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SPOTLIGHT ON NASHVILLE

Interviewed by Holly Gleason


You’re on the road with some strong company.
I know. Every night, we play, then go listen to two absolute legends.

Have you learned anything?
It’s always got to be about the music! Willie hangs up a real simple Texas flag, then gets up there every night, and plays song after song after song. They’re all so good and iconic. Alison the same way: every song is a jewel.

A little different from Katy Perry. How did that happen?
We did a show at the Hollywood Bowl. It was a breast cancer event with Sara Bareilles, Ellie Goulding, some other women. We just clicked, and I do well with people who don’t make sense. I make country music for people who understand country music, and for people who don’t. I love that traditional stuff, but write about different subject matter, so that’s a bridge.

Like "Follow Your Arrow"?
Yeah. I’m pretty sunny about it. And I think [a song like that] is pretty cool ’cause the kids I grew up with. My best friend in middle school came out to me pretty early; that was so brave. But, you know, that’s what the song is.

And I think about those kids hearing a song like "Follow Your Arrow," and what that may be to them. I think both kinds of kids, the ones who’re in and out, can benefit; but it’s the ones who’re shunned or shut down about it, they need it more—and maybe it helps.

That’s pretty straightforward.
That’s my world. I write about what I know: growing up, moving out, meeting people, trying to figure life out. I definitely view myself as a country artist, because when I open my mouth and sing, listen to what comes out.

What’s country?
When I think of country music, I think heartbreaking, real, truthful songs—a sad genre that talks about life. I’m sad the genre’s gotten away from it. We need to widen it up. It’s crazy I’m thought of as "progressive." To me, there’s two genres: good and bad.

You had a strong sense of what you wanted to be.
Luckily, we started with Luke Lewis, who is so true to the music. He told us, "All right, we signed you. Go make a record." I made it be known what I was and what I wanted to be from Day One, so the new regime understood [when they came in] and supported us. This wasn’t an artist-development thing. I didn’t just want to be famous.

Or win awards?
Pretty insane! [laughter] No one starts making music for that purpose. Selfishly, it feels great to make music and put it out. The idea that your peers like it and respect it? That’s like icing on a super-awesome cake!

Well, you bring beyond the killer reviews—an intriguing visual aesthetic.
The idea is to write simple songs, and the lyrics are pretty straightforward if not what people expect. So I can get visual: we can be super-whimsical onstage with the light up cactus and fringe, the electric cowboy boots. Show people too! It’s a huge deal for me [the integration of visuals and music]. My mom’s a visual artist, so whenever I write a song, I see a video. The juxtaposition makes both more.

And your manager [Sandbox Entertainment’s Jason Owen] also thinks in those terms.
Jason’s a dreamer, too. Everyone should have a gay manager who has all these ideas. He understands that part of what we’re doing, and never thinks we shouldn’t.

And that’s how dreams come true.
I literally can’t count the moments! The circuits of my mind are blown. Just this week, I got to sing with one of my musical heroes, Lee Ann Womack. We got to sing a straight-up country song [Alan Jackson’s "Livin’ on Love"] on a country awards show where it was the countriest thing there.

I’m saying that sitting in a parking lot on tour with Willie Nelson and Alison Krauss. See what I mean?


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