On a Sunday afternoon, I relish flipping through ‘old’ music magazines, seeking out hidden musical gems. In a 2022 issue of Shindig!, I stumbled upon an article discussing “This Better Be Good” by Peter Donovan—a discovery I had previously missed. Since then, immersing myself in its fusion of power-pop and Americana, accompanied by compelling narratives, has been a delight. Unearthing eleven exceptional songs within that album made for the most fulfilling Sunday afternoon spent in a while.

Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

During the summer of 2020, amidst a pandemic-induced writer’s block, I sought inspiration from the Beatles. I challenged myself to learn and play a new Beatles song every day. Sharing these covers online kept me musically active and connected with friends throughout the isolation period. This practice also reignited my songwriting spark, culminating in the collection of songs for ‘This Better Be Good.’

Once the lockdown was lifted, I was eager to get into the studio. We recorded the album live over three days at Strange Earth Studios in Seattle. Our goal was to capture the spontaneous energy and camaraderie of a band together, something we had sorely missed.

Albums often involve collaboration with various musicians and producers. Could you shed light on how these collaborations contributed to shaping the album’s identity?

Collaborating is my favorite part of making music, and this album certainly wouldn’t be what it is without all my wonderful friends.

Our producer, Bradley Laina, was the mastermind behind the scenes, crafting the album’s organic sound. William Mapp’s drumming infused a thoughtful groove, propelling the narratives in the songs. Dune Butler on bass and synthesizers added a lively pulse and texture. Charles Wicklander’s work with pianos and organs created an atmospheric mood and ambiance. Finally, Cole Schuster’s unique flair really shines, whether it’s through a heartbreaking solo or a catchy riff; his guitar work is the thread that ties the album together.

If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?

Three songs that come to mind from this record —

“This Better Be Good” — I told a friend of mine that I was thinking about recording my first solo record, and her response was – “This Better Be Good” – which I thought would be a perfect title. This song sets the stage for what listeners can expect – a mix of power-pop and Americana with a good story.

“Sweet Trouble” — Inspired by Randy Newman and Conor Oberst, this track delves into the complexities of a budding romance and the messiness of human connections, a recurring theme throughout the record.

“Phone Call From A Ghost” — My favorite track on the album, inspired by a book of scary stories from my childhood. The song explores themes of memory, regret, and the unexpected ways the past can resurface. I particularly admire Bradley’s production and the band’s performance, which gives the song an eerie nostalgia.

I think these three tracks represent my overarching goal for the album — to create memorable songs and tell compelling stories.

Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?

This past October, I opened for Dan Bern at the Tractor Tavern in Seattle, WA. Aside from the Tractor being my absolute favorite place to play, Dan Bern has greatly impacted my musical journey, from awed listener to performer.

When I was first learning guitar, songwriting felt like a distant dream. Writing lyrics, in particular, seemed like a dark art. But things changed when a friend gave me her copy of Dan Bern’s first record. It was a revelation. The words were simple and conversational, but the stories were rich with depth, honesty, and humor. Hearing that record was the first time I thought, “I could do that.” (or I should try, at least).

The energy of the crowd, the familiar backdrop of the venue, and sharing the stage with a songwriter who had been such a significant influence and whom I had long admired made the night unforgettable.

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

I have a couple of exciting things on the horizon. I’m finishing up my second record, “Community Theatre,” which will be coming out sometime in 2024. The album is a collection of vignettes that reflect a small town’s inhabitants’ dreams, desires, and dramas. For this project, the goal was to explore a more intricate musical direction, and we built lush soundscapes around the band’s live performances, with Bradley again at the helm as producer. 

I also wrote three original songs for the upcoming film Red Right Hand, starring Orlando Bloom and Andie McDowell, due next year. Crafting songs for this project, which span various genres, from Appalachian roots music to 1970s gospel, was an enjoyable challenge.