CAMERON WHITCOMB: INTERVIEW


by koby hirschaut

photo by ryan simmons

There is true beauty to be found on the broken road. And if the path is confusing, it only makes the destination more deserved. Cameron Whitcomb has walked on more confusing paths than most. Coming to music very late, he was discovered on Reddit after posting videos of himself performing karaoke on his couch. He’s stepped into the spotlight of the American Idol stage as well as the much of a Canadian pipeline maintenance team. Battling vice and the daunting task of marketing yourself with no team around you, Whitcomb has put in those oft-discussed hidden hours that many never get to see. Now, on the brink of an EP and his first headlining tour, Cameron sat down with us to talk about his mindset and the value of keeping in tune with every piece of your own journey. 

How do you think growing up in Canada shaped your musicality and your love of music? 

Cameron: “Y’know what’s so funny? Growing up, I never listened to country music at all. Not until I was, like, 18 years old… I always looked at country music as, ‘Oh, Luke Bryan and I don’t wanna listen to Luke Bryan.’ ...For me, I strictly listened to Eminem and a lot of the British Columbia rap scene, the Vancouver rap scene had a huge impact on how I looked at music and what I listened to, y’know? Like Stompdown Killaz and Madchild, Swollen Members… Canadian rap groups. That’s what I grew up on. At 17 or 18 my brother introduced me to Johnny Cash… I started singing when I found myself listening to Tyler Childers, I was like, ‘Wow, I can kinda sound like that.’ That was around when I was 18… I started posting little karaoke videos singing Tyler Childers on my couch and posting them on Reddit… and that was the start of my career.”

You’ve really garnered so much success in just a few years. You’re still just 21 years old! Has your youth affected how you view your place in the creative world? Do you trust your perspective when you’re writing? 

Cameron: “I think what a lot of these kids have wrong nowadays is that they’re writing what they think people want to hear versus stuff that they’ve actually experienced and actually been through. I’ve noticed personally, whenever I’m writing a song, unless it literally comes from myself, you don’t end up with something that great. Even if it’s from the perspective of someone else. One of the first songs I ever wrote was for one of my buddies, his brother had committed suicide four years ago and we really sat down and I got to really pick his brain and we ended up with a really great song… Write songs that mean something to you, and hopefully they mean something to someone else. That’s what I’ve learned. For me, I write a lot of songs about addiction… because that means something to me, that makes sense to me… something I understand… I’ve struggled with addiction since I was 13 years old and I’m a year and four months clean now, but I’ll always understand that, the desperation and trying to understand why I liked doing drugs so much.”

So much of your journey has been done in the public eye. From being a teenager, battling vices and working on pipelines to being discovered and thrown into the spotlight of American Idol. Not to mention how vital promotion on social media is these days to musical artists just starting out. Do you feel in any way like your growth has been affected or altered by having all these eyes on you? 

Cameron: “I think I was waiting for some wins, y’know? It was a pretty dark point in my life… just drinking so heavily and doing drugs and American Idol was really cool. That was a point where I was like, ‘Oh, I’ll quit drinking during the show.’ I was really looking forward to that and when I got kicked off the show it was like, ‘Holy fuck.’ I thought that was the point when my career was really starting to accelerate but it was the opposite. I got sent back to Canada and I didn’t know anybody in Canada and didn’t know how to write songs or play guitar. I tried doing the music thing for the whole summer… I didn’t have any songs of my own. I would go play these little bullshit shows with all cover songs… so many things I wish I did differently. But, honestly, I’m glad I got a taste of like — I thought I had made it! But then I got kicked off Idol and I was totally mistaken… I’d go around and see if I could get recognized in my hometown… I didn’t know what to do! So I fucked around all summer, did some shows, spent all the money I’d made on the pipeline and then went back to work in the winter. That’s when I was like, ‘Okay, I’m just gonna put everything I’ve got into getting better at my craft… I’m gonna learn how to play guitar and learn how to write songs. I’m gonna do it and I’m gonna work social media and that’s gonna be it… get voice lessons… I’m gonna post every day!” 

It sounds like you’re saying you became notable and then you had to teach yourself to do the songwriting aspect after. Was it difficult to come off American Idol and then have to teach yourself that?

Cameron: “Yeah, I wrote a lot of shitty songs man! Honestly, I credit the music I grew up listening to, the straight rap music… A lot of writers, they hear other writers that they wanna be like and they try to write like those other writers instead of writing like themselves; don’t be scared to say weird shit! Dude, a lot of writers look at me and they’re like, ‘Why are you saying it like that?’ I’m like, ‘‘Cause I want to!’ But I’m still learning all the time, I’m learning every day… I’ve written now with a lot of writers and I’ll pick their brains every time. Never stop learning. As soon as you think you’ve gotten to a point where you’re like, ‘Oh, I’m better than that guy,’ like, fuck no, you aren’t… Be around who you wanna be like.”

So, upon listening to your song “Quitter,” I was struck by how straightforward and raw your discussion of sobriety was. Scrolling through the comments, I saw many people discussing their experiences and journeys through sobriety and even discussing family members struggling with the disease. I cannot imagine that the connection you share with your fans is lost on you. I’d love to hear your thoughts when people are able to hear your music and see themselves and their journeys in you? 

Cameron: “Man, it’s incredible. It seems like every experience is so different, but at the same time they all correlate. Even if you aren’t an addict yourself, everyone has had somebody that struggled with addiction and it takes a toll on everyone around you… I think that’s why the song resonates with so many people even if you yourself haven’t struggled with addiction. On Facebook, really, is the only place where I’ll get hate for that song. People will be like, ‘Oh, you’re getting sober for the wrong reasons.’ But there is no wrong reason to get clean… It’s neat hearing people’s experience with it and especially people really resonating with the song and I try my best to — I don’t reply to comments as much as I should, but I do go through my DMs and I do find every now and again a story will really resonate with me and I’ll take the time to just talk to that person, y’know? I try my best to, it gets kinda overwhelming sometimes. But, I’m really grateful people feel they can be vulnerable with me. I think that’s important, I think we should all be a lot more vulnerable. That was really important for me, taking the time to really talk about shit and really find out why I am the way that I am.” 

How do you know that a final product has satisfied your vision of it? 

Cameron: “It’s just a feeling, man. The latest tune that I released, ‘Love Myself,’ we recorded that like four different times before I was like, ‘Yeah, that’s it.’ As far as the mixing and mastering, I have no idea. If it sounds the way you want it to sound when you’re in the production stages of it, the mixing and mastering they can do whatever they want with it. For me, I’ve never been overly precious about the music itself at all, I’m more of a lyricist to tell you the truth, I’m all about — if you’ve listened to ‘Shoot Me Dead,’ that shit sounds terrible. It sounds awful, y’know what I mean? It’s an awful sounding song because we recorded it, never got it mixed, never mastered then put it out the next day because I was like, ‘Fuck it, dude, I need a song out, this is ridiculous.’”

You are about to embark on a headlining tour this fall! Congratulations first and foremost. Upon speaking to artists, they all talk about how exhilarating a tour can be and I am always interested in the mindset of the headlining act on these tours. First off, how are you feeling? And secondly, do you feel that responsibility? To an outsider like me, it honestly seems like the headliner is the host of a big, traveling party circus sort of thing. 

Cameron: “For me personally, I’ve never been on tour before… I’ve heard a lot of stories but I don’t think you actually understand it until you’ve been immersed in it and I have not yet… I put all the right people behind it, I bought my own tour bus, we tried the Sprinter van and tried a couple overnights and I could tell how tired the band was and I just said, ‘Fuck it.’ And bought a Prevost. I wanna do this right and I wanna make sure everybody’s comfortable and make sure my guys are taken care of, I’m taken care of. I’m just gonna really stay healthy and get as much rest as I can but treat every show like it’s the last. I want everybody to get an equal opportunity to either meet me or say hi; I think that’s extremely important. That’s my favorite part of doing the shows, just meeting people… I’m gonna try my best to put on the best show that we can. An honest show, a real show. I don’t even know what to think or how to prepare; I’m gonna prepare the best I can, but I don’t even know what the fuck to expect.”

You excited though?

Cameron: “Oh. Fucking hyped dude, yeah. It’ll be sweet. I’m so excited to see the States.”

Lastly, what’s next for Cameron Whitcomb? What sorts of moods and ideas are you hoping to delve into next?

Cameron: “I’m just really excited for some more experience in my life. I feel like everything — I’d love to pull shit out of thin air, but I think for me, personally, I’m just gonna see what this next chapter of my life is and then just keep going with that. Just keep putting 100% into whatever I’m doing, whatever that may be and maybe we’ll get some really cool songs out of it. Just try my best. Just look forward and try to put — I feel like whatever you put into the world it’ll come back tenfold.”

 

FIND CAMERON WHITCOMB ONLINE

WEBSITE INSTAGRAM FACEBOOK


'WILLSON' / ASHE: REVIEW


by kaylee pickens

Ashlyn Rae Willson, professionally known as Ashe, has released her third LP and people are singing high praises for its release. With over 10 million monthly listeners on Spotify, you may know Ashe for her track “Mortal of the Story” from her first album, Ashlyn (2021). A 3-minute track, that’s almost a member of Spotify’s Billions Club, has brought fans to the table to be served. The pop album, Willson, features 12 tracks including popular songs, “Please don’t fall in love with me” and “Running Out Of Time.” This third album follows just a few years after her second release, Rae (2022). It’s obvious that Willson’s albums are named after her and mirrors a sense of self in their lyricism and production.

The opening track of this album begins with a raw Willson begging someone not to fall in love with her because she’s not ready. Paired with an acoustic melody and airy piano keys, this 3-minute track is setting the tone for the rest of the album. Willson picks up the tempo and gives an infectious beat with “Running Out Of Time.” The backup harmonies matched with a hook that makes you feel like you’re having a main character moment is a killer way to start.

“Pull The Plug” introduces itself with simple string plucks and short phrases that tell a story. Living in a reverie, Willson finds herself begging to stay with lyrics like, “In case I’m asleep, don’t pull the plug.” With a quarter of the album already under the belt, the album progresses to “Cherry Trees.” Another 3-minute track that isn’t afraid to get personal. “Let’s get up and leave / Carve our names in cherry trees,” starts a wave of memories that Willson’s reliving as she sings through this song.

The fifth track on this album, “I Wanna Love You (But I Don’t),” is welcoming as a solo acoustic guitar plays out with Willson. A soft beat creeps in with the hook. With a full heart, Willson sings the chorus with backing vocals and a production that transports you to your most recent heartbreak. “Helter Skelter” accompanies this release well with another rhythmic plucking of acoustic strings and Willson’s voice whispering out. “I’m calling in sick the rest of this year,” she sings about. Resonating with us all as Willson’s voice dips in and out of the grooves of this song.

“Dear Stranger,” builds upon itself as the beat pulses with an infectious rhythm. While the song starts off with a visual of Willson falling through the sky, you can’t help but think about your parachute moment. That moment, Willson sings about, is falling so hard back into reality. With overcommitments and promises, Ashe sings about the time she’s lost, the changes in her person, and how things aren’t going to be like how they’ve been. The eighth track, “Hornet’s Nest,” starts with a story full of pain, regrets, and making things worse. This 4-minute track is one you can turn up and scream at the top of your lungs.

As the album winds down with “Castle,” this song isn’t one to sleep on. With a slow and gradual rise, the song opens with an electric guitar that Ashe sings against passionately. “I’m taking myself back / Even if I let everyone down,” Willson sings, a reminder to herself in her self-discovery journey. “I hope you die first,” is a love song for the ages. While it’s reminiscent of our two favorite lovebirds, Romeo & Juliet, this track rationalizes loving someone so much that you hope they die first. “Devil Herself,” has a strong piano presence as it begins with Willson’s imagery of committing crimes. From murder to pyromania, Willson is no stranger to letting her feelings get the best of her.  With lyrics like, “I can tell you’re not yourself / Cause I fell in love with someone else,” Ashe is missing the way things once were. Paired with an addicting electric guitar, “Devil Herself” is a hidden gem of the album.

This 43-minute release ends with, “Ashe,” a self-love letter to herself. Singing about how she’s confessed to her shame, digging up the strength to ask for help, and lying about being okay, “Ashe” is an honest anecdote to the album’s end. Willson is a journey worth taking with Ashe, we promise you won’t regret it. You can follow Ashe on Instagram (@ashemusic) to stay up to date with new music, tour, and much more. Don’t forget to stream Wilson where you get music!

 

CLIFFDIVER: INTERVIEW


by emma schoors

photo by justice dodson

Just ahead of the release of their sophomore album, birdwatching, we caught up with vocalists Briana White and Joey Duffy of CLIFFDIVER to speak about their Oklahoma roots, the writing and recording of their most challenging yet resonant record yet, and the transience of life as reflected in art.

Last summer en-route to Las Vegas, the band survived a freak auto accident that left bassist Tyler Rogers in critical condition. Rogers thankfully recovered, but it was a defining moment for the group that reminded them of their own mortality — birdwatching’s themes, and the band’s outlook on life, were heavily affected as a result. “I think us almost dying last year really changed our mindset on the permanence of anything,” Duffy says. “Everything is always changing and nothing is guaranteed. So due to the nature of that, you can’t just put off dealing with your real issues and feelings. It’s time to take control of your life, and let go of the things no longer serving you.”

Recorded at Barber Shop Studios in New Jersey with the help of producer Brett Romnes, birdwatching manifests as a “collection of moments,” Duffy says, contrasting the linear story their debut offered. It was an opportunity to hone in on trust and openness, which acted as a lifeline to the band creatively while they reckoned with the lasting physical and mental effects of the accident. “Working with Brett felt like fate in a way,” White adds. “He held nothing back working right alongside us to make this album great, and it is great. I’ll be thankful for Brett, Barbershop, and their whole team forever.”

birdwatching releases on Sep. 20 via SideOneDummy — check out our conversation with the band below for insights into the making of the record, Oklahoma-based bands to lend an ear to, and much more.

I’d love to get a rundown on how CLIFFDIVER came to be. I understand you were familiar with each other byway of Tulsa’s music scene before forming the band — what inspired you to come together and solidify this specific lineup?

Joey: “We all met through the scene for sure! Almost everyone had been in some form of a project together besides me, I met everyone through a local music podcast I ran. We slowly continued to add some of our other favorite musicians as we went, and now have a super team in my opinion.”

Why was “dayz gone” chosen as birdwatching’s lead single? What elements of this one popped out at you all, and what inspired you to let it lead this new era?

Joey: “‘dayz gone’ just felt big and anthemic to us when we were writing it. We also really felt like this was one that people would want to sing along to, which they absolutely did this summer and it was awesome. I think it has a universal appeal. Everyone knows what it feels like to be so exhausted and burnt out and wanting to quit. At first listen it can seem like a kind of negative song, but I think it’s really about not giving up, even if you feel like you’re about to break, just keep pushing forward.”

Bri: “It also got my vote because it would get stuck in my head for days on end even after recording, which is usually about the time I might need a break from listening to the songs over and over.”

You’ve described another of the singles, “goin’ for the garbage plate (feat. Stoph Colasanto of Carpool),” as being about experiencing loneliness and stagnation during depressive episodes. I’m curious if songwriting is at all a remedy to those feelings — does it act as a healer for you all to channel pain into pieces of art?

Joey: “Absolutely. I truly feel like being able to get out and share these struggles has done wonders for my mental health. I think the way mental illness really gets to you is in the silence, trying to isolate you and make you feel all alone. When we share our struggles and share our pain, we find others have been in the same place. That kind of resonance is incredible, and it really does go both ways. I think ‘garbage plate’ in particular lends itself to this. It’s a song about progress, but also about the transient nature of mental health. Both the good and bad days end, so sometimes you just have to brace yourself for a bit of a storm with the knowledge that it can’t rain all the time.”

Bri: “I think recognizing your own unhealthy patterns is one of the craziest and hardest parts of the ‘getting better’ journey — you have to get outside of yourself and your issues to even see it. This song is kind of the moment where you finally admit to them.”

“black lodge breakfast burrito (limited time only)” is another memorable single from the record’s tracklisting. Can you give us some insight into the writing and recording of this one, and any musical influences you were tapped into? 

Joey: “This song was actually the first thing that I had written for the album. I had that first verse and a melody but that was it, and everything we tried to write after just didn’t feel correct until we got to the studio. Bri came up with this awesome pre chorus and chorus based on the first conversation we had about the song, and it just tied the whole room together. This idea that all your existential dread can keep you locked in. Probably my favorite thing about this album is how collaborative it was. There’s no song on here that we all didn’t have our hands on together.”

Bri: “It might come from being a mom but I only have so much time for my daily existential meltdown, and I think the song kind of captures that part of maturing where you know you need to do the work, you know your feelings and struggles are valid, but all your personal progress is sitting next to the crushing weight and obligation to show up for the people you love, or even work.”

This record represents a renewed spiritual approach for the band. What were some differences you noticed in the way you went about these songs lyrically? Were there any topics you hadn’t covered yet, that you felt compelled to this time around? 

Joey: “I felt like the first album was more of a story, with a definitive start and ending, while this album is a collection of moments. It’s more true to real life, there’s nothing simple and easy about it, it’s a complicated mess of good days and bad moments. I think us almost dying last year really changed our mindset on the permanence of anything. Everything is transient, everything is always changing and nothing is guaranteed. So due to the nature of that, you can’t just put off dealing with your real issues and feelings. It’s time to take control of your life and let go of the things no longer serving you. The last album was ‘Do we want to live?’ This album is more ‘How do you deal with a crappy Tuesday?’”

Bri: “I definitely think we approached the process for the album with a lot more trust and openness, and it absolutely felt like a lasting effect of the accident. We knew going in that we wanted to open the conversation to sort of what happens when you’ve done all this work on yourself, but you still have to wake up and walk out the door to a world that remains ever-fucked.”

birdwatching was recorded at Barber Shop Studios in New Jersey. Take us through your decision to work with producer Brett Romnes, and any memorable experiences from your time on the east coast making this album. 

Joey: “Brett is a genius, full stop. He understands music in a way that is pretty mind blowing and he really taught us to look at the writing process entirely differently. It was like a boot camp for songwriting. We were in the studio for 30 straight days, and for most of them we got there around 11 am and worked until 2-3 every morning. It was exhausting and incredible, but it really forced us out of our comfort zone. He’s helped make some of our favorite albums, so to be able to understand that process was wonderful. He was so kind and patient with us, while being totally honest and holding us accountable. He would present us with new ideas and then always, ‘Does that scare you? Because there’s no fear in this Dojo.’ It allowed us to get out of our heads and just be present, which I think led to an album that’s so different from anything we thought we were going to make.”

Bri: “I still sometimes feel like I haven’t left the studio mentally, I’m always still pulling from experiences I had recording the album. Working with Brett felt like fate in a way that’s probably way too corny to explain to anyone who wasn’t there. We’d had a wild year as a band and he held nothing back working right alongside us to make this album great, and it is great. I’ll be thankful for Brett, Barbershop, and their whole team forever. 

Also, one memorable experience — Dony joined us about halfway through the month to record and when he arrived, we basically greeted him with ‘CLIFFDRIVER,’ which we had already decided he should write the lyrics to and perform. We had written and recorded the music already, everyone having swapped instruments [with] Matt on drums, Eliot on bass, and Tyler on guitar, so we figured Dony should sing. Makes sense, right? It took some convincing, but our boy came through. He’s really big into self improvement and I remember telling him, ‘Megaphone to the world, what do you wanna tell people?’ What we ended up with is so fun and earnest and I love it.”

Something special on the CLIFFDIVER Spotify page is your handpicked ‘Oklahoma On Top’ playlist, featuring OK-based artists. Who are some local acts you’d recommend our readers check out? 

Joey: “We love our fellow Oklahomies, and truly think so many of them are going to be household names in the next few years. Some of our favorites are Ben Quad, Red Sun, photocopy, King Pink, SUNFO, Babies on a Halfpipe, Goodridge, Morris Village, Limp Wizurds, PeelingFlesh, A Mixtape Catastrophe, When The Clock Strikes, The Others Like Us, stepmom, Johnny Mullinax Band, Husbands, Downward, Outline In Color, and Team Chino.”

Finally, what are some milestones you’re hoping to reach as a band in the coming year? Any artists you’d like to collaborate with, or venues you’d like to headline? 

Joey: “We’d love to go overseas, especially Europe and Japan, that’s probably our biggest goal. More tours with Hot Mulligan, play some cruises and every festival there is. Plus, to have the band become financially sustainable would be nice.”

Bri: “I really just wanna wear this passport out in 2025.”

 

FIND CLIFFDIVER ONLINE

WEBSITE TWITTER INSTAGRAM FACEBOOK


KYLIE SPENCE: INTERVIEW


by joann snavely

photo courtesy of kylie spence

Rising star Kylie Spence has been making waves lately. Following the release of her latest single “Tobacco Roots,” the Nashville-based musician is ramping up for her latest record's release. Leading up to her newest release, Unclear got the chance to catch up and chat with her about everything from doom scrolling, fan interactions, situationships, and the journey that has led into her making music. Read about Spence and her Tobacco Roots here. 

You’ve been writing music since you were 12. How has your creative process evolved over the years?

Kylie: “My creative process has changed in many ways, and yet at the same time, certain parts have stayed the same. I still write most of my songs on the floor and have random bursts of inspiration at the most inconvenient times, like when I’m driving, in the shower, or about to fall asleep. When I was 12 and hadn’t had my first kiss, I was writing about love, even though I didn’t know the kind of love I was writing about. After having a few more life experiences under my belt, I have enjoyed writing more specific lyrics. It’s very fun for me to add details into my songs that no one will consciously understand except the person that a song was inspired by. Whereas before, I didn’t have any specific moments or memories I could tap into.”

In writing your record, how do you feel it will resonate with listeners? How does it resonate with you?

Kylie: “I really had no filter when writing this record [laughs], everything is pretty much straight from my head and heart, and I hope listeners can feel that. It captures specific moments and feelings, yet it feels so universally honest, and I think people will be able to relate to that. It resonates with me in so many ways. I think overall, I’ve never been more myself, and that feels really good.

Can you tell us more about your single “Tobacco Roots?”

Kylie: “‘Tobacco Roots’ reflects on a situationship that was in and out of my life over the span of years that was left on a sour note. It ended in a way that left me more confused than I already was, and I never saw any of it coming. This song was a stream of consciousness late one night, and even though I feel differently now, it honors a part of me back then and how I was feeling while navigating my emotions.”

How do you feel moving from Montana to Nashville has influenced your music and creative processes?

Kylie: “Well, Everything And Nothing was pretty much complete when I moved to Nashville last year. I’ve yet to share anything that I have made while living here with anyone other than acoustic snippets of songs on socials. There is obviously a lot of country influence here in Nashville, and it’s different than Montana. I have a newfound appreciation for more classic country, and I want to take pieces of what I love about that and incorporate it into my next project. I do miss the landscape and beauty of Montana, but I know I can always go back. Every place has its own energy, and I have loved tapping into that with each place I go.”

What artists have influenced your sound and storytelling as you’ve developed as an artist?

Kylie: “I have loved Coldplay since I was a kid. I appreciate how they are able to evolve sonically yet there is still a piece that remains the same. That’s something I want with my art. Obviously I grew up listening to Taylor Swift. I love her. Quadeca is an artist I started listening to in high school, I love how authentic his music is, at least to me. Same with The National. I also love the poet Walt Whitman. I’m related to him on my dads side which is very special to me. I also really admire Izumi Miyazaki, she’s a Japanese photographer and her work scratches my brain.”

If you could describe your upcoming record in three words, what words would you use?

Kylie: “1. Everything 2. And 3. Nothing [laughs], but I really feel like it encapsulates everything I am and have been for the last couple of years. But serious answer: honest, unapologetic, me.”

What has been the biggest challenge in the transition between making an EP and a full-length record?

Kylie: “I wouldn’t really call it a challenge, but having twelve songs as opposed to only four to six, and thinking ‘how do I put all of this out?’ From marketing, PR, artwork, videos, logistics, etc, it was a lot for me to wrap my brain around. When figuring all of this out independently, I just modeled what I saw other people do the best I could and did a lot of it DIY. At times, I had no idea what I was really doing [laughs], but I know I’ll look back on these times. The music is all that matters to me, so I just needed to get it out into the world.”

You’ve played alongside some pretty notable names. Have there been any notable experiences or moments while playing live that have shaped you as an artist?

Kylie: “In Tel Aviv a few years ago while opening for Dennis Lloyd, I was on the catwalk which was crazy enough when a girl on the barricade stuck her hand out to me and I went over and grabbed her hand while singing and she started screaming out of excitement and that still sticks with me. Honestly, just getting to meet people after shows and talk to them, I find so much joy in hearing their stories. It’s something I won’t ever take for granted.”

Now for some fun questions! What’s the unusual place you’ve found inspiration for a song?

Kylie: “I find myself doom scrolling at times, and one time I was watching this video about how a man found expensive diamonds in the sidewalks of NYC, and I thought it was the coolest thing ever, so I wrote a song about that… not sure if it’ll ever see the light of day, but I have had many epiphany moments after long doom scrolls [laughs]. That’s how ‘Shoebox’ from my new record was born too.”

If you could only bring three records to a desert island, what would they be?

Kylie: “Impossible question. But Parachutes by Coldplay, Swimming by Mac Miller, Dragon New Warm Mountain I Believe In You by Big Thief.”

Finally, are there any upcoming shows or events that fans should be aware of?

Kylie: “I have my album release show on October 3rd in Nashville at the OG Basement, the first venue I ever got to play in Nashville, and I could not be more excited.”

 

FIND KYLIE ONLINE

TWITTER INSTAGRAM FACEBOOK


DRUMMING BIRD: INTERVIEW


by joann snavely

photo by ryan hartley

Nashville-based musician Austin Sawyer, who performs under the name Drumming Bird, has been rising across the indie rock scene over the past few years with his hard-hitting lyricism that highlights love, loss, and the underbelly of the American dream. Sawyer has begun making a name for himself since his debut album Great Smoky Love released back in 2019, having played shows across the country and garnered thousands of fans and millions of streams to pair. Unclear got the chance to sit down and chat with him about everything from new music, live music, and even ice cream flavors. Read more to find out the past, present, and future of Drumming Bird.

Where does the name Drumming Bird come from?

Drumming Bird: “I wish I had a better story of how the name came to be. It was a cool name — kind of playing off a hummingbird but like a more ruckus sound. I feel like it fits my music, definitely leans into more of the indie rock-sounding world, but I still put emphasis on the more delicate parts of making music like a hummingbird with my lyricism.”

What originally drew you into pursuing music as a career, and how has that journey been since you started it?

Drumming Bird: “It had always felt like something I wanted to do, my family was decently musical. My dad always had really good taste in music that inspired me growing up and I had other family members that played music. Also I grew up with two brothers around my same age, so playing music was always a fun way to bond with them and that’s how I started my foundation in music, and then it has slowly become my life’s passion.”

Since becoming a musician, what’s been the most gratifying moment you’ve had so far?

Drumming Bird: “There have been a lot of really great moments. The coolest part, and the thing that always is so encouraging, is when I’m at a show and someone shares what one of my songs has meant to them or sends me an Instagram DM talking about what a song has meant to them. That’s something you really aren't considering when writing a song. You’re writing it to express your emotions and to tell a story but you can never fully comprehend what it will mean to someone else, so that’s always a very gratifying part to see what it does end up telling people.”

You’ve been playing a handful of shows over the past summer, and you’re getting ready to go on tour with BAERD this fall — are there any pre-show rituals that you do?

Drumming Bird: “Nothing too exciting, there’s this five-minute vocal warmup YouTube video I always hit before every show. It has 100 million views so I’m not the only one doing that, but it's nice to have one consistent thing to do to get in the zone.”

Speaking of touring, has there been any particular show or venue that has been special to you as you’ve continued this journey of making music?

Drumming Bird: “I’m still at the point in my career where I’m playing smaller clubs, and a lot of them have a ton of character. There’s a venue called the Blue Door in Oklahoma City. It's a really special spot, and it's been run by the same guy for over 30 years. I played a show at the 40 Watt Club in Athens, GA which is a cool historic venue where a bunch of Athens bands got their start. I played Exit/In in Nashville which is awesome, another super storied venue that a lot of my heroes have played. I just played there a couple weeks ago — it was my third time. The Evening Muse in Charlotte is a great venue; it’s very homey and everyone’s super kind there. I love that venue a lot.”

You’ve been teasing some new music lately on social media. Are there any new techniques that you equipped while recording or producing those new releases?

Drumming Bird: “It was a pretty different process this time around. I worked with a new producer for the first time, his name’s Mike Viola, and he has a really cool track record working with a cool repertoire of artists from Dawes, Andrew Bird, Madison Cunningham, and Panic! At The Disco; he’s also a great singer-songwriter himself. It was cool working with him and having another creative force besides my own as part of steering the ship for this new project. We tracked the project to tape and converted it to digital which was exciting because it leaves a little less room for error than just doing all of it digitally and it gives it more of a cohesive sound. This new project is definitely a continuation of my sound, but a new spin on it for sure.”

With the new music that you’re working on, are there any records or musicians who’ve inspired the music?

Drumming Bird: “Last year was a big Lana [Del Rey] year for me. My fiancée’s been a Lana stan forever and she finally converted me a couple of years ago with Did You Know That There’s a Tunnel Under Ocean Blvd, and I was listening to Blue Banisters a bunch. I don’t know if that necessarily translates to the vibe of the new record, but artistically that’s where my head was at.”

If you could describe your music sonically in one word, what would it be?

Drumming Bird: “One word is tough. I don’t know if I have one word in particular, but I think ‘dusk.’ The emotion I try to capture in my music is how you feel on a summer night at dusk.”

Now for some fun questions — if your music was an ice cream flavor, what flavor would it be?

Drumming Bird: “There’s this ice cream store in Chattanooga where I grew up called Clumpies and they had a flavor called ‘Firecracker,’ and it was cotton candy that they put Pop Rocks in. So I’d be Firecracker-flavored.”

Continuing with that theme, if your music was a color palette what colors do you think would be dominant and why?

Drumming Bird: “A darker navy blue going off the dusk theme, I feel like a forest green, and maybe a desert sand kind of color.”

Finally, are there any new projects or events that fans should be aware of?

Drumming Bird: “Definitely the tour with BAERD coming up, so that's the end of September going into October, and my new single ‘Roadkill Poetry’ will be released on September 12th!”

 

FIND DRUMMING BIRD ONLINE

WEBSITE TWITTER INSTAGRAM FACEBOOK