JD McPherson - Our 10th Anniversary Celebration

Presented/Guest
JP Harris
Date
Monday, April 1, 2019
Time/Doors
DOORS 7 | SHOW 8

SOLD OUT

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On April 1, 2009, The State Room opened its doors for the first time and the legenday Stanley Clarke delivered a show that we will never forget. We are estacitc to welcome back JD McPhearson to help celebrate the 10th Anniversary of The State Room.

“I was having nightmares every night, thinking, ‘Wow, they’re going to hate this,” says JD McPherson.

When he talks about his new album, Undivided Heart & Soul, there’s no glimmer ofself-adulation, or even the confidence one might expect of a veteran artist. Instead, there’s a snapshot of McPherson’s creative process bringing the record to life, a journey filled with fear and change, then boldness, and, eventually, catharsis.

The best rock music has a story to tell. This record chronicles a series of upheavals, frustrations, roadblocks, and kismet—a cross-country move, failed creative relationships, a once-in-a-lifetime career opportunity, and learning to love making music again by letting go.

McPherson calls moving his family from Broken Arrow, Oklahoma, to East Nashville a decision based “on opportunity” and one he was reluctant to make but notes the profound influence the city has had on his new crop of songs.

“Up to this point, I thought I knew what I was doing with songwriting, that I don’t do this or that,” McPherson says. “Writing with people who co-write for a living...maybe I saw myself as John Henry, and them as the steel-driving machine.”

Along with collaborations with fellow Oklahoman Parker Millsap, Butch Walker, and Aaron lee Tasjan, McPherson’s selections for Undivided Heart & Soul include many deeply personal themes: “Let’s Get Out of Here While We’re Young” shares writing credits with longtime bandmate Ray Jacildo and McPherson’s wife Mandy. He also delved into character profiles, both fictional and based on real-life experiences, stories McPherson has held onto but never thought of as fodder for songwriting, such as the Las Vegas bus station interlude detailed in “Style (Is a Losing Game).”

“That seems like a pretty normal thing for a singer-songwriter to do, to write about personal experience, but I really have never done that,” McPherson says. “It felt great but it also was tough at the same time. The thing is, John Henry is trying to beat the machine because he’s in awe of it. It was a lot of me saying, ‘You’re really good at this, and I have a hard time doing it.’”

With a group of soul-baring tracks taking shape, McPherson and crew scheduled studio time to help force the issue. It quickly became apparent that these sessions were not going to work, bringing McPherson’s momentum to a halt.

To clear his head, he flew to Los Angeles at the invitation of friend and longtime supporter Josh Homme of Queens of the Stone Age, who was also recording at the time. McPherson, Homme, and his Queens bandmate Dean Fertita played around with some songs, with Homme pushing McPherson outside of his comfort zone in a no-stakes environment.“His thing was, ‘I’m going to throw all kinds of crap onto your songs that you’re not going to want to hear, and you’re going to play ridiculous stuff you wouldn’t normally do,’ and Dean was kind of the calming presence,” McPherson says.

McPherson calls the getaway “the most fun I’ve had since I was 15 years old” and returned to Nashville with a clear head, internal filters successfully stifled, ready to move forward.

That fresh perspective in tow, McPherson learned that the long-shot “backup” studio, the legendary RCA Studio B in Nashville, was willing to host his band for the making of the record. RCA Studio B was fundamental to the creation of the “Nashville Sound,” and the ghosts of some of the greatest songs in history live within its walls: Dolly Parton’s “I Will Always Love You,” and Elvis Presley’s “Are You Lonesome Tonight?” among them.

Artists who choose to record at Studio B are met with a rigorous list of requirements, including using a recording method appropriate during the studio’s heyday. Since the studio is a working museum by day, the entirety of McPherson’s workspace had to be reset at night: Load in all equipment in the late afternoon, work until 3:00 or 4:00 a.m., and leave no trace nightly.Repeat. Repeat. Repeat.

“Those rules would probably turn a lot of bands off, but they turned us on, 100 percent,” McPherson says. “I really love walking into a classic studio as much as I love getting my hands on a really old guitar. I like knowing that something was used for a long time and has good things in it.”

But this isn’t an old Nashville record, by any measurement, nor is it the record McPherson set out to make, with credit due to co-producer Dan Molad (also the drummer for Lucius).

“There’s a pretty broad gap in our tastes, what we do and what we’re into,” McPherson says.Where he’s as likely to lean on The Cramps as he is Irma Thomas for inspiration, Molad’s left-field production suggestions included a Casio synthesizer and running a Fender Rhodesthrough a tape delay. (McPherson nixed the former; the latter became the signature sound of one of the record’s tracks.) “We ended up learning a lot from each other, and he did a lot of stuff I’d have never thought to do.”

During the song “Let’s Get Out of Here While We’re Young,” JD sputters the line “We’ve worn out all the songs we’ve sung.” This is not a statement McPherson takes lightly.

“This record was difficult for me to make, difficult to write, difficult to record. It took a lot for me to say that I can’t force these songs to be the way people are expecting,” McPherson says.

Undivided Heart & Soul is a statement record, one that asserts McPherson as he is now, battle-weary but stronger than ever.

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JP Harris

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In today’s musical culture, the word “authenticity” has pretty much lost all meaning. What used to represent something bona fide and true is now just watered-down marketing speak, stamped onto press releases without a second thought.

Born in Montgomery, Alabama in 1983, JP Harris doesn’t fancy himself so much a musician as he does a carpenter who writes country songs. After finishing the eighth grade, he boarded a Greyhound in the middle of an early summer night, and scarcely looked back.

He traveled the country, often alone, hitchhiking and hopping freight trains while making his living as a farm laborer, shepherd, woodsman, and carpenter, among many other titles.

Still an in-demand carpenter to this day, Harris has been writing and performing country music for nearly a decade now, releasing his debut album, I’ll Keep Calling, in 2012. He followed that album with Home Is Where the Hurt Is in 2014, which only saw his star rise both among country fans and critics at major outlets like Rolling Stone. JP was also referenced by Eagles front man Don Henley in a 2015 interview with Hey Reverb as making “thoughtful, authentic music.”

With his forthcoming album “Sometimes Dogs Bark at Nothing,” he’s back after a four- year hiatus to remind folks what a lifetime dedicated to country music really looks and sounds like. Sure to please fans of his hardscrabble earlier work, this new release also finds the acclaimed songwriter and vocalist stretching himself musically and personally. It was one of the tougher albums Harris has put together, with a disappointing few false starts that would eventually yield a fruitful situation from which he could work.

“I feel like I was trying to make this record for two or three years before we actually got around to making it,” Harris says. “I had written at least half of the songs a couple years before we got close to a plan of how to make it. I really wanted to wait for the right situation to come up before I made this album. A lot of things changed in my life between when I made my previous album and when we decided to go into the studio last year to make this one. I felt like I had a very different approach to life and music in general. It was really important to wait for the right situation to coalesce before I dove into making something new.”

In addition to taking a little more time planning Sometimes Dogs Bark at Nothing, Harris also changed up his approach to recording. Working with producer (and Old Crow Medicine Show member) Morgan Jahnig, Harris tapped a handful of his favorite players, sent them acoustic demos of the album’s tracks, and gave some pretty specific instructions: “Take the next five days to think about these. Please write notes of whatever ideas come to mind. Please don’t talk to each other about it. Let’s all just get in the studio on day one and compare notes as we go.”

The resulting sessions had an air of spontaneity and a palpable creative energy, both of which lent themselves to an album that feels real, raw, and more akin to a live performance than anything Harris has put out thus far. “We took a counter-intuitive approach,” he says. “We had no pre-production. There were no rehearsals. We basically had a whole studio full of multi-instrumentalists, a six-piece band total, for the whole recording session. Everybody played at least two instruments. It was a really interesting way to do it and I think it helped us avoid anybody, including myself, overthinking the songs.”

Sometimes Dogs Bark at Nothing opens with “JP”s Florida Blues #1,” a hard- driving country rock number that details some of Harris’ darker days touring Florida with his band, the Tough Choices. “This track is special to me in many ways,” he says. “Not only was it fun as hell to record, but for me it’s a humorous way to process a very real and very dark stretch of time from my past. Once I was far enough away from it, the story became a little easier to recount in a near- comical fashion.”

It’s followed by “Lady in the Spotlight,” an affecting song with layered strings that turns a critical eye to the stark gender imbalance within the predatory music industry. Here, Harris and Jahnig took an unconventional approach to powerful effect.

“It’s the story of a small town girl, buying a one-way flight to California with a guitar, only to find that her body and not her talent is the only way she can leverage her dreams into being,” he says. “It’’s a tale that many could imagine being true back in the ‘60s or ‘70s, and I believe that many music fans assume that as an industry we are “past that time” without realizing it is a very cruel reality still faced by many female artists still today.”

Another album highlight is “When I Quit Drinking,” which, as its title suggests, is a tender look at one of Harris’ most personal struggles. Gossamer strands of pedal steel complement the gentle quaver in his voice, and the songs’ lyrics are some of his most personal to date.

“As some of my songwriting becomes more introspective or true-to-life, I tried to offer something universally identifiable in this one,” he says. “Though almost all of my songs are in some form true stories from my own life, I also feel the right to keep some things my own personal business. With this song I was able to vocalize one of my own struggles, with the hope that it helps someone else through theirs.”

In just about every way, Sometimes Dogs Bark at Nothing is a recorded manifestation of Harris’ growth over the last four years. He’s become more comfortable in his singing, more confident in his artistic direction, and more adventurous in his sonic palette. He’s letting listeners in to some of his most difficult struggles and turning a compassionate eye to the struggles of others.