(originally appeared in NUVO Newsweekly’s June 20 edition – preview of July 1 show in Indianapolis)
Joy Williams and John Paul White are sitting on a disabled tour bus, marooned near the border between Washington state and Canada.
The two members of the folk-rock duo The Civil Wars tell me another bus is on the way; it should have already arrived, actually. They think they’ll make this evening’s concert, though it might be close.
They’re patient people, to be sure. They waited more than a decade for success to catch up to them. And now that they’re a “buzz” act — at least, according to Billboard album charts, the Americana Music Awards and fans snapping up tickets for their live shows — they’re in it for the long haul.
“We’ve been told by a wise man who’s part of our team that the way you rise is the way you fall,” White said. “We really want to steadily grow this so that we have like a 20-year career arc.”
White, a Muscle Shoals, Ala., guy who banged around in rock bands throughout the South for 10 years, looks like a Jack White/Johnny Depp mash-up and speaks in a smooth drawl. Williams, who appears serious and stoic on the cover to the duo’s Barton Hollow album, sounds smart and spunky over the phone. Both are polite, allowing their partner to talk, though you get the impression they could finish each other’s sentences if they wanted.
No, they are not married. They get asked a lot. Yes, there is an undeniable chemistry between the two on stage. Think a modern-day Johnny and June Carter Cash-performance: flirty and sassy, with great music between the banter. And none of it would have happened without the chance meeting at a songwriting conference in 2008.
“There were 25 top potential songwriters gathered,” Williams remembered. Like a speed-dating event for songwriters, the gathering was structured so that each songwriter could work one-on-one with his or her 24 compatriots during the course of the event. “John Paul was my first partner that day. I had no idea who he was, and he had no idea who I was. Somehow, that didn’t seem to matter. Within 20 minutes after we started playing music together, it was as if we’ve known each other all our lives.”
So they stayed together. They put out material early and often, recording their second performance, an opening gig for rocker Will Hoge at a small club called Eddie’s Attic near Atlanta. Released as Live at Eddie’s Attic, it’s still available as a free download from the band’s website. Mainstream Nashville was impressed: Country-pop darling Taylor Swift tweeted in late 2010 that the duo’s song “Poison & Wine” was her favorite duet. Their debut album, Barton Hollow, released in February 2011, peaked at No. 12 on The Billboard 200 and No. 3 on both Billboard’s Folk and Rock Album charts.
***
NUVO: How would you guys describe what your show is to somebody who’s never been to one?
White: Well, there’s a lot of blood. [chuckle]
Williams: A lot of pyrotechnic.
White: And a lot of glitter.
Williams: Yeah. Yeah, dancers.
NUVO: Costume changes?
Williams: Yeah, you can’t get pretty without the costume changes.
White: We’ve got animals. [chuckle]. Really, it’s like we are all hanging out in somebody’s living room. We play the guitar and piano and are up there just telling stories. We try to keep everything personable and personal. We don’t like to have too much of a separation between the audience and the performers.
***
Their live show is — at various times — magical, sexy and fun, and all three when at full boil. The two make each other laugh. They have fun. Their new status as one of Americana’s best emerging artists and duos (at least according to their nominations for the 2011 Americana Music Awards)has helped make nearly every show in their spring and summer tour a sellout, including Friday’s show at the Earth House, though a free in-store at Luna Music earlier in the day remains first-come, first-serve.
“We have seen children bringing parents,” Willams said of the live show. “We’ve seen parents bringing teenagers. We’ve seen older couples. We’ve seen metal heads coming to shows and who love us. And they know the words. Male, female alike; gay, straight and everybody in between, and that is perfectly fine with us. We love that.”
At one point, White was signed with Capitol Records. He recorded a rock record for the label, but it went unreleased after the wholesale firing of the staff that had hired him.Called The Long Goodbye, it was recently made available on his website.
“I’m honestly a lot more creatively fulfilled, excited about the future of this more so that I was about a solo career, which is really strange to say looking back at it,” White said. “With this, I feel like it’s more than me. It’s bigger than I ever could have been alone.”
Williams, who migrated from California to Tennessee, feels blessed to have found a musical partner and success after not knowing if a break would ever happen.
“I grew up in Northern California, signed a contract when I was about 17 years old and moved to Nashville the same year that I graduated high school,” said the singer. She made three solo records that she now describes as “really dry and constricted.” It was during a period of soul-searching that she met White.
“Everything else paled in comparison to what we were doing together,” she said. “I couldn’t not pursue what the possibilities would be in linking arms with him.”
***
NUVO: What concerts do you guys remember going to either two weeks ago or ten years ago that still resonate with you?
Willams: I remember seeing Annie Lennox perform live…[thumping noises] John Paul is currently whacking my head with a water bottle and it is very hard to concentrate right now. [laughter] Seriously?
White: I’ve seen so many live performances that I couldn’t really connect with, which makes me really sad. I am always very jealous of people that go to shows and come back changed. I want to have those. A lot of it is my own fault though.
Williams: One that pops out that I have seen is St. Vincent and just… I’ve never been able to get that one out of my head since.
White: Yes, she’s brilliant.
Williams: She’s an amazing singer, guitar player and songwriter and it kind of makes me hate her a little. [laughter]
***
Three years removed from their chance encounter at a songwriter’s encounter group, life is good for The Civil Wars.
“Luckily, we’re on a bus now (instead of a van),” Williams said. “We’re really happy writing and playing new songs and trying to rest when we can.”
“Yeah, the bus,” White interjects. “The second bus was supposed to have been here quite a while back. We’re kind of wondering where it’s at. I’m sure we’ll make it to the show with no problem. We might be a little tired, but it’ll be fun.”
“No showers today,” Williams laughs.
artist interviews
Indiana Music: Catching up with Henry French
After his stint as leader of Henry French and the Shameless (and the excellent rock record that came from that version of the band) French has been spending his time with solo gigs, the Purple Hat Project and working his way towards a new album.
French, who has a healthy understanding of what makes rock music great (read about his favorite DVD’s here), seems to be the kind of guy who has it in him to make Indianapolis’ next great rock and roll record. That’s what I think. We caught up with the Telecaster-wielding guitarist recently, hoping to uncover what is next for the singer/songwriter, and when we can expect to hear a new record.
ROB NICHOLS: What about some new songs and original music? Got any for us?
HENRY FRENCH: New songs are definitely on the way. I’ve whittled the list down to 15 songs, and will certainly reduce a little more from there as I start recording real soon. What was intended to be another EP last year has turned into either a full-length album or maybe two EPs.
RN: Do you have a new band?
HF: Full band shows will start back up towards the end of July. I’ve been playing solo acoustic shows over the past year or so as a way of trying new material out. I’ve always been a firm believer that any good song can be played on one guitar with one vocal, and that’s how I’ve tested songs for the past several years. The Shameless has evolved into a revolving cast of players, so, depending on the night, there may be different players than the last time. In the past I looked for a core of musicians to call my band; (Now) I’m happy to have some great musicians to call on as needed, who all lend their own stamp on the music for each performance. The album will probably follow the same formula, using different musicians to get a blend of different takes and tastes on my tunes.
RN: How do you get your music recorded?
HF: I do demos at home, get together and flesh them out with musicians, and try to let the songs evolve on their own. It’s a pretty long process, sometimes taking months to years to get it to the point where I feel it’s ready to be recorded. I then try to turn over the recording portion to a producer or engineer, so I can concentrate on the performance. If done right, I like the studio and home for different aspects.
RN: How’s the Indianapolis been treating your music? I’d call your style rock and roll, to try and not pigeonhole it too much. To me, rock is guitars, drums and good words.
HF: I’d consider myself a pop songwriter, the same way I consider Foo Fighters, Tom Petty, the Replacements, and Wilco all pop songwriters, and heavy influences of mine. At the core of all these bands are simple, memorable hooks. Ttheir delivery is just not in the commonly perceived “pop” vein. I love the honesty of that folk/americana/alt-country sound, or the simplicity of what a rock band used to be, and that’s the sound that gets me described as Americana – which I’m ok with. The art of the 2 1/2 minute pop song, actually written and played by the band seems to be a lost art nowadays (with a few exceptions), and that’s what I strive for. Simple, honest, intelligent and personal pop songs seem to be rare, regardless of genre. Although it’s really tough to build an original music business in this town, these tenets of how I try to write are a big reason why I live here. Indianapolis is a great midwest town that, at it’s best, can be simple, honest intelligent and personal. That’s why Indy is my home.
RN:What have you been listening to recently?
HF: Recent listens? Gaslight Anthem, the Deep Vibration, the Damnwells, Lucinda Williams. Considering the current musical landscape, I’m generally excited by music I rediscover years later. Currently in my car is Pleased To Meet Me by the Replacements, Songs in the Key of Life by Stevie (Wonder), The Smithereens, Yankee Hotel Foxtrot by Wilco, and Will Hoge.
RN: So, musically, the next year means what?
HF: The remainder of this year is all about getting my little tunes recorded right. If I can get it done quick, the songs will be out at the end of this summer. If it takes longer, it takes longer. Life has a way of making it’s own schedule for my tunes.
Indiana Music: Catching up with Producer/Multi-Instrumentalist Scott Kern
Mixing with the Americana underbelly of Indianapolis, Scott Kern is the producer/multi-instrumentalist behind an eclectic cross-section of roots artists, including Jethro Easyfields and The Arrowheads, Crabtree’s Trunk, The Highway Kind, The Accidental Arrangements and The Cool Jerks.
None are bands that are going to grab a recording contract and a jet to LA to guest on American Idol. And shout some praise for that. Instead, Kern has his hand in taking rough-and-tumble bands, leaving the idiosyncratic parts in the mix, while making the music, harmonies and all that is left gleam just a little brighter as the music they make gets recorded.
The Scott Kern sound? It’s more like an artist’s sound, straightened and dusted by Kern. He says there’s lots of projects in various stages of completion, and we thought it was a good time to introduce you to the (mostly) quiet genius and behind-the-scenes wizardry that is Scott Kern.
ROB: What do you have in the producer pipeline?
SCOTT KERN: I am currently working on a few album projects, either performing or engineering. Sometimes I do both, I get to wear a lot of hats. I will be recording Fernhead live at Locals Only Art and Music Pub to get some live tracks for their upcoming album. I am also doing solo projects with Scott Crabtree and another with John Bowyer and plan to start hitting those hard. I just finished laying down some guitar tracks in a studio in Fort Wayne for Dwane Ferren. Also, Midwest Contraband will be having a release party for their album in late June. And, Simeon Pillar’s new album Not As Bad As You Think was released in April. (It’s) a huge amount of dang work, but a blast to do.
ROB: With all the projects you are working on, what is your recording setup?
SK: I have a home studio setup but everything is racked up to be portable. I actual prefer to record music in different locations. One reason is to get a palette of different room sounds and the other is I just like to record in interesting places. I’ve recorded groups in places like the middle of field, an art gallery, front porches and basements. Once I get all the tracks recorded, I spend a lot of time tweaking each individual track. That’s the fun part for me: lots of sliders sliding and knob twisting. I usually try and do this with as little input from the band as possible. I want to get the tracks to sound good to an unbiased ear. Mixing by group consensus is definitely one way to screw up a mix and make you burn (too much) midnight oil. Once the basic mix is done, I’ll get some input from the band but always being aware not to let things get out of control. That’s why they have producers – to keep the project going forward and know how to blend the creative and practical. This part can be the most fun or the most maddening, but I love doing it.
ROB: How about you getting on stage?
SK: I’m not much for playing solo, I much rather enjoy accompanying someone else. I perform in some bands around town: 19Clark25, Strawboss Union, Cootie Crabtree, and Jethro Easyfields and The Arrowheads. I’m planning on some bluegrass picking at the John Hartford festival with friends. Performing with Scott Crabtree and The Rhinestones in Nashville IN on June 3rd and then back at The Melody Inn with 19Clark25 later in June.
ROB: As we’ve done consistently throughout this series, I’ve asked all the artists what their take is on Indianapolis as a music town. Now it’s your turn to answer.
SK: Indianapolis, as I see it, has two camps. You have the creative, artsy side and you have the cover band side. There is room for both and they both have good and bad sides to them. In order to make it work as a living in Indy, you have to play on both sides of the field. If you are playing bar venues, then you may lean a little more towards covers then say someone playing in a coffee shop. Being able to tailor your music to the audience and venue will help give you a leg up. And don’t forget the day job – even Indiana’s Jazz great Wes Montgomery had a day job and played clubs at night.
Everyone I play with inspires me in some way. It’s not just people up there banging out notes, at least it shouldn’t be – there should be an exchange of musical ideas going on between players. It’s great to see when it’s all clicking between the players. You can actually see the musicians playing and looking at each other like they are having a conversation while they are playing. That is what gets me jazzed about music. That and the ability to record it for others to enjoy.
ROB: What kind of music do you listen to when you aren’t “working”?
SK: One of my favorite things about the internet is Youtube. You can see all those buried bootleg clips of performers that have helped shaped the music we listen to today. The great thing is that your friends can send you links, so the whole scene just blows up geometrically and we probably have the most musically-educated generation yet. I’ve been diving into old Bill Monroe, Django Reinhart, Les Paul, Chet Atkins, Jerry Reed, and Led Zeppelin. I try and cover as many genres as I can. More current performers or bands I’ve been listening to are groups like The Steeldrivers, Punch Brothers, Wilco, and Esperanza Spalding.
Indiana Music: Catching up with Chad Mills
Nearing 15 years as a performing musician in Indiana, Chad Mills has done the singer/songwriter thing, the band gigs, and everything in between. Last week, Mills and his band, the Upright Willies, played the side stage at the Deer Creek, before the Jason Aldean/Eric Church show that began the shed season at the Noblesville venue. This Thursday (May 19), he plays in the semi-finals of the Acoustic Live Challenge.
Seemed like a good time to catch up with the Rose-Hulman grad and construction project engineer who grabs his hat and guitar at night, and heads out to play his music. At many shows, he’s being joined by cellist Grover Parido.
ROB: Saw you played some shows with Grover, and opened for Truth and Salvage Co. too.
Chad Mills: Grover is great, isn’t he? I hired Grover to do cello work on my Make the Door album and then talked him into playing the album release, and continue to talk him into playing more with me. What he does with that instrument is incredible; it adds such a rich layer to my music.
My good friend Bob Stewart has been playing percussion with me for several years now. I met William Rood a few years back at a Kammy’s Kause (kammyskause.org) and he actually remembered me saying back then that I’d really love to have an upright bass in the band. Having recently acquired one, he contacted me with an interest in playing. I’ll be out there this summer playing as much as I can, both as a solo artist and with the band (The Upright Willies).
ROB: Any new music?
CM: As a matter of fact, I just finished the lyrics to one right before this interview. (I’m) always writing new material whenever I get the opportunity. I released my seventh album (Make the Door) last summer, and if I get my way, will begin work on the next one sometime this year.
ROB: Is it tough to get noticed in Indianapolis?
CM: It’s not easy man. I mean, I know it’s not easy no matter what city you’re in. It’s just tough to find profitable gigs around here where original music is welcome. I know there are good folks out there who are working hard to change that. One avenue for live music I’m really into right now – an exception to that rule – is the local house concert scene. I’ve been in the audience for several of these, as well as performed a few. It’s just a raw, intimate performance from the artist. just me and a guitar, telling stories to a roomful of people and then performing the songs – and they actually listen Crazy, right?
Indiana Music: Catching up with Frank Dean
Want some attitude with your country rock? Indianapolis-based (well, Franklin, to be correct) songwriter, bandleader and longtime Hoosier Americana roots musician Frank Dean has led that pack of candidates for nearly 30 years.
He plays from the gut and heart as well as any musician, and has proven he will do what he wants, much in the way a Waylon or Merle or Hank Sr. might. Roots rock spun with snarly attitude. His influential bands Blue DeVille and Hillbilly Central gave way to Sindacato, and the most popular section of his career.
Ten years as the leader of that brilliant bluegrass/country/roots rock band supplied Dean the highs (album of the Year for Logan County from both the Indianapolis Star and NUVO; touring with his peer/heroes like Dwight Yoakam, Ralph Stanley, Marty Stuart, Del McCoury and Sam Bush), and the lows (the breakup of the same band after parting ways with longtime friend Gary Wasson; some critics who incorrectly thought the West Virginia-born Dean was a rocker selling out to play bluegrass)
His new band, The Snakehandlers, shifts Dean into a blues-based rock band. Their debut album, released earlier this year, was produced by Eric Lee Johnson at Indianapolis’ The Pop Machine studios. Rock Plus Roll, according to Marc Allen’s review from April in NUVO “leaves you feeling like you stumbled into a roadside bar and discovered an authentic, gritty blues band. You can taste the beer, smell the cigarettes, picture the packed dance floor.”
ROB: How’s the Indianapolis music scene these days for guy like you?
Frank Dean: I don’t have much good to say about the Indy Music Scene. Not that I ever have and that’s always hurt me financially, but it’s the truth. Clubs want free music with no effort or cost to them. They think putting you on their website page is promotion. And even if you have a bar that really digs you, they can’t book you because they signed a contract with a booking agent that only books the people they have on roster. We’ve had clubs tell us how much they dig us but they’re under contract with “you know who”. The Booking Nazis. It’s Miracle Whip on white toast. They’ll go too far with that crap someday. Everything has consequences. Luckily, I’m at the place in my life where ass kissing is not gonna happen. Not that I was ever much for that.
Indiana Music: Why Store's Chris Shaffer
Chris Shaffer looks about the same as ever. The hair. The stance and guitar in front of a microphone. And the voice. He still has that too; a raspy full-throated roar that makes his sound instantly recognizable. And Shaffer has a sorta new album, VIM, that he is proud of, produced by Rusty Anderson, Paul McCartney’s long time guitarist.
Through the golden age of The Why Store in the mid-90’s, they were the band that took Indianapolis (and Muncie) to the rest of the US. After two successful independent, regionally released albums, their self-titled major label debut on MCA Records included “Lack Of Water”, a big song at radio, and the album sold 200,000 copies. They performed “Surround Me” on Late Night with Conan O’ Brien and had videos on MTV and VH1.
Still, band broke up in 2000, only reforming briefly in 2005 before splintering again. Shaffer, after years touring on his own and with his band Shaffer Street, formed his version of The Why Store in 2007, and now fills his show calendar with club dates throughout Indiana. The gigs are Why Store shows, even as the band is a new cast of musicians. Chris enlisted former Ma Kelley guitar player Troy Seele, Jerome Rieskamp on drums, and Dan Hunt on bass to form the new band.
We tracked Chris down on his farm, and talked about music, lawyers and Why Store fans.
ROB: What are you working on or playing live that you really like?
CHRIS SHAFFER: I am currently living on a farm in Rush County, and writing and recording demos. I believe I am working on my best material to date. I am really proud of a song that just came to me one day called “Another One”. It is, in my opinion, the best song I have ever written. I can’t wait to record it, along with a few other gems I am currently working on. The song “Beautiful World” from VIM is taking on a life of it’s own when we play it live. People really seem to take a shine to it, and sing along with the band. It is definitely a highlight of our shows.