photo by Hilary Stohs-Krause
words by Michael Todd | Q&As curated by Steven Ashford
The songwriters roundtable format is a sort of show and tell for songwriters. It draws back the curtain, goes backstage and invites a handful of musicians to talk a little about how they pull off their magic tricks.
On Tuesday, a hearty handful is meeting at The Ozone and will start the trip around the table after a 6:30 p.m. performance by The Southpaw Bluegrass Band. The event, arranged by Kris Lager, will welcome the talents of Brad Hoshaw, Rebecca Lowry, Matt Whipkey, Korey Anderson, Andrew Bailie, Tara Vaughan, Josh Hoyer, Jessica Errett, Heather Berney, Manny Coon, Nickie Calhoun and Gerardo Meza as well.
To prepare for the event, Hear Nebraska contributor Steven Ashford asked a number of the performers the same set of three questions. In part one, Hear Nebraska hears from Heather Berney of The Betties, Jessica Errett of Edge of Arbor, Rebecca Lowry of All Young Girls Are Machine Guns, and Kris Lager of the Kris Lager Band.
Heather Berney
photo by Eric Gonzalez
Hear Nebraska: How do you approach playing a roundtable show like this event differently than playing a traditional, straightforward show?
The most significant difference is that playing solo is terrifying for me. Truly terrifying. This will be my second roundtable thing ever. I always have a band. That said, I will approach this show like every other: with a drink in my right hand. The difference is that it might be a double.
HN: Will you branch out from your routine catalog of songs for this special event? What will make this performance unique?
I do this really stupid thing in which I write a song and play it hours later. I'm sure I'll write a song within 24 hours of the show. I'll play that.
photo by Jason McClaren
HN: By playing alongside such a large quantity of songwriters at one time, what can you, as a songwriter, learn from this experience?
It's hard to identify what I learn. The most palpable thing I will feel is inspired. Every time I see Manny Coon or Gerardo Meza, I wanna write a song afterward.
Jessica Errett
from Edge of Arbor's Facebook page
Hear Nebraska: How do you approach playing a roundtable show like this event differently than playing a traditional, straightforward show?
I will probably approach this show a little more seriously than others, just because I am getting the opportunity to play with so many songwriters that I truly respect. Maybe a little more practice and a little less beer.
HN: Will you branch out from your routine catalog of songs for this special event? What will make this performance unique?
Yeah, I plan on choosing songs to play that have an interesting backstory to tell the audience, rather than saying "this is a weird song I wrote one confusing sleep deprived weekend," because God knows I have plenty of those. Also, I usually play shows with my band (Edge of Arbor), so some of my normal songs don't necessarily translate to acoustic. So sure, it will be a definitely be a different set of tunes than normal for me.
HN: By playing alongside such a large quantity of songwriters at one time, what can you, as a songwriter, learn from this experience?
I am always blown away by songwriting I hear from everyone in Omaha! I can't wait to just soak in all the creativity and variety of styles throughout the night. I will be just as much an audience member as everyone else.
Rebecca Lowry
photo by Shannon Claire
Hear Nebraska: How do you approach playing a roundtable show like this event differently than playing a traditional, straightforward show?
Rebecca Lowry: Typically, I know I can hold my own at a regular show, but playing with other singer-songwriters can be downright intimidating. This is mostly due to the fact that I haven't been playing my instrument as long as they have (which means I can't always contribute on the spot), and that I write a lot of light, fun love songs and not super dark, super feely, super introspective songs. It can be really hard to follow a graphic murder ballad with a jazzy number about drinkin.'
At the same time, I have to be considering the energy of the music, of the room, the tenor of the night. Do I bring the energy back up? Is there a way I can capitalize on this moment and wield it for my personal gain? Is there a way I can get the musician next to me to play my favorite song of theirs?
Roundtables get you real thinky. If you've ever sat down and watched it happen, you usually see at least one musician staring off into space. It's not because they're bored, it's because they're thinking 12 steps ahead.
HN: Will you branch out from your routine catalog of songs for this special event? What will make this performance unique?
RL: As far as branching out, my entire catalogue opens up at these things. I try to come in with an idea of a handful of songs I want to play, but I practice everything because I don't have to think about who knows how to play or sing what, I can just play whatever I feel I need to next, which can elicit some pretty awesome moments.
And as far as what makes the performance unique, it's the musicians playing on either side of you. I remember seeing Nick Carl and Matt Whipkey playing Nick's song, "Laying Low" at one of Matt Cox's Thanksgiving roundtables. Here you have two dudes who I'm not even sure ever played a show together, let alone jammed alongside one another and here Whipkey totally owned it.
"Laying Low" is an amazing song on its own, but Whipkey's particular brand of guitar playing just turned the already misty experience of hearing Nick's song into a dream. I remember just how it made me feel. I held my breath. I clenched every muscle in my gut. I was so into the moment, I didn't even have the wherewithal to be jealous (of the musicianship or of the magic).
I've got a video of that one. There's a swear or two in the song, but here it is. It's a great example of what can happen at a roundtable.
HN: By playing alongside such a large quantity of songwriters at one time, what can you, as a songwriter, learn from this experience?
RL: I'm fairly acquainted with everyone's music this time around, and I love everyone who is on the bill for this roundtable. I study their songwriting on my own time, so during events like these, I'm totally soaking in their performance, their presence, the way they hold themselves, how they banter with one another between songs or their style of storytelling.
I look for those moments on their faces when they realize what they should play next. I try to process how they chose where to take the direction of what's going on on the stage. I watch for when another musician is playing, how the person next to them decides when it's appropriate to interject their own riffs or harmonies and I listen and I feel. I feel so hard.
I love a roundtable.
Kris Lager
from The Muse by Clay Lomneth and Abbie Leigh
Hear Nebraska: How do you approach playing a roundtable show like this event differently than playing a traditional, straightforward show?
Kris Lager: Well, since I have been organizing this event, it's quite a different approach. I think about the flow, and how the show as a whole will go down. Since there are so many artists, involved I try to visualize how the evening is going to unfold. We are starting with The Southpaw Bluegrass Band. I imagine them playing while people are seating and getting settled in. They will also play at the end of the show, as well.
Then we will start with the roundtable. I was first introduced to this format a few years earlier and thought it was a fun, interesting way to present songs. We will do either groups of four or five on stage at a time. We will just go down the line one song a piece. The artists can help each other sing or play along if they feel so inclined. That's part of the fun of the format. You kind of get a taste of the performers' personalities by which ones join and in and which just listen.
from The Muse by Clay Lomneth and Abbie Leigh
HN: Will you branch out from your routine catalog of songs for this special event? What will make this performance unique?
KL: I look forward to a duet with my good friend Nikki Calhoun. We have written a few songs together and figured this was a perfect opportunity to play one together. I have been doing a good number of solo shows (every second Wednesday of the month at PS Collective), so I will pick a song or two that frequents those sets.
I like a song that can accompany a good story. That is another aspect of the roundtable I want to push: storytelling. Opening up the audience to the musicians' thought process and emotions, basically getting to know the performer and being intimate with the listeners.
HN: By playing alongside such a large quantity of songwriters at one time, what can you, as a songwriter, learn from this experience?
KL: I look forward getting to know these musicians better. A lot of times we all have our own shows going on and don't get to see one another all that much, little alone see each other perform. So, this is a great opportunity to find out what some of these artists I don't know well are all about.
There's a lot of musicians on the bill I have only seen once or twice, and I am excited to see and hear everyone. There is just a wealth of talent, and I hope people in the area realize and appreciates what we have. Through showcases like this one I think we can bring that sentiment to the forefront.
The Midwest is a hotbed for creativity, and I have friends from all over the country that travel through here and are amazed by musicians and artists from flyover country.
Michael Todd is Hear Nebraska's managing editor. Steven Ashford is a Hear Nebraska contributor. Together, they would put Rodgers and Hammerstein to shame, but they're too nice to let that happen. Reach them respectively at michaeltodd@hearnebraska.org and stevena@hearnebraska.org.