride’ was the track in particular – I had just dropped my daughter off at day care and I was about to leave when I got an email on my phone, and it was the mix of that track. I remember sitting in the car on my own and listening to that for the first time and thinking, This is awesome. Usually when I hear songs back I’ll go, ‘We need to tweak this or we need to change that’, or there’s a few bits and pieces that I’m not happy with. But they just nailed it. I remember recording the vocals for that song and Michael Paynter just has this ridiculous voice – I always say it’s like Rick Price and John Farnham had a baby. That’s how much I rate him. He’s so talented. I remember when we started recording the vocals for that track, and I said to Michael, ‘We’re going to have to change the key of this because it’s way too high for me in the chorus’, and he said, ‘Casey, you’ll hit those notes, trust me. You’ll hit them and you’ll be fine. I’m going to show you how to do it.’ And I did. He’s totally got me to believe in my own ability a bit more. He’s been fantastic and he’s an amazing guy too. I have a lot to thank him for.

Looking ahead to Tamworth, have you made your plans?
I have, and I’ll be announcing those dates very soon. I’m locked in definitely for one feature show and possibly a couple more.

You’ve joined the line-up of Crossroads in the Vines, which is a massive event. Does playing there mean you get to drink wine in between gigs?
[Laughs] I hope so. I’ve been lucky enough to do some Days on the Green and they’re always at wineries. I’ve done two with Bryan Adams and one with Mariah Carey. It’s just the best day out. I couldn’t think of anything better, if I was going to a concert – you can bring the picnic rug and the cheese and biscuits, and open a bottle of wine, and sit back and listen to your favourite music. It’s pretty awesome.


www.caseybarnes.com.au