Category: Interviews
SXSW 2017: HOOPS x Vinyl Mag
As South by Southwest gets into full swing, we’re in for another jam-packed week of music and day drinking. With the massive amount of bands playing the festival, dwindling your roster of favorites down to even a couple dozen is a daunting task. Enter Indiana-based indie pop darlings HOOPS, ready to make the top of your must-see list of bands.
Bringing a refreshing take on indie pop, their self-titled EP was received warmly by critics and fans alike. Listening to their music, you might notice that the vocals on any track differ from one song to the next. This is because the band doesn’t have just one lead singer; it has three. Depending on who wrote the song, either band member Drew Auscherman, Kevin Krauter or Keagan Beresford will sing lead while simultaneously playing their respective instruments..
“Rules,” the debut single from the band’s first full-length album Routines–set to release on May 5th–is delightfully lo-fi beach music, perfect for road trips and sinking deep into summer nostalgia. Before the band takes SXSW, we got in touch with singer and bassist Krauter, who told us about what’s on his playlist, their new album Routines and the band’s affinity for free stuff.
Vinyl Mag: How many times have you played South by Southwest?
Kevin Krauter: This will be our first time playing at SXSW.
VM: Do you have any pre-festival rituals?
KK: We haven’t played many festivals, but probably just taking advantage of as much free shit as we can.
VM: Do you feel like playing a festival has a different vibe than playing at a venue?
KK: The vibe is definitely different. Not as intimate as a venue show, which can be a bummer, but on the other hand it can be really fun sometimes playing to the festival crowd.
VM: Can we expect to hear you play some new stuff from Routines?
KK: Our set has a few songs off of the new album. They’re very fun.
VM: Is “Rules” a good indicator of the overall sound on the rest of the album?
KK: Not exactly. It’s produced a similar way, and it kind of represents how we’ve sounded up until now. But the rest of the album is pretty different.
VM: Routines was recorded in a studio and then tweaked in your parent’s basement. Do you guys feel like that’s where you make your most authentic work?
KK: Yeah, definitely. Working in the studio was a cool experience, and we learned a lot from it. But we’ve always made our music on our own, so I think when we went home and worked on it, we were able to focus pretty closely on the sound we wanted.
VM: Who were some of your musical inspirations while you were making that record?
KK: The Radio Dept.
VM: It’s not common for an indie pop band to rotate lead vocalists. Was that a conscious decision you guys made, or was that just something that happened naturally?
KK: Well, we all write songs, so it’s just always sort of made sense for us to let whoever wrote the song sing it as well. Also, we’ve always been slightly overambitious about singing harmonies, so we ask for three mics on stage anyway.
VM: If you guys were to collab with somebody, who do you hope it would be?
KK: I saw a video once of Connan Mockasin’s band playing with Charlotte Gainsbourg for some French TV program. I think it would be fun to do something like that.
VM: What albums have you been listening to recently?
KK: Savage Mode by 21 Savage. Magnificent Fist by Sean Nicholas Savage. 1999 by Prince. Mister Yellowman by Yellowman. Tuesday Night Music Club by Sheryl Crow. And Front Row Seat to Earth by Weyes Blood.
VM: Who are you most looking forward to seeing at SX?
KK: Omni, IAN SWEET, Lala Lala, Jay Som, Lil Yachty, Furnsss and Stef Chura.
VM: What shows are you playing?
KK: A lot.
VM: What’s your favorite part of the festival experience?
KK: Free stuff.
VM: What would be your dream festival lineup?
KK: Vans Warped Tour.
VM: Do you prefer barbecue or tacos?
KK: Both, baby. Giddy up.
Leo James Conroy Brings Jazz to the SXSW Stage
His music has been called “eye-watering brilliance” by BBC Radio 1 with “a depth not often seen in young musicians” according to The Equal Ground. But behind the high (and well-deserved) praise is a street performer from England just trying to get used to the Los Angeles heat. Leo James Conroy is taking the SXSW stage this year with his signature trumpet in hand and a soulful voice guaranteed to garner fans within the first few notes.
After what he calls a “series of fortunate events,” Conroy ended up in Los Angeles performing and making music. He draws from his biggest influence, Jeff Buckley, whom he’s been compared to stylistically. Somewhere between the classical music training, the teenage emo lyric writing and a love for jazz, his soulful sound emerged.
In 2015, Conroy made his debut with a self-titled EP under Black Treacle Records. Now, his sophomore album entitled Sinners By the Book EP is on arrival. The first song off of it, “Forbidden Fruit,” is already available and full of the falsetto and blues he does so well. Between this song and his video submission for NPR’s Tiny Desk competition, the new record will be one worthy of perpetual repeat.
As I chatted with the singer-songwriter, I heard more than his British accent—I heard passion. After watching his grandfather play the trombone, Conroy decided as a child to follow in his musical footsteps. Years later, he’s getting ready to make his SXSW return and make his granddad proud. See what the artist had to say below.
Vinyl Mag: So, first of all, what shows are you playing at SXSW?
Leo James Conroy: At the moment, I only have one. There’s another one that’s still in the works, but I’m playing at Stephen F’s Bar on Saturday, the 18th. I think I’m on about 9:00 p.m.
VM: Is this your first time at SXSW?
LJC: This is my second time; last year was my first time. I played solo last year, and then I’m heading out with a band this year.
VM: Do you prefer playing solo or with a band?
LJC: It’s different every time, you know. Each song has its own sort of mood and its own sort of energy, so it really depends. It’s going to be good to head out with the guys, because last time I was completely alone. So it’ll be nice to have some friendly faces out there!
VM: What do you do to prepare for getting on stage?
LJC: Honestly, I don’t really think about it. It’s kind of weird—I don’t ever get nervous when it comes to performing, but once I’ve finished performing, the nerves hit me after I’ve played. It’s really weird. I don’t have a warm-up ritual but my warm-down ritual is just heading straight to the bars as soon as I’ve finished, and that sort of balances everything out.
VM: You have an EP coming out soon. Are you going to play some of those songs at SXSW?
LJC: Absolutely! We’re really excited about it, actually. For the new EP, I’ve been experimenting with the setup, so I recently got a loop station so that I could loop my trumpet and loop horn lines, and it’s really cool to experiment with all these new sounds. So, the last couple weeks we’ve just been practicing like crazy, and we’re just going to blast all of the tunes from the new EP. I mean, it could even be an album because things are going really well in the studio. We’re ahead of schedule, so we may fill the time with some more tunes, but we’re undecided just yet.
VM: Speaking of the loop pedal, I loved your submission for NPR’s Tiny Desk competition. What inspired the arrangement of that song?
LJC: Well, I was sat at the computer because for my writing process, I never really have a pen and paper. I just sort of sit and freestyle and then hit the record button, and then if something sounds good, I’ll keep it. So, I just laid down the guitar and vocals and thought, “hey, this could use some trumpet” and then I put some trumpet in and actually it just sort of came out nowhere. I showed a couple of friends and thought, this is something a bit different–let’s roll with it! Since then, I’ve written quite a few songs now with that kind of looped trumpet setup, which is really fun.
VM: Do you feel like the loop station has changed your writing process?
LJC: That’s a great question. I honestly don’t know, but I wouldn’t say it’s changed my writing process, because I firmly believe that whenever you write a song you should never have to rely on technology for it to be a viable piece. I like songs to be as raw as they can, but every now and then if something just needs a bit more energy, it’s always cool to pull the trumpet out since I can’t play the trumpet and the guitar physically at the same time. So, I wouldn’t say it’s changed it, but it’s definitely given me a new sort of weapon in my arsenal, and it comes to live shows.
VM: When you’re writing a song, do you usually start with the music like you did with “White Noise?”
LJC: I actually wrote the lyrics months before I put the music to it. It was actually going to be a slow, piano ballad. The song itself is a little bit about insomnia and when you get horrible thoughts when you can’t sleep, and then it turned into self-loathing, which it’s really sort of angry and weird. I thought, this isn’t good for me–I need to get these thoughts out of my head and put them on paper. Then I sort of stored it away and didn’t think of anything, and then I started playing around on the guitar and thought, “I wrote those lyrics all that time ago, maybe I can use them,” and then it just came together by accident really.
VM: Does the style of that song reflect what will be on the new EP?
LJC: Yeah, it is! Growing up playing music, I learned to play trumpet first and then as I started singing when I got older, I sort of swayed away from it, and I’ve missed it. These last few months I’ve really been trying to get back into playing some more. I’ve definitely included a lot more jazz, soulful, bluesy, and I just think the trumpet compliments that kind of well. So, it’s that very similar feel.
VM: You’ve been compared to Jeff Buckley and Amy Winehouse. Are those some of your musical role models?
LJC: Jeff Buckley, absolutely. His album Grace literally changed my life. Growing up, I always aspired to be a classical musician, and then when I was a young teenager, I heard Grace, and I would listen to it multiple times a week for probably five or six years. I listened to it so, so much, and his music completely changed the game for me musically. He’s my biggest influence for sure. Growing up I’ve always loved jazz, and I’ve always loved that old style. Amy Winehouse was just, well, she was Amy Winehouse—you don’t need to say any more about that!
VM: The trumpet seems to be your signature mark. What drew you to that instrument at the age of 10?
LJC: Well, my granddad is my best friend, my mentor, my role model, everything that I want to be as a person. He was a trombonist and was great, but it was more the classical side of music. Just whenever he spoke about music, there would be this sort of glimmer in his eye, and I was always drawn to that. He started teaching me how to play the trumpet as a kid, and I learned in a very sort of old-fashioned way. It was all about music theory and going to play in orchestras and brass bands and marching bands and doing everything prim and proper, always wearing a suit and always making sure my shoes are spick and span. But that’s what drew me to music, and then as I got older, I just drifted more to, you know, music was a little bit more freeform and less structured in terms of rules and order. So, that’s what really drew me to it–my granddad, he’s a special guy.
VM: How old were you when you started writing your own music?
LJC: I wrote some terrible, terrible emo songs when I was 15. I would hide them all around the house, because I didn’t want anyone finding them because I was always so embarrassed. But I’ve been writing seriously probably since I was 18 or 19, so six or seven years if my math is correct.
VM: How did you end up in Los Angeles pursuing music?
LJC: In the craziest way! So, as you’ve probably gathered from my accent, I was living in York in England, and I was in a bit of a bad place. I didn’t really have anywhere to stay, and I was just street performing just to get enough money to get by. And then I got heard by somebody who spoke to me and offered to fly me out to the U.S. to come and play some shows, and I didn’t really have anything to lose at that point so I said, “yeah, okay, I’ll come to the other side of the world by myself to a stranger’s house.” I ended up in Los Angeles, and I met a lady, and we started dating. I’d come over here for a while, and then she’d come back to England with me, and then we got married in July of last year! So it all happened because one day I was street performing in England, and now I’m living in Los Angeles, and it blows my mind every day. It was just a series of fortunate events.
VM: For SXSW, is there someone you’re looking forward to seeing just as a music fan yourself?
LJC: Johnny Flynn, he’s one of my favorite artists! He’s a British folk singer turned actor. Actually, he’s been in a couple of movies since his albums came out. He’s great; he sang with Mumford & Sons—he’s in that sort of sound and that circle. He’s a multi-instrumentalist as well, and he plays with a loop station, so there’s a bit of influence there. My guitar picking part in some of my songs is very influenced by him. He plays violin, trumpet, he sings, he plays guitar… he plays pretty much everything.
VM: If you had to tell a new listener in one tweet what they’ll hear at your set, what would you say?
LJC: I would say, big vocals, awkward chitchat in between, punchy horns with blues, soul and jazz influences. The thing that people are usually shocked at with my shows is that between songs, I’m pretty quiet and a little bit sheepish, and I don’t mean to be. But then I have a really loud voice, and it sort of throws people off a little bit.
VM: The last question that we always ask is: do you prefer barbecue or tacos at SXSW?
LJC: Barbecue every day of the week! I just like all things barbecue. Tacos aren’t really a thing in England, so that’s partially why. I believe I was 23 when I had my first taco, so I don’t have as much experience in that ballgame so perhaps my answer is slightly biased.
SXSW 2017: Marie Miller x Vinyl Mag
You may have heard her song “6’2” on ABC’s Dancing with the Stars, or maybe you came in contact with her first single “You’re Not Alone” via CMT. Either way, Marie Miller is ready to recapture your ears with her new album, Letterbox.
The songstress used her love of literature to jumpstart her songwriting career at a young age. To this day, she still turns to classic novels for inspiration for her beautiful lyrics and melodies. Combining a character who is dear to her heart with one of her own experiences results in the narrative style she’s made her signature.
To capture her folk-pop sound, Miller teamed up with Eric Rosse and Chad Copelin, two producers who helped bring the songs of Letterbox to life. I grabbed a few minutes with Miller to talk about the album, her favorite books, and of course, being in Austin for South by Southwest.
Vinyl Mag: First of all, what shows are you playing at South by?
Marie Miller: On Tuesday, I’m playing Nashville House, so that will be awesome!
VM: Is there anyone you’re looking forward to seeing perform?
MM: I kind of love to just wander. So not a particular artist; I just like being mixed in with all the music and the crowds. It’s really fun.
VM: What’s your favorite part about performing?
MM: I love so many parts about performing. I’ve been performing since I was really little. Just that feeling of connecting to an audience, being on stage and being able to share who you are with strangers and have a connection … it’s really amazing.
VM: I know you love using classic books as inspirations for your songs. Was literature always your favorite subject growing up?
MM: Yes, definitely. It was the only thing I did in school that I would do outside of school. Literature is amazing and still a huge part of my life.
VM: Do you have an all-time favorite book?
MM: I have a few favorite books. I would say Dostoyevsky’s The Brothers Karamazov, Anna Karenina by Tolstoy, Lord of the Rings and The Great Gatsby. I’m old school; I don’t know a lot of new books. People will be like, “Oh my gosh, have you read this New York Times best seller,” and I’m just still catching up on old stuff first.
VM: What is it about those books that makes you want to write a song?
MM: Well, all of those characters in the books that I’ve read, they’re just so vivid to me. I think a great book makes the characters just run out of the page and become part of your life and part of your story. For me, those characters get to play a part in my songwriting. So I’m writing a song, and it has something to do with something that happened in real life, but then maybe I’ll intertwine a character that I met in a book but that has become really real to me.
VM: How do you make that relatable to the average listener even if they haven’t read that particular book?
MM: I think that a lot of the struggles and triumphs and the situations are pretty universal. So just things like love, friendship, suffering, trying to get through hard times, courage–all those things we all can universally relate to, and those characters are just having particular instances of those things. So, for example, “This Side Of Paradise”—which was the first song that came out from the new album—is inspired by an F. Scott Fitzgerald novel called This Side of Paradise, but you probably wouldn’t even know that. Mainly when people hear it they go, “Oh, that sounds like a song where you’ve had a really crappy day and you’re trying to just rally yourself.”
VM: Would you consider yourself more of a lyricist than a musician?
MM: I think more in between … I would say a performer, actually, because there are a lot of musicians that are quite a bit better than me, and there are people that can song-write better than me. So for me, my sweet spot is performance, and it’s just super natural to me, like I have absolutely no idea what stage fright is–I’ve never experienced it!
VM: Well, you mentioned you’ve been performing since a really young age, right?
MM: Yeah, so I started performing at probably 11 or 12, so it’s been awhile!
VM: Tell me about your song “6’2″—I love the title so I have to know the story behind it.
MM: So, “6’2” is about not being too picky with who you date. This girl is saying “I don’t care,” and then she gives a long list up to his height. To me, the song was totally a joke. It was kind of making fun of girls and how they can be that way, but it’s been amazing because it was on Dancing with the Stars which was cool. But also people will say like, “We danced to this song at my wedding” and “I heard it on the radio, and it made me think of this guy with blonde hair and blue eyes that I met a few days ago, and I got the strength to write him” or whatever. So it’s been a really cool song even though for me it’s not my favorite song, it’s still been really neat to see the stories from it.
VM: What was the best part about making this new album, Letterbox?
MM: It was just an incredible experience–a long one, just years of writing and then it took a year and a half to record everything. But the particular experience for me would be recording in Los Angeles, and my sister was with me, so she got to be part of that. I hadn’t really spent a lot of time in LA, and I absolutely loved it. We were like six minutes from the studio, so it was really easy to get there, and the people were amazing, and I grew a lot just from being there for a month. It was really special.
VM: What about the most difficult part?
MM: We worked with a lot of producers, and I think that finally finding Chad Copelin who produced seven out of the 12–that took a long time. So trying to find the right fit to make the songs reflect what my sound was and not making it sound too country or making it sound too pop–making it that perfect blend of folk and pop is pretty hard to do, and I think Chad did an amazing job. But that took a long time.
VM: How did you choose which songs to put on the album?
MM: Well, it’s sort of a process. We have producers helping me choose, and then my A&R at the record label. So it’s all of us talking, and I really got everything that I really wanted on it, which is great because I have to sing it every night—they don’t! But it was difficult, and I think it’s the right group of songs. But now I’m actually writing a lot right now so I’m like, “Let’s record more!”
VM: Which song off the album are you most excited to perform at SXSW?
MM: It’s always really fun to perform “This Side Of Paradise.” It’s just a ton of energy, and I play it on my mandolin, and I love playing my mandolin.
VM: One question we’ve been asking all of our SX artists is: barbecue or tacos?
MM: Oh gosh, I could not decide that, I really couldn’t. Those are my two favorite foods! I love fish tacos or carnitas–all that! And then for barbecue, it’s kind of everything. I was born in Dallas, and I’ve got a lot of family in Texas so Mexican food and barbecue–those are my family’s favorites.
SXSW 2017: Lukr x Vinyl Mag
“There will always be this kid inside of me that’s in the rock and roll band that’s trying to write the song to get the girl. That’s always going to be a part of who I am.”
When I picked up the phone to chat with Lukr, I didn’t expect to get a recipe for vegan queso or hear an anecdote about what it means to be a hypocrite. The self-proclaimed conversationalist was engaging, genuine and ready to share the love he has for his craft. Before long, it was clear that his down-to-earth lyrics emanate from the same place as his conversations–authenticity. Luke Foley is a man committed to using his honesty and creativity to connect with his fellow human beings.
After touring with the band he started at 17, Farewell Flight, Lukr settled down in Nashville where songwriting became his partner in crime. His debut single as a solo artist, “Fucked Up Summer,” has been deemed a viral hit on Spotify and surpassed a million streams in a mere 12 weeks. He followed that success with “Scarecrow” which also gave a stellar streaming performance. When asked what he thinks made those songs so successful, Lukr went back to the word “authenticity.” Whether fans are responding to his genuine lyrics or the catchy melodies, clearly he’s doing something right.
On February 10 of this year, he released the first installment of his mixtape series entitled Heartbreak Mixtape Vol. 1, featuring the style he describes as “neon grunge alternative pop.” Fans will get a chance to hear those new songs at his set at The Nashville House at this year’s SXSW. To find out if he prefers songwriting or performing and to hear the story behind his name, keep on reading. Plus, you just might get a restaurant recommendation for vegan tacos.
Vinyl Mag: What brought you to Nashville?
Lukr: I moved here after I had a band for a little while and did a lot of DIY, kind of blue collar touring basically. We toured a good bit around the US, but it was all self-booked. We did it for a little while, and then I thought maybe we should try a music town. I thought we’d all move to Nashville, and we’d be signed to a major deal in like a weekend of handshaking. But actually what I had to do was learn how to write a song. Before I came here, I was very protective about songwriting. I wouldn’t co-write with anybody. I think I had this need to be this creative genius that just goes off by myself in my cabin and makes a record. But I wasn’t learning anything, and it’s kind of hard to learn anything about your craft when you don’t take any kind of input from anybody else.
So, when I moved to Nashville, I just started co-writing because that’s what everybody was doing, and it just seemed to kind of make sense. Once I started doing that, I just started writing for stuff that wasn’t for me so I wasn’t afraid to take chances and do something that I would normally think was cheesy or stupid. Or, I would write styles of music that I used to just not like on principle. I still had my band but it had kind of run its course, and everybody was starting to move on and do different things here in town.
VM: What made you decide to start a solo project?
Lukr: I was always so afraid to think of myself as a solo artist just because I didn’t think I was a good enough singer or maybe I’m not a pretty guy. I mean, I think I’m okay-looking, but I’m not pretty. Or, I’m not a phenomenal dancer, and to be a solo artist you have to have this amazing range. Part of having a band for me justified that. I’m not the greatest singer in the world, but I’m the songwriter, and also I play guitar so combined that gives me enough credit to be here, right? It was an insecurity thing; I was afraid to believe in myself.
I didn’t even like the word artist because I thought it was so pretentious. I thought, I’m not an artist—I’m just a guy who does music or whatever. I was afraid to think of myself as an artist. I remember I was writing with a guy and he was talking to me one day, and I was telling him that my idea was once my band made it I would maybe start a side project for myself. And he just asked this kind of really poignant question and said, “Why do you think of yourself as a side project and your band as your main thing? You are not your own side project. You are your main project. When you do your band, that’s just you as an artist in that band.” I wept on this dude’s porch, just cried like a baby because somebody told me I was good enough.
VM: How did you get the name Lukr?
Lukr: I love nicknames. I’m always trying to get nicknames going for people. I kind of had this realization that there was this nickname I had gotten from people throughout my life totally autonomous of one another. Everybody that called me “Luker” thought they coined that nickname. My middle initial is R for Robert, which is my grandfather’s name, so my name reads like, “Luke R Foley.” I’d always wanted a nickname, and I just didn’t realize that it was right in front of me like a girl from a romantic comedy. So, that’s how I got the name Lukr. I dropped the “e” because I thought it looked a little cooler. Now, looking back, I think maybe that was kind of cheesy–it looks kind of like Tumblr or Flickr or something–but it’s too late and it’s just a name so who cares.
VM: How do you feel like your time with Farewell Flight shaped your music today?
Lukr: I think it had an influence in ways that I don’t mean it to… I think a lot of my lyrics are almost emo in a way. I think I appeal to a lot of millennials that are mid-twenties because it feels like Taking Back Sunday in a way. So, I think it still has that influence on me. There will always be this kid inside of me that’s in the rock and roll band that’s trying to write the song to get the girl. That’s always going to be a part of who I am.
VM: I definitely noticed the emo/grunge lyrics but also the pop melodies that are catchy enough to remember. How do you blend those two genres together?
Lukr: I just want to write songs that appeal to human beings where there’s no “you have to be this cool to ride this ride” kind of thing. I try to write things in a way that’s honest and real for me. Like, for me, “Fucked Up Summer” is about this experience and this person. One of the lines is “Baby, I can be your backseat lover and you can be my fucked up summer.” I picture a specific car, a specific backseat, a specific driveway. For other people, they might picture a totally different car in a parking lot—they have a different story. But there’s a way to write something that doesn’t exclude people that can still have the details in it.
VM: Do you write more about your own experiences or make up stories and then write from there?
Lukr: As of now, I just write a lot of my own experience just because it’s what I know. This is going to sound really pretentious, but I want to be the Springsteen of the millennial generation. I was born in ’85 so I wasn’t the first millennial, but I’m near the top and I feel like I’ve had the experience of what it is to be a twenty-something and what it means to go from teenager to adult and then adult to grown-up, and it’s the weirdest transition. It’s just a weird place to be, and it’s something I feel like I’m still going through, but I’m just half a block ahead of people in their twenties. I’m able to look back and kind of look at it in context and understand it better, and I don’t feel like I’ve got the sand in my eyes as much.
So, I’ll just write about, like, what it’s like to be in love with somebody and then you break up and then they get engaged to somebody else. That’s just a weird, grown-up feeling! It’s more than somebody just moving on–it’s somebody moving on in a semi-permanent way, and you’re like, “Whoa, we’re all just kids still.”
VM: Do you think that style of writing is part of the reason why your songs have done so well on Spotify?
Lukr: Honestly, I feel like it’s just the right place at the right time. Or maybe I was just in the right place all the time, and then the right time just came, so to speak. I mean, nobody had any idea who I was, and I just picked the first song I fell in love with. When the right song came along, it was “Fucked Up Summer,” and I picked it because it scared me. First of all, it has the word “fucked” in the title, and I’ve got in-laws, I’ve got a grandmother and grandfather, I’ve got a mom, I’ve got nieces and nephews–my family is not going to listen to this song. That kind of scared me, but it’s real and authentic and comes from a real place! I think I released that one because it scared me so much. It’s kind of like my rule that if something scares you, then that means you’re probably supposed to be doing it.
VM: On the flip side of songwriting, do you like performing more or less than writing?
Lukr: I mean, songwriting is still my first love, and it’s something that sort of naturally came to me and I’ve spent so much time developing. Creating the art, to me that’s the most satisfying feeling. And then performing it live is kind of like the celebration; it’s like the wedding reception. So, I like them both. I’d say if you’d asked me that question even six months ago I would’ve said, “Oh, songwriting by far is the more fulfilling thing for me.” But I’ve just recently met this amazing girl, and her name is live performance, and I’ve re-fallen back in love with her. It’s like an old flame, and it’s really exciting.
VM: That’s perfect timing since you’ll be taking the stage at SXSW soon!
Lukr: Yeah, I’m excited! This is the first time I’m ever getting to go, and it’s kind of a long-time coming fulfillment for me, but there’s also a lot of pressure on that. Recently, though, I’ve felt that anxiety just melt away, and I’ve felt the excitement. I think confidence is not cockiness—it’s just awareness of your own capabilities. We were rehearsing, and I feel so good about my band, and all of a sudden I just realized, “Oh my god, I’m playing SXSW.” I’m just excited to get out there and do it. I don’t know, I’m feeling very, very fired up about it.
VM: What shows are you playing at SXSW?
Lukr: I’m playing some SX takeover stuff on the way, but at SX I’m just doing this one showcase at Tellers Upstairs [on Tuesday, March 14]. It’s put on by Nashville pop and pop/rock artists, and it’s called The Nashville House. From what I’ve heard, it’s the very first time there’s ever been a representation of Nashville pop at SX. There’s this kind of emerging, really, really, really cool scene coming out of Nashville that’s just all pop stuff, and I think it’s one of the first times the outside world is really going to get exposed to that. I’m honestly just thrilled that they even contacted me to be a part of it!
VM: Is there a certain artist that you’re looking forward to seeing?
Lukr: NAWAS—he’s from Nashville, and I think he’s one of the most exciting things going on that I’ve heard. So, I’m super excited about him, and then obviously there’s a bunch of other awesome artists at The Nashville House.
VM: And, one last question we always have to ask is: barbecue or tacos?
Lukr: Man, that’s a tough question. I used to make a crazy barbecue that I thought was pretty good…but now, I actually eat a pretty much plant-based diet, so I don’t really eat meat anymore. I love to cook, and I love food. Food is my love language…I’d say out of those two, I’d probably go with tacos as my official answer just because I’ve had some amazing vegan tacos. There’s a place in LA called Gracias Madre, and they have these BLT tacos but it’s totally plant-based. They use this coconut bacon, and it’s amazing.
VM: Since you said you love to cook, do you have a signature dish that you love to make for people?
Lukr: I’ve got this thing that I make called “tater queso” [recipe below]. It’s kind of a recipe I got from a friend that I’ve adapted.
Tater Queso
Ingredients:
2 cups potatoes, peeled and chopped (about 2 med taters)
1/2 cup carrots, peeled and chopped
2/3 cup onion, peeled and chopped (about half an onion)
2 cups water
1/2 cup raw cashews (soaked)
2 tsp sea salt
1/2 tsp garlic, minced (or garlic powder)
3 TBSP Earth Balance or Coconut oil (I half this one but it’s better with)
1/2 tsp dijon mustard
2 TBSP lemon juice
1/4 tsp black pepper
1/4 tsp cayenne
1/4 tsp paprika
¼ tsp cumin
2 tbsp of Nooch*
Note:
*Nutritional Yeast (or “Nooch”) is this flaky deactivated yeast that looks and tastes kinda like Cheeto dust. It’s low fat, gluten free (if that’s your thing), and packed with nutrition (B-vitamins, folic acid, selenium, zinc, and protein). Find it at Trader Joes, Whole Foods, Kroger (in the hippie aisle) or just order it from Amazon Prime like my lazy ass does.
Directions:
1. Start by soaking those cashews in water. If you can get a few hours on them in the fridge dope, if not, still dope. Just cover ‘em up so your cat doesn’t F with them, you’ll need ‘em later.
2. In a covered saucepan, put that H20 on til it starts to boil, then reduce to a simmer. Keep a lid on this the whole time cause you you don’t want that water to reduce, we’re gonna use all of it.
3. While that wawa is heating up, start peeling them taters up, and chop em along with the carrots and onion. I like to chop em pretty fine cause they cook faster. Start throwing them in as you finish chopping and measuring.
4. Toss in the rest of that stuff as you measure it out (ending with the drained cashews). Keep that lid on! Let it simmer for a few minutes, but by the time you’re adding the last ingredient, it should be almost done. Give it 15 min or as long as you feel like it.
5. Pour the whole ding dang thing (including the water) into a blender or food processor. Blend that sumbish for longer than you’d think. Like, 5-10 min or until it’s a creamy texture, depending on your blender/processor. Pour it over some cooked pasta, or steamed veggies, or dip unsalted blue corn chips, or just drank it out of the blender like I do.
SXSW 2017: Mise en Scene x Vinyl Mag
With SXSW’s seemingly endless lists of performers all incredible in their own right, it’s easy to get lost in the shuffle. Mise en Scene, however, is one act you definitely do not want to miss. The Canadian quartet effortlessly combines beautiful, heartfelt lyrics with rock instrumentation, giving everyone something to enjoy. Their first full-length album, Desire’s Despair, involved producers Howard Redekopp (Tegan & Sara), Howard Bilerman (Arcade Fire) and Tony Berg (Beck) and gave the band quite an entry onto the scene in 2012. Not only did it have a 16-week run on Canada’s Top 50 national charts, but it also received a 2014 Sirius XM Indies Award nomination. The foursome rode that success all over the world with performances in Barcelona, downtown Paris, Berlin and more.
Stefanie Blondal Johnson (vocals/guitar) and Jodi Dunlop (drums) first founded the Manitoba-based band after bonding in art school over painting. These days, they’ve added friends Corey D Hykawy and Dave Gagnon on bass and lead guitar, respectively. Bringing in the two new members to the group allowed room to create songs with more dimension and sounds, which even further enhances the experience of their on stage performances. Mise en Scene knows how to have fun at their own live shows, and according to Do512, their performances are “soaked with emotion.”
Just a few weeks ago, the team graced our ears with a new release courtesy of Light Organ Records. The song “Show Me You’re Real” is the first single off their upcoming sophomore album, Still Life On Fire and embodies the band’s signature marriage of garage pop and indie rock. Huffington Post calls their sound a combination of “’60s pop with strokes of garage rock” and hears a “beachy vibe, reminiscent of the Dum Dum Girls.” The new album will be released Summer 2017, but until then, fans can sink their teeth into the single as well as their performances at SXSW.
To get us all pumped up for their SXSW sets, we chatted with bassist Corey Hykawy about pre-show band rituals, emotional space and French fries. Check out the interview below.
Vinyl Mag: Tell me a little bit about your musical background.
Corey Hykawy: I played in a couple high school bands—nothing serious—and then I was living in Toronto after college, and I came back to Gimli [Manitoba] for a summer and ended up joining a friend’s band. I ended up staying in Gimli instead of moving back to Toronto and played in Winnipeg, played in a bunch of bands and then eventually joined Mise en Scene. That was about two and a half to three years ago now, and I’ve just been playing with them ever since.
VM: What made you want to jump on board with this band?
CH: I’d known the drummer, Jodi, since we were in high school. She had a high school band, and I remember being like, “if you ever need a bass player I’d love to play with you guys,” but it never worked out. And then I’d seen them play all over Winnipeg, we played shows together, and I always really enjoyed the music, I really liked the songs. They both have connections to Gimli, the small town we’re from, and we’re all just friends so it seemed like a good fit. So when they were looking for a bass player, I threw my name in there, and then it all worked out.
VM: What’s the dynamic like between the four of you?
CH: When we’re writing, it’s very collaborative. But we’re also pretty goofy people, so there’s lots of joking and lots of trash talking and stuff like that… a lot of back and forth joking around and wine-drinking.
VM: I’m sure that relationship makes being on stage together more fun.
CH: Yeah, we all get along so well as friends, and we spend a lot of time together whether we’re practicing or just hanging out. I think that helps a lot—just being close friends and being on stage, and you look over across the stage and you see a good friend, and it’s just like you’re there having fun. It doesn’t feel like work, doesn’t feel like any pressure or anything like that.
VM: You did some touring back in the Fall—what was the most fun part about that?
CH: That’s tough, because there are so many different parts of it that all come together. I love touring, but honestly one of my favorite parts is driving in the van from one city to the next and just talking about the show the night before, or talking about the show coming up that night and how we can make it better, or just listening to tunes on the road and talking. And that’s completely ignoring the whole side of playing while you’re on tour, which is also amazing and fun. It’s hard to narrow it down to just one thing.
VM: What about the most challenging part?
CH: Definitely learning what makes each other tick and when to give someone space and knowing how much emotional space you’re taking up as an individual. Just being aware of everyone’s state of mind…asking someone how they’re doing if they need it. I think it’s just learning to juggle the emotions of four passionate people in such tight quarters when things can be so manic–one day things are going so well, and then the next day you’re stuck on the side of the road with a flat tire.
VM: Do you have a favorite venue you’ve played?
CH: Since I’ve been in the band, we played one in Berlin called Privatclub, and we really liked that venue a lot. I think my favorite would be in Paris when we played the Mécanique Ondulatoire. It was this basement venue, and it looked like The Cavern [Club] that the Beatles used to play in. It had this brick wall, and it was just this really cool, small, dingy basement. It felt like a little punk bar or something like that.
VM: You’ve played a lot of festivals—do you prefer those over more traditional gigs?
CH: We really like playing festivals, because we’re all music fans as well, so you get the best side of music with that. You have your set in the afternoon or evening, and then you have the whole day to watch other bands. Being anywhere where it’s sunny outside in the summer watching music is just the best thing ever.
VM: Do you have any pre-show band rituals?
CH: Not really; we just kind of look at each other. I always try to make eye contact with everyone and give them a little wink or something like that, or just a wink and a smile to let them know like, “hey, let’s do this.” Just hugs and things like that, some high fives, nothing too crazy.
VM: As a performer, what’s your personal mindset when you step on stage?
CH: I don’t really think that much about it, because when I was younger, I kind of got stage fright, so I tried to not acknowledge the fact that I was in front of people. So I guess my approach is just like, we’re in the jam space having fun and not in front of a hundred or two hundred people.
VM: You recently released the single “Show Me You’re Real” off the upcoming album. How does it reflect the rest of the record?
CH: That song is almost the best summation for the album in the sense that it’s a very dynamic song–it’s loud, it’s quiet, it’s fast, it’s slow. I think that that’s a big part of the album. I didn’t write the lyrics, but Stef’s lyrics on the album, that song sums up what she’s going for in all the other songs. It really takes everything and puts it together.
VM: What was the creative process like in making that song?
CH: In the studio when we’re trying out different instruments and different parts, when we have the bass track and the drums down and we’re just messing around with guitar and vocal ideas, that was a lot of fun. The writing process for it was pretty quick. It was one of those songs where they had it written when I joined the band, and then I came in and we didn’t agonize over anything; it just kind of came together. All the parts just naturally fit into place. I find when I’m writing a song that the first thing I play is always the best. I’ll try different ideas or different parts, but it always comes back to that first idea that you play naturally because it’s almost just a reaction to what you’re hearing.
VM: So, for South by Southwest, what shows are you guys playing?
CH: We’re doing the Halifax Pop Explosion showcase at the Swan Dive Patio on March 16. I think that’s also Canada House, which it’s always awesome being around other Canadian bands. And then we’re at Esther’s Follies on March 18 for a showcase.
VM: If a new listener sees your band name on the schedule, how would you sum up what they’re going to hear?
CH: They’re going to hear loud, jangly guitars, some distortion, some reverb. They’re going to hear some sultry vocals from Stef, some infectious melodies coming out of the guitar, and a driving rhythm section with Jodi and I. Just an all around fun time–we try and have as much fun as possible!
VM: Who are you most looking forward to seeing at SXSW?
CH: It’s insane how many bands are there, it blows my mind. Every year that we go, I’ll go through all the bands that are playing and scroll through, and then either based on a town that they’re from or a genre or the name, I’ll just randomly click on the band and listen to a song. I was doing that this year and found this band called Aero Flynn from Eau Claire, Wisconsin, and I listened to their record and it blew me away. So, I’m really excited to see them. Eric Slick, who’s the drummer from Dr. Dog, is releasing an album and he’s playing there. I really want to see him. He’s a fantastic drummer, and I’m not sure what to expect from his solo music.
VM: Now, our last question that we always have to ask is: do you prefer barbecue or tacos?
CH: I’m definitely a barbecue guy. You know, a burger on the barbecue prepared any way is never a disappointment for me—a burger is just the food for me. You put some fries next to it, and I’m the happiest guy ever. Jodi, our drummer, she and I both love, love French fries, and that’s probably our main meal on tour.
David Barbe Talks February Residency at The World Famous
Leave it to David Barbe, Athens local and University of Georgia professor, to schedule a show on a Super Bowl Sunday.
Beginning a month-long series of intimate sets at the World Famous with his band David Barbe and the Quick Hooks, Barbe played a solo set Sunday, Feb. 5th to a pleasant crowd, which is saying something due to an unpleasant end to a Georgia sporting event (shocker).
Barbe says he didn’t realize his show was scheduled during the game at first, but decided to keep the date once he knew. No one else in his band wanted to play that date, but Barbe liked that it was a strange thing to do, so he decided to play a solo set for his first performance.
“Now I can say I played the Super Bowl,” he jokes.
He began this series of performances with a stripped down, raw compilation of recently written originals. The small venue made for an intimate, cozy atmosphere. Listeners sat either at tables in front of the stage or at the bar, drinking and eating snacks, and chatting quietly while listening to the moving set.
Barbe performed new compositions, one of which he stated was more of a poem than a song, while interacting and speaking with the crowd. His abstract performance created a unique and enjoyable experience for the listeners.
Barbe played four weeks straight at World Famous, with every show delivering a different sound. He was accompanied by various versions of his band The Quick Hooks, as well as other special guests.
The main group that appeared includes Frank McDonald and Joe Row of The Glands, John Mills of Blood Kin, John Neff and Jay Gonzalez of Drive By Truckers, and Kyle Spence, drummer for Kurt Vile.
Some of the openers include Juan de Fuca, Jay Gonzalez and T. Hardy Morris.
Barbe stated that every show would contain a different combination of players on different instruments with a different setlist. During the show on the 12th, the ensemble didn’t have a drummer, so Barbe jumped on the kit himself while continuing to sing.
Every show contained a lot of freedom for the musicians to change up the setlist and improv. Barbe said he was expecting a lot of creativity and connection from these shows, promising “a lot of creation on the spot.”
Barbe prefers this type of show to a typical, outlined performance. He enjoys freedom to change his sound and be connected to his music in the moment. He stated that he is wary of falling into a routine, as it may dampen creativity.
“When you do something for a long time, you can get into a rut. I don’t like that. I play music for the way it makes me feel. I’m not concerned with being bound by a setlist.”
Barbe is known for shifting from ensemble to ensemble—he says this is healthier for his creativity and forces him to constantly rethink his sound.
Constantly playing with different musicians seems to be a catalyst for his ingenuity. This unique series of shows is definitely a testament to that.
Barbe describes the feel of these performances as “quiet, weird, tripped out and unpredictable.” And they were indeed that.
Some reincarnation of the Quick Hooks has played each Sunday in February. Catch Barbe’s last show of this series tonight, February 26, along with T. Hardy Morris opening.
Morris will begin at 8 p.m. and Barbe’s set will begin at 9.
David Barbe is also in the process of recording a solo album, due to be released this summer.
Camp In 2017: David Lowery x Vinyl Mag
David Lowery, frontman of Camper Van Beethoven and Cracker, professor at the University of Georgia, and general music-business-Renaissance-man, is preparing for the 17th annual Camp In festival taking place at the 40 Watt Club in Athens, GA.
Although previously located in Pioneertown, California, at Pappy & Harriet’s Pioneertown Palace, Camp In has taken place at 40 Watt Club for the past four years.
Lowery claims that this festival is geared specifically toward CVB and Cracker fans; there are multiple sets with different reincarnations of the bands, unique combinations of members, and re-imaginings of original material.
In keeping with the tradition of Camp In, Lowery says that there will be a variety of combinations of musicians playing sets during the festival. Performances will include a solo set with David Lowery (which he excitedly informs me is also a pizza party), a performance by Johnny Hickman at Hendershots, and an acoustic set with Lowery, Johnny Hickman and Peter Case “Pistol” (the “Trippy Trio,” as Lowery calls it) —which plays some reinterpreted, abstract approaches to Cracker songs. There will also be performances by Edward David Anderson of Backyard Tire Fire, The Heap, The Darnell Boys, Ike Reilly, Peter Case, Daisy, Eric Bachman and The Drapes.
When it comes to playing with two bands, Lowery explains that basic differences lie in the songwriting of CVB and Cracker, and therefore in the music itself. CVB, for one, tends to be more instrumental. According to Lowery, CVB began as a side project for the members, so each musician chose an instrument other than their primary one to play. (Lowery switched from bass to guitar/lead vocals.) He adds that their songs began with a simple structure and then gradually became more complex over time.
“When I’m writing, I’ll wake up in the morning, grab some coffee and just go through the lyrics or melody motif over and over until I find something,” says Lowery. Then, with a general idea for the song hashed out, Lowery would meet with the rest of the band to develop the idea by co-writing or recording a demo.
When it comes to Cracker, however, Lowery says the songwriting stays more in that second stage of co-writing with the band. He observes that there tends to be “more formal co-writing,” and he will also occasionally go to Nashville for sessions with songwriters to co-write material with him.
Over the years, Lowery says songwriting with his bands has remained very much the same, although writing his new solo album Conquistador took him on a completely different path. The central concept for the album had been on his mind for around 10 years. “There were lots of false starts. Then one day, I just had a bass drum—a marching band bass drum—and a mic, and it just sort of came together.” With the instrumentation in place, Lowery began reading the lyrics more like poetry or spoken word, and his abstract ideas finally solidified.
It seems nonsensical to talk to David Lowery (someone very outspoken about digital advancements and their relationship with musicians’ rights) and not to touch on streaming, so I asked him about how (and if) it affects his songwriting.
“It definitely makes it more challenging,” he tells me. “In the past, we would get a recording advance. Now, it’s not so much a priority to put out an album. We won’t set aside time to do it. Instead, I just try to squeeze it in the margins.”
Since releasing an album isn’t as lucrative as it once was, Lowery says he doesn’t actively take time off from his responsibilities of teaching or touring for creating an album; instead, he fits in writing when he can or when ideas come to him.
Shifting back to the festival scene, Lowery recalls a favorite memory of Camp In. “I pulled my wife up on stage and played this song ‘Palace Guards’ to her. It was almost like a stand-up comedy routine. I posed it like a love song—the audience loved it and thought it was funny. She had tears in her eyes; it was too funny. Now it’s hard for us to keep playing that song and take it seriously.”
Be sure to catch Camp In featuring Cracker and Camper Van Beethoven in Athens, GA at the 40 Watt Club from today, January 19 through Saturday, January 21. Tickets are available at crackersoul.com and 40watt.com.
Vinyl Video: Power 96.1 Jingle Ball 2016
What better way to send off 2016 than with a star-studded mega concert? iHeartRadio’s Jingle Ball series delivered this year, with a lineup that changed in every city and featured just about every Top 40 artist currently on the charts. We got in on the action at the Atlanta show – hosted by Power 96.1 – and hung out with some of the biggest names in music.
We showed you the artists’ red carpet looks, but most of the noteworthy moments happened onstage and in between sets. We saw Fifth Harmony perform one of their last shows as a five-piece and witnessed Joe Jonas feed someone a hardboiled egg backstage. We also almost physically ran into Ariana Grande, who is stunningly beautiful and moves quietly and quickly, trailing behind her a cloud of Chanel No. 5. The strange environment was a fitting place to close out a strange year.
Check out our video recap featuring clips from the concert, as well as interviews with Jingle Ball artists Lukas Graham and Daya.
Artist to Watch: The Vinyl Suns
On a rainy November night in Athens, Ga., a muffled, distorted guitar can be heard through the walls of a home off of South Milledge Avenue.
The distinguishable sound is the work of fresh-faced Athens darlings The Vinyl Suns.
Formed just recently in August of 2015, the four-piece has established themselves as one of the most prominent bands in the city, playing blues, rock, and “a hint of everything.” To prepare for their upcoming gig at the local 40 Watt Club, the band is holding a practice to work on finalizing their set list.
The practice is held in a rustic room that has been gutted and stripped down to accommodate instruments and other musical gear; equipment is strewn about the garage-like space, furnished with a couple of sofas, an oriental rug in the center of the cement floor, a large Walter White poster filling one of the walls and a cooler with a lid that features the album artwork for Chance the Rapper’s Acid Rap.
Lead guitarist Chris Callahan explains that they are guests in the home and that the owner works at the Georgia Theatre. “We put up an ad saying we needed a place to practice, and he answered,” he recalls.
In the college town that produced R.E.M. and The B-52’s, it’s not at all odd for music lovers to lend each other a helping hand. In one corner of the room, a stack of old posters for Georgia Theatre shows that have come and gone serve as mementos for the homeowner and more décor for the practice space.
The bassist has yet to arrive, so the three present band members are not in full practice mode. Classically trained drummer Jack Lloyd strings Christmas lights around the floor and his drum set, while Paxton McClelland, guitarist and lead singer, is tuning his electric with his shoes off. Chris is working on a riff, and Paxton joins.
“Give me the freshest thing on your head. Besides your hair,” Paxton quips.
Chris’ strumming slows and his mouth gapes as he loses focus: “I don’t work good on the spot.”
When left to his own devices, his fingers move up and down the frets like the strings are laced with butter; the more complex the movements, the tighter his eyes squeeze shut.
Just as Chris and Paxton get into their groove, bassist Trae Berry arrives, sneaking in the door with his bass and a Wendy’s bag in tow, a hoodie protecting his long hair from the rain outside. He finds his way to an office chair and plugs his bass into an amp, merging seamlessly into the current jam session that has broken out.
The topic of today’s practice is deciding what song they’ll mesh into the end of one of their originals at their gig at the 40 Watt.
“I think we should do ‘Seven Nation Army,’” says Trae, earning the approval of Paxton.
Chris is on the fence, and Jack isn’t shy about his dislike for the track, “I hate that song. It sucks. It’s just so simple.” While seemingly harsh, the playful bickering is how the band comes to reach an agreement on artistic decisions.
“Well, Bo Diddley only knew how to play one thing. That’s why everybody loved his shit,” Chris retorts in a voice mimicking that of the blues legend. He starts improvising melodies on his electric as Jack and Paxton catch up.
Trae stands up and observes the three of them from the middle of the room with his arms crossed, intently watching and analyzing, evoking an image of an ingenious mad scientist. As the only member of The Vinyl Suns who doesn’t attend the University of Georgia, Trae gives music lessons in his hometown about an hour away from Athens. When the improvised jam session is over, and the group returns to debating their cover song, Trae has some more input, “I don’t want to just play song after song on our set list. I want it to be a memorable experience.”
After a few more moments of deliberating, they decide to take a break. Chris and Paxton both walk outside with unlit cigarettes hanging from their lips.
“I’ve been playing guitar since forever. I couldn’t even tell you when I started playing. My dad played in a band and got me into it when I was really young,” says Chris.
When Jack and Trae eventually make their way outside, they all begin reminiscing about their formation while Brenda Lee’s “Rockin’ Around the Christmas Tree” blares from inside the practice room, courtesy of Jack.
“We lived right next to each other,” says Paxton, pointing at Trae, “And he was always playing guitar. And I played guitar but I kind of sucked.”
The lessons turned into jam sessions with Chris, who they knew from high school, and they became a more serious group. But, they were still in need of a drummer. They knew Jack as one of their friend’s new “random roommates,” and happened to be there on the day he moved in.
Jack cuts in, wanting to tell the story from his perspective, “Within two hours of me moving to Athens – my mom hadn’t even left yet –somehow the news came around that I played drums. Chris was like, as he was walking out, ‘Hey, I heard you play drums.’ So, the day I came to Athens, I joined a band.”
“I think we should play ‘Time’ all the way through,” interjects Trae, shifting gears.
Chris asks for clarification, “Pink Floyd’s ‘Time’ or our ‘Time?’”
The “Time” Trae is referring to is shorthand for the band’s original, “Time Keeps Slippin.’”
The track embodies the band’s collective persona, clever and cheeky with “a hint of everything.” As they practice the song they’ve played at least a hundred times before in the empty practice room, they perform with an energy that would suggest they were standing in front of a packed house at the Bowery. This is the passion that they bring to their art. It’s in the contortion of Chris’ face when he slides his fingers over the neck of the guitar and the power of Jack’s drum hits. It’s in the gruffness of Paxton’s vocal and the rhythm of Trae’s bass. Music is not just their craft; it’s part of them.
Listen to The Vinyl Suns
Alessia Cara x Vinyl Mag
At just 20 years old, Alessia Cara already has three certified singles under her belt, one of which is double platinum “Here,” which rocketed the singer-songwriter to pop stardom. Currently wrapping up touring for her debut album Know-It-All, Cara took some time to talk to Vinyl about her latest single and what fans can expect from her next record.
VM: First let’s talk about “Scars to Your Beautiful.” It’s a great song with a beautiful message. What inspired you to start a sort of self-love campaign surrounding the single?
AC: That’s exactly what the song is, you know, it’s a self-love song. It’s about tough love and embracing yourself and all different kinds of beauty. Of course I’m not 100 percent perfect at it but actions should always match words, which is why I’m doing stuff like not wearing makeup during TV performances.
VM: It’s climbing the charts. Congratulations on that. Canadians are all over the pop charts in the United States right now. You, Shawn [Mendes], Justin [Bieber], Drake, The Weeknd… when you come to the U.S., is there anything you miss about Canada?
AC: Tim Hortons. It’s a better, cooler version of Starbucks.
VM: Are you working on album number two?
AC: As an artist, you’re always creating. I haven’t had time to lay anything down in the studio yet, but I’m plotting it out.
VM: What’s the vibe? Is it more R&B or pop or are you experimenting with your sound?
AC: It’s hard to tell right now because everything is acoustic. A lot of it sounds like my usual stuff, and there’s a lot of soulful stuff too, which is my roots.
VM: When you make your music are there any artists you look to for inspiration?
AC: There are artists who have their own sound, like Frank Ocean, Amy Winehouse, and Drake. They have an identity; you can always tell it’s them. I try to make music so that you would you be able to tell it’s me.
VM: Any new albums you’re into?
AC: There’s so much new music. Frank Ocean’s Blonde, Anderson .Paak’s Malibu, Chance the Rapper’s Coloring Book, JoJo’s new album, and Banks’ new album.
VM: What’s an album you never get tired of?
AC: Amy Winehouse’s Back to Black.
VM: If you could bring back one artist from the dead who would you pick?
AC: Amy Winehouse.
VM: Acoustic or electric guitar?
AC: Electric.
VM: Coffee or tea?
AC: Coffee.
VM: Take Care or Nothing Was the Same?
AC: Take Care.
VM: Prince or MJ?
AC: Prince for musicianship. MJ for his presence.
VM: TLC or Destiny’s Child?
AC: Destiny’s Child.
VM: Since it’s almost Halloween we’ll end with this one. What’s your favorite scary movie?
AC: None of them. I hate scary movies.
This interview has been edited and condensed for clarity.