102.5 The Bull presents Heartstrings for Hope with Jerrod Niemann, Dustin Lynch, Gloriana, and Kristen Kelly

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102.5 The Bull presents Heartstrings for Hope with Jerrod Niemann, Dustin Lynch, Gloriana, and Kristen Kelly Wednesday, February 20, 2013 07:00 PM Tin Roof Birmingham, Birmingham, AL
Admission Type Price Quantity
Tickets Available at Door
Performing Artists (Click on Artist for Reviews and Previews
  • Jerrod Niemann

    Jerrod Niemann

  • Dustin Lynch

    Dustin Lynch

  • Gloriana

    Gloriana

  • Kristen Kelly

    Kristen Kelly

Show Details
  • Ticket Price: $25.00
  • Show Type: Country
Jerrod Niemann:

While writing and recording his new album, Jerrod Niemann immersed himself in the history of country music. A student of music theory and production—he majored in Performance Art Technology at South Plains College in Levelland, Texas—Jerrod pondered a question that is heard more and more frequently these days: Just what exactly constitutes country?

His answer to that query can be found in the musically and technically groundbreaking Free The Music. “This album is my interpretation of how I feel about country right now,” Jerrod says.

The follow-up to his Sea Gayle Records/Arista Nashville debut Judge Jerrod & The Hung Jury, which debuted at No. 1 and yielded the No. 1 hit “Lover, Lover” and the Top 5 single “What Do You Want,” Jerrod’s sophomore album emphasizes the early instruments that have shaped the genre: acoustic guitars and bass, fiddles, and even horns.

“The pedal steel guitar has come to define country music, but there were years and years of country being made before that instrument was even invented. Horns have been in country going back to the 1920s. And fiddles and other string instruments date back even further. I took all those things and put them on Free The Music,” Jerrod explains. “I made this record in an effort to try and mix 1927 with 2027, but I didn’t want to disregard 100 years of what people have already done musically. Instead, I wanted to take that and do it in a way that is also representative of the future.”

The result is an adventurous release that redefines the listening experience. A “headphones album” if ever there was one, Free The Music is a sonic journey through a multitude of styles, including country, rock, honky-tonk, Dixieland jazz and reggae.

While exploring these sounds, the Kansas native says he sought inspiration in the outside-the-lines approach of two seminal outlaws. “Willie Nelson and Waylon Jennings were very progressive in their day, and they were getting harassed by people who said, ‘Hey, that’s not country.’ But the mistake many artists make when they first come to Nashville is that they want to be those guys so badly that they get stuck in time. It’s our duty to have our own voice and come up with our own way of saying something,” Jerrod stresses. “Icons like Alabama and Ronnie Milsap did that by using pop melodies. But when you hear their songs today, they’ve become country classics. Those artists stepped out, and I hope fans will understand that that was my goal too. I want the album to push you out of any musical comfort zone.”

Jerrod took each of those big steps with great care, painstakingly fine-tuning every song on Free The Music with his visionary co-producer Dave Brainard. Together, the pair cut a new technological path in Dave’s studio, using a one-of-a-kind analog-to-digital recording process to give the record a rich, organic feel. “Knowing that analog was going to be our foundation—and that we’d have the ability to easily record and re-record digitally—gave us the confidence to take more chances. For instance, we used an acoustic bass on the entire record and put horns on every song. By doing so, we got a lot of organic sounds,” Jerrod shares. “I want people to realize the time and effort that we put into this album, from the beginning of the first song to the very last note.”

Such exquisite attention to detail is evident throughout the 12 songs that make up Free The Music, all of them written or co-written by Jerrod. From the funky opening title track to sun-drenched first single “Shinin’ on Me,” the songs represent an artist committed to stretching musical boundaries while simultaneously honoring country’s past.

The empowering “Get on Up” employs a unique ascending-and-descending guitar riff and a surprisingly well-fitting Mellotron. “Real Women Drink Beer,” cleverly combining elements of reggae with the Bakersfield Sound, would sit nicely on a Dwight Yoakam album. “Honky Tonk Fever” has prominent jazz horns and remarkably different tempos. And “I’m All About You,” featuring Grammy-winning vocalist Colbie Caillat, is a piano-driven, laid-back love song.

But it is the knockout ballad “Only God Could Love You More” that, for the first time, truly showcases Jerrod’s voice as the nuanced instrument it is.

“Some people sound the same on every song, but I like to be a chameleon, like an actor in a role. For ‘Only God Could Love You More,’ we didn’t put any harmonies on it and used my original tracking vocal. ‘Lover, Lover’ had a bunch of harmony parts, so I thought it’d be interesting to have zero here, especially with the French horns and the other orchestral things we have going on,” Jerrod says. “Some songs just work better with one vocal. If you listen to Garth Brooks’ ‘The Dance,’ that doesn’t have any harmonies on it either. Not that I’m comparing myself to Garth by any means.”

Still, the allusion to the 1990s superstar isn’t out of bounds. Jerrod co-wrote one of Garth’s biggest hits, “Good Ride Cowboy,” and penned two others for the Country Music Hall of Famer, along with songs for Blake Shelton, Lee Brice, John Anderson and Jamey Johnson.

“The most important thing to me is songwriting. But no one can ever hear a song without a vehicle, whether it’s me or somebody else singing it,” admits Jerrod, who, as a writer, has more than 10 million albums sold to his credit. “If someone told me I couldn’t write a song ever again, or had to choose between playing and writing, I don’t know what I’d choose.”

Fortunately, no one is forcing him to. Jerrod is free to pursue both of his passions on stage and in the writing room, using his gift with a lyric and melody to free the music, expand people’s minds, and deliver an album that, while occasionally unconventional, is undeniably country.

“For me, it’s all about the song. You can put all the bells and whistles on an album that you want, but if the songs aren’t there, it’s not going to work,” Jerrod says, discussing the versatility of country music. “You can take all of these songs, go into a studio and record them with Nashville’s amazing studio musicians, and Free The Music would sound just like a modern-country record. And that’s fine. But I like to experiment.”

Jerrod cracks a wry grin at this admission. Clearly, he’s comfortable with his role as a musical scientist--an artist who absorbs all styles and sounds, and forms them into his own creation.

“When your ears are always on, everything seeps into your brain,” he says with a laugh. “And my ears are always on.”

Dustin Lynch:

“Shhh!”

            The note on the Bluebird Café’s Facebook page says it all: customers who visit the Nashville songwriters club – instrumental in the development of Garth Brooks, Faith Hill and Kathy Mattea – are expected to keep quiet and listen to the words from some of Music City’s most influential composers.

           Listening has an added benefit – it gives the listener a chance to learn.

            That’s how singer-songwriter Dustin Lynch used the Bluebird. And he used it intensely. He rented an apartment behind the venue’s back parking lot and literally walked to the Bluebird several times a week to listen and learn about the mysterious art of creating songs from some of Nashville’s most important writers. Don Schlitz (“The Gambler”), Tony Arata (“The Dance”), Paul Overstreet (“Forever And Ever, Amen”) – all are mainstays of the Bluebird legend, and it was at their proverbial feet that he picked up key insights about the writing process.

            “I was soaking it in, trying to be a sponge,” Lynch says. “I was mainly trying to hear the story behind the song, how it came about, what it’s really about. There’s something about understanding the songwriter’s realm. You get a little more grip on the way it was written and why it was written and how they got to the finished product.”

            That education paid off in a big way for Lynch. He signed with Broken Bow Records – the home of Jason Aldean and sister label to Stoney Creek Records (home to Thompson Square) – and is working with producer Brett Beavers (known for his work with Dierks Bentley) and engineer Luke Wooten (Brad Paisley, Sunny Sweeney) on his debut album with a backlog of his own songs. He’s written that material with a bundle of Music City’s top writers – Dallas Davidson (“Just A Kiss”), Tim Nichols (“Live Like You Were Dying”), Casey Beathard (“Don’t Blink”), Phil O’Donnell (“Back When I Knew It All”) and Steve Bogard (“Prayin’ For Daylight”), to name a few.

            But it all goes back to the Bluebird for Lynch, a native of Tullahoma, Tennessee. Influenced in his youth by such stalwart country singers as Alan Jackson, Garth Brooks and Clint Black, Lynch knew the importance of the Bluebird, and he chose his college – David Lipscomb University – in part because it was less than two miles from the club, which proved immensely important in his development.

            Lynch auditioned on a Saturday morning for a chance to play its open-mic night the following day. He passed the audition and impressed host Barbara Cloyd so much that she chased him into the parking lot and offered to help him get some footing in the community.

            As he began to establish himself at the Bluebird, Lynch got a call from Pete Hartung – manager for singer-songwriter Justin Moore – who had found Dustin’s MySpace page and wanted to get involved. Within weeks, Lynch had a publishing deal, and he made the most of it, writing a staggering 200+ songs in less than two years.

            “I’m a workaholic,” he says. “I was getting paid to write songs, so that’s what I did. That’s just the guy I am, if I’m not doing something I get bored, so I was trying to write the best record possible and decided to just get after it as hard as I can.”

            Even as a Bluebird visitor, Lynch had made an impression. After he signed his publishing deal, one of the company’s executives persuaded Phil O’Donnell and Casey Beathard to book a co-writing session with the new writer, even though they’d never even heard his name. As soon as he walked through the door, they exploded: “Holy crap, Dustin! We know you!”

            But it’s not just physical recognition that Lynch has achieved with his studious approach to songwriting. He combined his fascination with words and melodies with concert skills he developed in high-school bands and playing the southeastern club circuit. That combination has made him one of country’s artists to watch, a performer who’s written his own mix of party songs and ballads with a unique perspective. It’s his own viewpoint, honed from watching the world, and watching the experts.

            It’s all there, waiting for anyone else willing to…

            Listen.