Kevin So - "An Interview with the Intern" Pt. I
His frank, honest lyrics hit you like a cool drink of H20. His tuneful melodies stick in your head for days. His strong, smooth, resolute vocals reveal an inner sensitivity common to all great artists, but don’t let that fool you: he’s also got a sly sense of humor.
I’m talking, of course, about native Bostonian Kevin So.
Kevin is a Chinese-American singer/songwriter who got his start as a solo artist frequenting local venues in Cambridge, like the legendary Club Passim. His star power eventually propelled him through the musical meccas of the United States: from Boston to Chicago, back to Boston, then to Brooklyn onto Nashville where he now resides. In the past he's dabbled in everything from blues and funk to solo acoustic folk, and his newest LP, “Countryside”, (Oct 28, 2014), pairs his characteristic ‘storyteller’ songwriting style with Nashville’s unique blend of country and americana to create a new sound. It’s just as earnest and original as anything he's ever done. Welcome to the second of installment of “An Interview with the Intern”, starring Kevin So.
You’re releasing a new album this month on October 28th entitled “Countryside” on Wingbone Records. Can you tell me a little bit about the themes/inspiration behind this record?
Like a lot of my favorite artists (Bob Dylan, Ray Charles, Rolling Stones, Bruce Springsteen) I was influenced by country music. I’ve always been a fan of the storytelling and the simplicity within the music. Having recorded a more r&b/jazz/hip-hop flavored album (“A Brighter Day”), and then a couple of solo acoustic “folk” albums after that, (“Best Foot Forward” and “LiFe Solo AKouStic”), I wanted to explore my own country roots. I immersed myself in a lot of George Jones and Buck Owen records, acquired a finer taste in barbecue, got my heart broken and moved to Nashville.
What studio did you go to to record your new album? Have you recorded there before?
Thanks to my Kickstarter fans, we were able to record the basic rhythm tracks at The Bomb Shelter with an “A-list” of musicians based in Nashville.
It was me on the piano or acoustic guitar, Chester Thompson on drums, Vail Johnson on bass, Chris Rodriguez on guitar, Buck Reid on pedal steel, and Joe First on accordion. This was the core group, and It was my first time recording there. It was a nice intimate setting where we were all pretty much in the same tight room. We cut about 15 songs over 3 consecutive days.
I’ve heard that Nashville is a singer/songwriter’s mecca. Is that true? What’s it like living in a city with such a rich musical history?
Nashville is fantastic. The community is really tight-knit and yes, there are many smaller groups of folks that all hang out separately. But the great thing is that it doesn’t feel so spread out. As I’ve heard from some folks, it’s a “12 and 12” town - meaning it usually takes about 12 minutes (or 12 miles) to get across town. What I also enjoy about Nashville is the unspoken desire to get really get a song written and composed properly. It was an adjustment learning how to co-write with more than one person, too. As some call it - a “threeway” - LOL. But after a few times, I began to understand the process a little more. I still don’t think I’ve got it down, but I’m trying. I do think I’ve written some of my best songs while living down here.
You’re basically a Boston institution at this point - having been nominated for 8 Boston Music Awards in the past 20 years, not to mention the fact that you spent your early years as a performer making the rounds in Cambridge and playing at places like Club Passim. Are you excited to be back in Boston? When was the last time you visited?
Wow, yeah that Boston Music Award thing seems like a long time ago. I haven’t lived in Boston since 2003, so I’m definitely excited to come home. I’ve got friends and family that still live there and it’s always great to visit my favorite places - like Newbury Comics, and all the various cafes around Harvard Square, Davis Square, Newbury Street, the North End, and Chinatown, of course. Authentic Chinese food, which is not as available in Nashville. Last time I was in Boston was this past July, but it was a short 4-5 day visit to see my Mom. It’s never long enough. This time won’t be either. I’m only gonna be in town for about 4 days.
Will this be your first time playing at Johnny D’s? Will you be playing with a backing band or will you be solo?
I’ve played Johnny D’s many times before, though it’s been a while since my last show there. I’ll have Alan Goodrich on drums, Noah Maltsberger on guitar, Paul Erlich on piano, and Steve Latt on pedal steel. I’ll be playing a few songs solo, too.
So, October 4th marked the beginning of your “Countryside” CD Release tour. What are your favorite cities to perform in? What are your favorite and least favorite parts about touring?
Is that a trick question? I love playing in Somerville, of course !!! I enjoy touring a lot. But I’m not too crazy about booking the tours, which can be quite time-consuming and not very romantic. I love traveling and seeing old friends, meeting new friends, etc…but the long distance driving can be tough. I do sing at the top of my lungs whenever I’m in my car, though. My dog Monk sings right along.
What was it like composing for a musical (Great Wall)? How is composing for a musical different than writing music for yourself, or for upcoming albums/singles?
Writing for a musical is different in the sense that you have to really move the story along with each lyric. In conventional songwriting (verse/chorus/verse/chorus/bridge/chorus), you can repeat the lyrics in the chorus. It’s sorta expected. But in musicals, if you repeat the chorus then you aren't exactly giving the listener new information, which is needed dramatically in a musical. Hope that makes sense. You have to come up with new words to continue the story line. That’s what’s been great about learning to write pop/country songs with the Nashville-based songwriters. Learning to tell a story in 3-4 minutes has been a great exercise for me. Sometimes, in pop music, you can get away with more poetic lyrics (a la Dylan’s “Mr. Tambourine Man” for example). But in a musical, you can’t really do that or you risk confusing the listener.
So I’m an African-American female singer songwriter, and I make indie/rock music. I find it disheartening that there aren't a lot of black, female, indie rockers out there that I can look up to. As an Asian/American singer/songwriter, do you feel like there is enough representation of successful Asian/american singer/songwriters in music today? Why or why not?
It’s getting there, but I think it has a lot to do with the culture and the generation gap. Asian American singer/songwriters just haven’t done it as long as others. Our ancestors were too busy building railroads, folding laundry, etc…and in a sense, they still are. So we have a long way to go as far as representing ourselves in the mainstream. But it shouldn't stop us from trying. It shouldn't stop us from creating the art that we will subsequently leave behind. That’s something I've always known. Like other songwriters of any color, I look up to any musician/artist who creates great art, regardless of his/her color as well. Art wasn't supposed to be color-specific anyways, unless it’s intended to be. And that’s totally fine, too. I've got many songs where the narrator is specifically Asian American, though not necessarily myself. That’s what’s great about art and music in general. The canvas is blank to begin with. And in a sense, the audience’s perception is totally blank and wide open, too. At least that’s the audience I’m hoping to connect with.
Catch Kevin So TOMORROW NIGHT at Johnny D's Uptown in Somerville, MA. 8PM, $10-$15