A Conversation With Jesse Daniel

Photo by Jodi Lyford

By Kevin Broughton

The San Lorenzo Valley in Santa Cruz, Calif., was once one of the biggest logging communities in the west, particularly after the 1906 earthquake that devastated San Francisco. The river of the same name meanders past or through a handful of smallish cities on its way to Monterey Bay. One of them, Fenton, produced Jesse Daniel, who’s made four studio albums (and a live banger) since 2020.

His latest, Son of The San Lorenzo, drops today. The title cut, interestingly, is a re-purposing of a single from his 2020 breakout album, Rollin’ On. The first (and, ahem, ONLY FREAKING time) we saw Daniel perform, he opened a solo show with it.

This album is an inflection point in Daniel’s career, and a summing-up of his journey as an artist to this point. His prolific writing over five years is impressive, all the more so when factoring in his youth (he’s 32) and with the realization that he’s been clean and sober from a heroin addiction since just 2017. January 7, to be precise. 

But it’s those personal struggles that have kept him grounded, humble and grateful as his artistic career hits another gear. As always, it was a pleasure to visit and talk about writing to the love of his life, collaborating with an impressive peer, making the most of one’s limited time, and what the future might hold. 

You know, this album just hits differently. You open with a song in a minor key – one of a couple or three, I think – the title cut is a slowed-down version of a waltz from Rollin’ On; you produced it yourself; heck, your band even has a name now (The Restless Riders.) Is this the record you’ll look back on in several years and say, “That’s the one where I really took charge of my career and destiny?”

Yeah, definitely. This one has been a completely different experience. These are the deepest, most personal songs I’ve ever written; I wanted to get back to my roots, and a lot of the things I grew up on were country rock/classic rock/Southern rock stuff. A lot of country/folk-influenced things, also. I wanted to play tribute to the place I’m from, and a lot of that music came from the San Lorenzo Valley where I grew up; the Monterey Bay area, too.

It's kind of a double-edged sword: Staking a claim as my identity and upbringing, and telling my story to this point. And really diving deep into it, so in the future I’ll move on and write about other things. But this is kind of the final telling of that part of the story that I wanted to get out, and what better song than “Son of The San Lorenzo?” Because a lot of people locally and everywhere else have been calling me that; it’s become my nickname. And I like that a lot because it gives me a sense of pride, so what better title for this album than that song? 

Something that’s not a departure from past records are the references to addiction sprinkled over several cuts. The rocking-est song of your entire catalog – as far as I’ve heard is “Crankster…”  

Oh, yeah…

“…One’s Too Many (And a Thousand Ain’t Enough)” doesn’t exactly hide the ball, either, but again, less overt references to substance abuse are everywhere.  Who’s the intended audience for these cautionary tales? Is it part of a continual process for your recovery, maybe a self-accountability mechanism? 

Yeah, I’d say that’s pretty accurate. There’s definitely some self-accountability, but also the one big theme of this record is speaking to myself. On the song “He,” I kind of go back in time and talk to my younger self. So, a lot of these songs have that theme. You know, “One Too Many” is a cautionary tale. A lot of the advice I got from older people who were in recovery when I was struggling is the stuff I’m trying to pass down now through songs. It’s a dual thing, where it helps me a lot but I’m trying to help other people through music as well. 

Every time we talk, you seem to answer a couple of my questions before I get to ask them; you’ve crossed off two from my list already! There’s also a blue-collar ethos mixed with theme of redemption, and an emphasis on making good use of one’s time. I guess it’s no accident that the album opens with “A Child is Born” and finishes with “The End.” Can you expand on those bookends, and how they relate to the whole record? 

Yeah, of course, man. Those were definitely intentional, and I took a lot of time with the song arrangements on this record so I could tell a story front-to-back; this story of the son of the San Lorenzo. So, it starts out with “A Child is Born,” which is written for anybody who’s had a parent or grandparent and experienced generational struggles, whether it’s been mental illness or alcoholism; any kind of pattern that can be passed down. And that song wasn’t speaking personally about me, but more people in my family and folks I’ve known and the things they’ve had to go through. 

But it’s essentially about bringing a child into the world and everything it then has to go through. It moves on throughout the record, a story of maturing and growing. And when you get to “The End,” like you said, it’s sort of a bookend. The main theme of “The End” is just to continually create; it’s the sum of everything in the story I learned before. It’s about making the best you have with what you have. It’s the end of this story, but also the beginning of the next. 

The only song that’s not a Jesse Daniel original – “Time Well Spent for a Man” -- is credited to Nick Foster. I had to do a little research; there are two songwriting Nick Fosters as far as I can see. I’ll assume this is the NorCal version, not the British? 

(Laughs) Yes, this is the Northern California version, definitely.

And you share vocals with another heavy hitter, Charles Wesley Godwin. Tell me about that relationship, and how y’all came to collaborate on this cut.

Charles and I had been following each other for quite a while. I’ve been aware of Charles since probably 2018 or -19, and we kind of came up in the same generation of songwriters. Even though we were thousands of miles about, we had a lot of the same influences. He had reached out to me and said he was a fan, and I’d done the same, and we’d put records out at the same time and worked with some of the same people. His career trajectory was indicative of someone who’s worked very hard and doing the same things that I’m trying to do. 

And so, when that song was sent to me by my buddy Nick, I immediately thought of Charles because the subject matter is very sentimental; it’s about being present, and appreciating the time we have on this Earth. Time well spent is about doing the things that you love and being with the people you love; things worthwhile as opposed to the superficial. And Charles stood out in my mind because we’ve talked about those themes. I just realized that he was the guy for that song. I pitched it to him and he enjoyed it and said, “Man I’d really love to sing on this.”  And to backtrack a little bit, we had done some touring together; he had me with him on the road last year for a bunch of dates, and that’s what sparked our musical connection. I got to see his show every night and how he operates, so he was just the obvious choice for someone to collaborate with. 

You penned an ode to Ms. Lyford, who’s pretty much your everything, called “Jodi.” It begins, “To write a love song for you was not an easy thing to do,” yet reading the lyrics while listening, there’s a sense that it flowed out of you pretty easily. Or, is that just a civilian’s misimpression? Professionals are supposed to make it look easy, I guess?

You know, a lot of these were difficult to write. It’s weird: Difficult, but they did kind of flow out of me. The songs needed to be written, but I was ready. I’d done a lot of soul-searching, through the process of healing and working on myself over the years, to be able to articulate what I was trying to say. So, “Jodi” was one of those…you know, I started out with those words because it was a difficult mental task to tell the story about how much I love this person. We’ve been through a lot together: Near death, hospitalization, drug addiction, recovery, people in our families dying. So many things that are extreme, make-or-break life experiences, but we’ve made it through those them. I wanted to tell that story properly, and the best way to do that was with a simple country love song. I wanted to boil it down where it wasn’t too complicated. I hope it comes across. 

Oh, yeah. Just curious on the whole “process” thing: Did you have to tell her, “I need you to get out of the house for a couple hours because I’m writing a song about you?”

(Laughs) I can’t remember exactly, but I think I would just pick times when she was out and about doing things. A lot of the times I’m just working quietly by myself, writing in my notebook or writing on my phone, then I pick up a guitar and work out a melody. It just came pretty naturally. 

Last time we talked, I half-jokingly wondered if a tour bus might be a perk just over the horizon. Now I’m getting emails about a Jesse Daniel “World Tour” and you’ve signed with Wasserman Talent Agency. Five years ago, you were following Jason Boland’s tour bus for a string of dates, and Jodi was your de facto publicist and booker. Do you have some general thoughts to share on how your career has progressed in the interim?

Definitely! You know, my career has been one of slow and steady growth. There’ve been times where we’ve had leaps where things moved pretty quickly, and we’ve also had instances where we’ve had to take a couple steps back, when we’ve been humbled by the music realm. Even though it’s been a steady, incremental growth, I’ve noticed things really starting to connect, even since putting out some of these recent singles. My goal with this record – and with all of my records, really – is to write songs from my heart; lived experiences that I’ve been through. And they’ve connected in the past, but I feel like there’s a level of connection now that I haven’t really seen before. 

You know, when people move to Nashville they’re told, “This is a ten-year town.” It takes ten years to break through and establish a level of success. I was talking to someone the other day and said, “Even though I didn’t go to Nashville, I went out on the road, toured everywhere, wrote songs and opened for people.” And that, essentially, is my ten years. I feel like – since I’ve been doing this since 2015 – I’m just now starting to deserve it. To make a career of music or art, it usually takes a long time, and I’m starting to feel like I’ve earned it. Some people are an overnight success, but that wasn’t my case and I’m glad it wasn’t. I had to work a lot harder, and I’m the happiest I’ve ever been right now. I’m truly grateful that things are starting to pick up, and it just gives me more fire to keep it going. I want to take things to the next level…and get on that tour bus! (Laughs)

Speaking of “world tours,” you realize the American Southeast is part of the planet, right? 

(Laughs) Oh, man, I know! We need to come see you…

…I mean, you’re in freaking Nashville a couple days before you jet to Brazil. With all these people working for you, how is an Atlanta date so hard? (And no, I’m not going to let this go.) 

(Laughs) Yeah, it’s okay, and I don’t blame you. That’s something we’ve missed out on. This year, signing with Wasserman – and I’ve got new management now and Jodi’s really stepped back -- we’re doing a “less is more” strategy. We’re going to the places that we’re immediately wanted and called for. I know there’s folks out there in the Southeast, but I want to go when it makes sense; when we can get a good room and play a great show. Mark my words, it will happen, I just don’t know exactly when yet. But that’s why this year looks a little sparse on U.S. tour dates; we’re waiting on some support stuff. It’s weird, but for the first time in my career, I’m trying to just let go of that part. Jodi and I have literally controlled every single aspect of this thing till now, so it’s nice to let the folks with real business savvy take over some of it. 

Well, you can only keep the folks in San Paulo Brazil waiting so long, Jess. 

(Laughs) Yeah, when they say, “Come to Brazil,” you gotta go. 

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Son of The San Lorenzo is available today, wherever you purchase fine music. 

Adam Chaffins: The Farce The Music Interview

Photo credit N.V Photography

By Kevin Broughton

Adam Chaffins has been a fixture in Nashville for years now – though you might not know it -- getting his start as an in-demand session and touring musician, working with artists like Billy Strings, The War and Treaty, Lee Ann Womack and more. He also had a stint in Town Mountain for a while before releasing his solo debut in 2020 and earning a streaming hit with “Gone As It Gets” featuring his wife and collaborator Brit Taylor, Meg McRee and Ben Chapman. But then last year, Spirit Music Nashville President Frank Rogers offered him a record and publishing deal on the spot, and thus Trailer Trash was born. 

Honoring his origins in an East Kentucky doublewide trailer, Trailer Trash is equal parts poetic and unflinching. He doesn’t just write about the American dream – he dissects it, reclaims it and redefines it on his own terms. From swampy first single “Little Bit At A Time”, which Glide Magazine praised for “fusing the homespun soulful country vibe of Chris Stapleton with the cosmic sounds championed by Daniel Donato” to the “steaming slice of creamy country soul” (Holler) title track, the songs pull from his personal life and relationships and feature co-writes with a slew of Nashville heavy-hitters including Adam Wright, Bryan Simpson and Bobby Hamrick.

 

Covid derailed his album launch and any potential tour five years hence, but the steady Chaffins was undeterred. Nearly everyone who had a hand in making this five-song banger has spent time in a studio control room, and it shows. There’s not a weak cut on it, and it’s doubtless a sign of things to come from the bluegrass troubadour. We caught up with Chaffins in advance of today’s release to talk about it all. 

You’re a multi-instrumentalist who’s done a bunch of session work in Nashville. I’m struck by the high production quality on this EP, and am curious if all the studio time under your belt shaped your concept of an overall sound for the project. How hands-on were you with your producer and engineer? 

Aw, man, I appreciate that very much. I’ll say that everything I’ve ever done – especially at this point in my career – I’ve considered a learning process. So, no doubt, all the time I’ve spent in studios has been a big part of it. From my debut album to this one, the amount I’ve learned about making records has drastically increased. 

I went into this project and really lucked out to be working with such titans of the music industry as [producer and label president] Frank Rogers, Derek Wells, and Mike Fiorentino. Another relationship I was able to build from my time at Spirit Music was with Jason Lehning, who engineered and mixed this album. Jason and I have written songs together, and I love so much of the stuff he’s worked on. So, I did have a hand in the process, and I wanted him to be part of it. He sometimes wears a producer’s hat, too; it seems like everybody involved in these sessions has produced records at some point. Having all that experience was definitely something I wanted.

Multi-part question here: Do you consider the bass your “primary” instrument for lack of a better term; was it the first one you learned to play; and, from whom did you learn to play these instruments growing up? 

Um, I would have to say that my voice is my primary instrument. It’s the thing that I’ve been developing the most for my entire life, long before I picked up an instrument. But as far as a physical instrument, yeah, I’ve had more professional situations where I’m playing the bass. I started playing music from an early age. Neither of my parents were musicians, but I just kind of fell in love with it, particularly listening to country music living in Eastern Kentucky as a kid. 

I was fortunate in that there were a lot of musicians who played around there, so I was able to pick up a lot from whomever, wherever. If people were playing music, I went and learned. That led to playing in church, and there were two guys named Jim Pigg and Chuck Frazier who taught me structurally, and really just gave me confidence. And it was never, “You need to do it like this,” but just really great guidance while playing in church. We also had these little side gigs here and there. That was my first real formal training before going to college. 

But whatever instrument is callin’ at a given moment is what I’ll end up on. These days when I’m writing, I’m on the guitar a lot, so it feels like a primary instrument sometimes. 

You left Kentucky not long after college and headed for Nashville. What was your initial plan? Not making light of it, but I mean, did you busk with a big stand-up bass for a while? How did you make the jump to working professionally? 

(Laughs.) Well, I had done a lot of bluegrass freelance work in Kentucky, but when I moved to Nashville, especially playing with Jesse Wells, who’s a big mentor of mine. Growing up and in high school, I knew Jesse from playing around. I got to Morehead State, and he was part of the Center For Traditional Music there, so I got to work with and play gigs with him. He was good friends with J.T. Cure, who had moved to Nashville – and was a big influence on me; he played around Morehead all the time and I’d sneak in the back and watch him play. J.T. had moved there to play bass for a guy named Chris Stapleton.

I’ve heard of him.

Yeah. So, it was my last couple years of college when he went there, and I picked up some of the gigs in Kentucky that J.T. would’ve done. And now Jesse’s with Tyler Childers.

I’ve heard of him, too.

Ha. Yeah. I was fortunate to be around a bunch of influential players, going a long time back. 

We’re gonna get to Trailer Trash directly, but you released a full-length LP, Some Things Won’t Last, around February of 2020 and then Covid did its thing…

Yep. Very convenient timing!

Can you describe that disappointment with five years in the rearview mirror, and did that experience impact your expectations this time around? 

Oh, that’s a really good question. I feel like the disappointment was global. But at some point, it’s a very personal thing; I felt like I was at the point where I was getting to do the things I wanted to do…part of a lifelong dream. And it came to a screeching halt. Honestly, after all the planning I’d done, and the marketing situation, everything that I’d planned had to be re-thought. I still wanted to work, and if anything had more time to do that. 

A friend had built a studio, and we were able to get together and socially distance with masks on. I released an acoustic version of a cut from that album, “Further Away,” and it was the first song of mine that got picked up by Spotify and the streaming services. That was the first national recognition for me, since the album, well, Covid kinda slammed it shut. But that and another single I put out, “Now I Don’t Know,” really put things in open water for me. I just really honed in on writing, but it was a lot like starting over. By November of that year, even putting those singles out, there was really no monetary gain; you couldn’t tour and play shows. You could create and put music out, but it was hard to monetize; as a musician it was tough to figure out what to do next. 

The EP’s title cut is an inspirational number about not letting one’s humble beginnings define you, but it’s also got a big, sweeping feel reminiscent of 1970s “country-politan” classics. What was your vision for getting this song on tape?

Honestly, what you hear is my complete vision. I don’t think any other thing I’ve written has come out so beautifully, and so…intended. That one just became studio magic for everybody who worked on it. 

You pack a heck of a lot into three minutes on “Kentucky Girl.” I believe it’s an ode to your collaborator and bride, Brit Taylor. Did I hear that you grew up down the road from this gal, but had to be introduced by a mutual friend from…Alaska? And as funky as this tune is, do I hear an organ tag from “O Come All Ye Faithful” at the very beginning? Walk me through that.

(Laughs) You know, it’s interesting – and I’ll reverse the order of your question – the organ tag came when we were doing some overdubs with Robbie Crowell, a really talented keyboardist and multi-instrumentalist. He’s out touring with Sturgill Simpson right now, by the way. Well, he started playing this churchy-organ thing that reminded me of the Methodist church I learned to play music in. He was just rolling through some things as we were trying to get the tones on the keyboards, and I thought, “This thing needs a nice, beautiful ‘church’ overture on the organ.” The song before it, “Dive Bar Moses,” merges into it; the party ends, then you’re at the church worshipping your Kentucky girl. 

Brit had been a co-writer/collaborator with a mutual friend who was from Alaska, and for a couple of years, he was telling me, “You know, I’ve been playing music with this girl, and y’all say a lot of the same shit. Geographically, I think you’re really close to each other.” We happened to meet at one point, but we were at different places in life and relationships. It wasn’t until a couple years after that we reconvened and wrote together…and fell in love, as it were. It was a different time -- before My Space and Facebook – but it was amazing to find someone I had so much in common with, from the way we were raised to our love affairs with Nashville and Music City. 

“Dive Bar Moses” is an awesome character. Is he based – at least in part – on a real person? Maybe he’s a composite? 

You know, one time I played that song in Key West, and a guy came up and his hat said “Ho Chi Min” on it, and I’m pretty sure that was the real Dive Bar Moses. 

(Laughs)

Yeah, I’m pretty sure I met him in real life. And I probably met him 15 more times that night, just walking around Key West. I wrote that song with a great writer and collaborator named Bobby Hamrick, and Bobby and I have spent enough time in questionable places meeting questionable characters, so we were of like minds in bringing the real Dive Bar Moses to life. 

So…we’re doing this interview on April 28. I see you’re in Pensacola Thursday – kinda random – then it’s back to Nashville in a couple weeks for the release party. Can fans expect a tour shortly thereafter? 

Man, I sure hope so! Tell all your favorite venues to hit me up. 

Well, tell your booker to hit up Eddie’s Attic in Atlanta. 

Aw, man, I love Eddie’s! I’m booking independently at the moment, but I’ve played there over the years and am really hoping to get back there, sooner rather than later. I’ve had some great moments there, and they’re just the sweetest people. One of the best clubs you can play at in the country, for sure. 

Sounds like a plan. 

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Adam Chaffins’ Trailer Trash EP is out today, wherever you purchase fine music.

Song Premiere: Adam Chaffins "Layaway Momma"

Kentucky-born singer/songwriter -- and good friend of our pal Jesse Daniel -- is pleased to premiere "Layaway Momma," an American holiday story of real people in everyday life.

Streaming and purchase links here.

Joined by his wife, Brit Taylor, on harmony vocals, Chaffins didn't plan to make the cut Yuletide-themed; it just worked out that way. “I’m not sure co-writer Eric Paslay and I knew we were actually writing a Christmas song when we started on ‘Layaway Momma,’” said Chaffins. “Little by little, we unwrapped this tale of overcoming adversity while staying true to yourself - told through the story of a mother’s determination to ensure her little boy has a good Christmas. I think in the end, we wrote an anthem to the single parent who is not looking for pity but is working her way towards the American Dream.”

Logan Ledger Performs "Starlight" at Eddie's Attic

Logan Ledger, on the penultimate stop of a three-week acoustic tour with FTM’s own Jeremy Pinnell, captivates the Eddie’s Attic crowd right out of the gate with “Starlight.”

Mixed Music Action/Road Dispatch!

Emergency hybrid video version Mixed Music Action/

Road Dispatch! Pinnell in Ga. Edition!

By Kevin Broughton

On the penultimate stop of a three-week tour with Logan Ledger, we managed to corral our grappling troubadour for a brief, freewheeling conversation. Eddie’s Attic, (“the best room in Atlanta”) was the setting. The video speaks for itself, but stick around for some context and analysis.

So yeah, that was something. Our boy went on to play a great set, and we’ll be posting much more content from a magic night in Decatur in the coming days. But his seemingly random reply to the “any new music?” query cries out for a response. 

Yes, he said, “Leo Sayer.” Yes, he seemed quite serious. Yes, this is like Andy Kaufman being cast in the role of Chief in One Flew Over The Cuckoo’s Nest. 

It’s 9:30 a.m. EDT on Friday, Sept. 13 as I write this. If I’m gonna have an ear worm (about 20 hours now because it was in my dreams,) everybody is. Thank Jeremy Pinnell. Have a nice weekend.