Tell us about your tour vehicle.
Currently I have a 2011 Toyota Sienna with 258,000 miles on it. It basically goes through brakes and oil changes but it is a rock solid vehicle and knock on wood, still running like a champ. I took the two rear seats out so I can fit a healthy amount of gear, plywood and lumber, upright basses you name it really. I’ll probably get another one in the future.
How do you eat cheaply and/or healthy while on tour?
Well, that is always a challenge. Your hours of operation tend to change a bit and as you get a few shows in. I have been doing intermittent fasting where I basically have a window of say, 10am to about 6/7pm where I eat but sometimes that is not always easy given your routing or hotel proximity to something decent to eat. Procuring coffee is usually the first order of the day and with a “fancy” coffee shop usually comes the breakfast sandwich or toast etc. That is usually good for the duration of the drive day.
Dinner is sometimes provided by the venue or in the form of a buyout or sometimes the rider will provide enough to get you through the show. However, if soundcheck takes too long and cuts close to showtime, a burger wolfed down in that space will not do you any favors. Better to wait and get some grub afterwards.
How many strings do you break in a typical year? How much does it cost to replace them?
When I’m touring as a bass player, I don’t bring any extra strings as I hardly ever break them. In fact, the last time I broke a string was in the early 2000’s when I was touring with Twinemen. I remember opening my case at a club in Philadelphia and noticed the G string (insert your own joke here) had snapped for some reason. I played the entire tour with three bass strings to a tour’s worth of remarks from people that the 3 strings were a nod to Mark Sandman. It wasn’t but I smiled and played along. Mark played 2 strings and the only similarity between myself and Mark was that I was playing with the same folks as he as well as the great Laurie Sargent.
I find it pretty difficult to break bass strings given the way I play and what I play when hired. Also, there is a shared belief among bassists that the older the strings the better they sound. If you are breaking bass strings either you are incredibly passionate whilst you play or there is something amiss with your instrument. Perhaps you have a burr in the saddle or the nut is chewed up maybe?
As for my solo stuff where I play guitar, I definitely bring an extra set of Curt Mangen strings for both the acoustic and baritone guitars. I try to change them once a tour. I know folks are more religious about changing strings but that feels fine for my deal. I don’t beat on instruments too hard in general.
Where do you rehearse?
I built a studio in my home at the top of the pandemic and have been fortunate enough to write, demo and rehearse my stuff as needed. Most folks I know have similar situations. Sometimes I get together with Mike Castellana in his space because moving the pedal steel can be a chore and it’s easy enough to bring my stuff to him. Mostly though, the talented people I get to play with are the kind of folks that learn the material ahead of time and show up knowing the tunes. That approach has always kept the music fresh when performing live or even recording in the studio. I enjoy that process immensely. I have an idea of what I want but it’s generally a loose outline. Some artists are very loyal to what they hear and that works for them. If I had to have very specific parts for everything I write, I think I would become bored very quickly. The songs have a life and are always going to dictate what they need if left to do so. If you surround yourself with players of that mindset it’s pretty rewarding to see the music flourish.
What was the title and a sample lyric from the first song that you wrote?
The first song I ever really wrote as an attempt to be a songwriter was a song called “Stepside”. Myself and Bow Thayer had a quasi bluegrass outfit called Jethro in which I played acoustic guitar and he played banjo. Bow is very prolific and it inspired me to write and contribute to what we were doing.
“I sat right down just to my shoes / I listened to the wind sing the evening news / smoking stale butts all afternoon / the grass was whistling all in tune”
Describe your first gig.
The first gig I ever did? Ooof. Most likely a party in high school and there were many. First gig in Boston was in Kenmore Square at a place that used to be called Narcissus…I can’t even remember the name of it. I was 19 maybe? Prog rock Berklee band. Might have made $20. Unfortunately, not a lot has changed as far as local music goes.
What was your last day job? What was your favorite day job?
I am a carpenter by trade and have always maintained my ability to do so as it’s a solid means to get by. I started when I was young and was taught by the best. It supplemented my income as I was pursuing music. The folks I worked with supported my music goals and were always patient with me going out and coming back.
When my son came along, I took a major step back from touring to be available for him. I have managed to keep my ‘foot in the door’ with music so to speak but I do not hit it (tour) as hard as I used to. That has started to change as my son gets older but I still hustle a mix of recording, playing and woodworking to get by.
How has your music-related income changed over the past 5-10 years? What do you expect it to look like 5-10 years from now?
Before my son came along, I had high profile gigs and the income was steady for sure. Staying busy and being gone to earn was just how it worked. The myth of hired guns making a fortune while working for successful artists is just that, a myth. The most rewarding aspect at that level is knowing you are earning a living doing what you were meant to do in life. Musicians are going to play no matter what. You can’t stop that and you’d be foolish to think so.
As for my solo thing, I understand that I am starting out just like everyone else has. It’s a different landscape than it was 25 years ago. Your chances are still the same at being recognized but the manner in which you are is completely different. Popularity does not translate into units moved and subsequent notoriety by the forces in play like publicity and gig stature do not really seem to coincide with that formula. Viral numbers and projected popularity are such bizarre metrics to me and I constantly question the nature of perceived artistic value as we continue down this road. To play my own devil’s advocate, I do believe there is no shortage of wonderful art and music out there. However, when everything is so democratized the risk of homogenization rises and actual staying power continues to be compromised making it harder for the good stuff to rise to the top.
What one thing do you know now that you had wished you knew when you started your career in music?
Remembering the pure joy and relief that playing and singing provides without an audience is incredibly important. It’s a superpower and always keeping that in mind as you pursue your journey is absolutely paramount. You are far more convincing to others when you truly believe what you are doing.