Georgia-based rockers Futurebirds continue their hard-touring ways 10 years after forming in Athens. The quintet unveiled a new mini-documentary about life on the road in celebration of their 10th anniversary.
Futurebirds tapped Zach Hellmuth to direct the feature, which coincides with the band’s summer tour and the recent release of a new single entitled “My Broken Arm.” The band members start by talking about the current state of Futurebirds. “Being a small independent band in America requires a lot of work to survive these days,” said guitarist/vocalist Daniel Womack. “Fortunately for us we love doing it.”
The members of the five-piece don’t gloss over the sacrifices that come with touring life. “Touring can be a pretty grueling thing. It can really take its toll on you, but at least we’re getting paid in life experiences,” explained guitarist Carter King. Viewers see a number of those life experiences as Futurebirds take advantage of the beautiful places they visit while on the road. The band clearly loves the outdoors and the film documents Futurebirds swimming, fishing and sitting around a campfire.
At the heart of the mini-documentary is the music, which keeps the group doing what they’re doing 10 years into their career. Not only does Hellmuth capture Futurebirds on the road but also in the studio working on a new album tentatively titled Teamwork. Watch Futurebirds: 10 Years On The Road below:
10 New Country Artists You Need to Know: September 2018
Sounds Like: Heartland rock & roll built for Trans Am stereos, mushroom trips and the boombox in Jeff Spicoli’s bedroom
For Fans of: The War on Drugs’ guitar rig; Tom Petty’s Mad Hatter phase; Ryan Adams’ Reagan-rock anthems
Why You Should Pay Attention: Frontman Johnny Delaware had recently parted ways with his former band, Susto, when he received a text from Ben Bridwell in late 2016, asking if he’d open up for Band of Horses on New Year’s Eve. The last-minute gig offer helped jumpstart the Artisanals’ creation, pushing Delaware to transform a handful of homemade demos — many of them recorded alongside the group’s guitarist and co-founder, Clay Houle — into building blocks for a band rooted in the pop hooks of Jeff Lynne-era Tom Petty and the half-stoned stomp of My Morning Jacket. The Artisanals let their freak flag fly on their self-titled debut, which balances its epic sweep with sitars, flower-child lyrics and nods to Eastern philosophy. Throw Delaware’s bellbottoms and Jesus-like mane into the mix, and you’ve got a band built to preach the gospel of rock & roll — particularly its Seventies and Eighties incarnations.
They Say: “The band formed in Charleston, South Carolina,” explains Delaware, “but I still call our music ‘West Coast Americana rock.’ It’s less about a landscape and more about a soundscape, or a feeling that people get out when they’re out there. I love the desert. I love the pink landscape of New Mexico. I think we’re pulling from that vibe.”
Hear for Yourself: From the first gong hit to the last wave of chorus-pedaled guitar, “Drag” is woozy, haunting and thoroughly nostalgic, like a long-lost single from the Lost Boys soundtrack. R.C.
Ask almost any well-known, successful American band about their early days and they will regale you with stories about crisscrossing the United States in a van, one that probably broke down a few times. That’s where the Charleston-based band the Artisanals is now in its career arc. In fact, the foursome’s non-air conditioned van did break down just outside of Dallas a couple of weeks ago.
The Artisanals’ music is a blend of Americana charm and southern rock swagger. Fronted by Johnny Delaware, previously of the indie rock outfit Susto, the band draws inspiration from ’70s heartland rock (think Tom Petty, Bruce Springsteen). Ben Bridwell of Band of Horses is a huge champion of the group and asked them to be a support act for a couple of shows.
The Artisanals’ self-titled debut album will be released on AWAL on Sept. 21. The premiere of the video for “Drag,” the first single from their album, is below.
Billboard shared a meal of southern fried chicken with the band when they were in Los Angeles to play a gig at the Mint. Lead singer and co-founder Johnny Delaware answered our questions about how the band came together, their influences, and the magic mushroom-inspired video.
Tell me about your musical history before the Artisanals – including being in another group and being a solo artist.
Throughout my twenties I pretty much wandered the United States. It was a very exciting period in my life, leaving my home in South Dakota while looking for answers. It was a testing and difficult time because I was alone, young and fearful from all the doubt and obscurity. But it forced me to search within myself, somewhere I couldn’t go living a comfortable life.
All along I was looking for a musical family and tried creating bands in Albuquerque, Nashville, Austin and Spearfish, South Dakota, where I went to college to be a counselor to juvenile delinquents. I wanted to heal others but I dropped out to try and serve society with music instead.
Despite having a short stint in a band in Albuquerque, I was a solo artist for nine years. I was self deprecating to an unhealthy degree toward my songs and myself. I just wanted to be an incredible songwriter. But I hated my voice and knew if I could write some goods songs, I could still break through.
In 2012, a tree fell on my car from a thunderstorm and that gave me enough insurance money to pay for my journey to Charleston, South Carolina to record an album. I coincidentally moved into the same house as Justin Osborne of Susto. We hit it off and started playing music together. He was and will always be a dear friend of mine, and it was such a wonderful, refreshing experience focusing and helping his vision for a band, instead of walking my little mouse track. I learned a lot from him. He deserves all the success and blessings the world has to offer.
How and why did the Artisanals come together? How did the name get chosen?
While in Susto, I met Clay Houle (lead guitarist and co-founder of the Artisanals) on the tour circuit. We kept unintentionally running into each other and became really good friends and wrote music together. I was and still am blown away by his ear and intuition for a song and production. I knew Clay was very special and was relieved to have him in my life, because I felt he was the musical companion I had been looking for all throughout my twenties. I left Susto because of health complications but I also wanted to pursue new music with Clay. We started recording demos together with Wolfgang Zimmerman and I suddenly got a text from celestial angel Ben Bridwell (Band of Horses) asking us to open a couple of shows at the 9:30 Club in D.C. The Artisanals were official. It was on!
The band name “the Artisanals” is an esoteric joke. Clay always says everything is artisanal. I thought it was really funny. It’s such a stupid word. Artisanal craft beer! Artisanal breadsticks and pickles! We decided to have some fun with it. Plus, I could imagine the name on a marquee.
Do you prefer being in a group as opposed to being a solo artist?
There’s a positive and a negative to everything in life. We’re in a world of duality. The solo career is psychologically easier because you make all the decisions, so it reduces conflict. But you’re also alone so it’s all on your shoulders. In my experience, sharing a creative space with others is so much more rewarding. Most of the time you come out with a song or idea that completely expands your own periphery of creation. And once again, I’m very grateful to have a gifted, creative sidekick like Clay Houle. He is just as much a part of this band as I am, even though the illusion of the leader always gets cast on the lead singer. Clay works really hard and does a lot of stuff I couldn’t do. It’s a team effort and the team always gets further than the individual. So to answer the question – I’d much rather be in a band.
How would you describe the group’s journey so far? And what goals lie ahead? What has been the highlight of being in the group so far?
It’s all been going the way it intends to. I feel like we’re rafting down a winding river hitting different currents each day. We’re already learning a lot in our young phase. I can now see why bands die out the way they do; I can now see why “making it” takes longer than your ego wishes. Creating a new band is a lot of work, but we’re willing to log all the miles and hours it takes to make this thing happen. I’m really thankful to be surrounded by the guys in the band and our management team. We all keep pushing each other up the foothills toward our mountains of dreams. Sometimes it feels like the world is against you, but you carry on because you recognize your dignity – which no one knows but you. Personally, I think we’re a special band that has a lot of promise. That carries with it big goals, obviously. But we want to keep it simple too, by making more fans each night and playing in front of more people. We’re also excited to play festivals and meet other bands doing the same thing. We don’t really talk about the big aspirations anymore for superstitious reasons. I generally keep it to myself, but Buddhism and Hinduism have saved my life when it comes to understanding fear and stress and not putting unnecessary Western monkey-mind attachment, thought and weight on your path. Just allow the force, or whatever you want to call it, move through you, and surrender your little existence once in awhile. It makes the ride so much smoother.
Tell me about the song “Drag” – how it was written and recorded.
Clay came into my room one day with an Eastern-influenced lick that I combined with a song I had written years previously. They glued together like magic.
We recorded “Drag” and the entire album at the Magic Barn in Iowa City through an 80-series wrap-around Neve that David Bowie recorded his last records on, at the Magic Shop in Manhattan. Once the Magic Shop shut down, the entire studio, down to the last screw, was transported via semi to Iowa by Steve McIntosh – a guru, kind-hearted genius with a love and passion for music that makes you thankful to even exist. He built the barn with his bare hands with the help of his sons, after going through a divorce. It’s the coolest story ever. He’s such a badass!
It was such an honor to record our songs through that gear. It gives your art so much more value. It was a spiritual experience touching the same knobs Lou Reed, Bowie and the best producers in the game did. Not to mention, the Cranberries, Coldplay’s Viva La Vida, The Suburbs by Arcade Fire, & Kurt Vile’s Smoke Ring for My Halo all came from the same source.
Tell me about the video for “Drag” – who came up with the storyline? How and where was it produced?
We filmed the video at an enchanting AirBnB that we had rented months previously outside of Durham, North Carolina. It’s a custom log cabin that was built during the ’60s on a property that comes across as an apocalyptic hippie commune — so it was perfect for the shoot.
We didn’t want a serious, emotional storyboard. We needed to make a fun music video and not give a shit what anyone thought. So we figured we would trip our nuts off on magic mushrooms and smoke a bunch of pot and tell our friend Zach Hellmuth to film and direct what ensued while keeping the shoot organized. Zach was so patient with us. He did such a great job. He’s such a pro. He had two of us guys yapping arbitrary ideas at him all at once in the peak of the mushroom trip, ideas that probably didn’t even make any sense. We annoyed him for more fog from the machine and other ridiculous stuff — but he kept cool the entire time.
It was hard work moving from the different locations and hauling the lights and props, so we were also very lucky to have our friend Toucan helping us. We couldn’t have done the video without him.
Finally, who are your personal musical influences?
We’ve been digging into Slowdive, Hiss Golden Messenger, the National, George Harrison, Bruce Springsteen, Townes Van Zandt, Gordon Lightfoot – all the classic songwriters. The Clash and Joe Strummer’s ideology will always be a guiding moral compass and Patti Smith will be in our subconscious to keep focused on creating good art.