December 4, 2025 • 20 mins
Welcome to the Takin A Walk Nashville podcast from Buzz Knight Media Productions with host singer-songwriter Sarah Harralson and the inside story of Adam Wright, one of Nashville's premier songwriters. Adam has written for some of Nashville's biggest artists like Alan Jackson, Lee Ann Womack, Garth Brooks, Robert Earl Keen , Brandy Clark and others and he steps out on his own as an artist with his bold "Nature of Necessity" project. Hear the inside story of his creative process, his musical influences and how he has made his mark in music city. This exclusive Adam Wright musician podcast interview gives you a glimpse of the inside story of a Nashville singer songwriter on a mission to convey his wonderful storytelling.l
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Episode Transcript
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Speaker 1 (00:01):
Taking a Walk Nashville.
Speaker 2 (00:02):
If that is something that you feel is important to you,
to make a piece of work and put it out
in the world, that's a hard thing to not do
if you have that.
Speaker 3 (00:12):
Inkley, Hi, this is Sarah Harrelson, your host of Taking
a Walk in Nashville Today. I am sitting down with
Nashville songwriter Adam Wright to talk about his new album,
Nature of Necessity. Join me as we unfold his journey
from Georgia Roots to pursuing a music dream with his wife, Shannon.
(00:35):
Adam Wright is a twice Grammy nominated songwriter, singer, producer,
and musician and is signed with Carnival Music. His songs
have been recorded and performed by artists such as Alan Jackson,
Leanne Wollmack, John Legend, Brandy Clark, Trisha Yearwood, and Garth Brooks,
just to name a fuel. Let's take a walk with
(00:57):
Adam and Nashville together.
Speaker 1 (01:03):
Welcome to Taking a Walk Nashville with your hosts singer
songwriter Sarah Harrelson.
Speaker 3 (01:09):
So, Adam, thank you so much for being on Taking
a Walk Nashville today. Your songs have been recorded by
Nashville giants like Garth Brooks, Alan Jackson, Leon Wilmack, and
one of my favorites, Brandy Clark. Can you just start
by telling listeners how you got your start in songwriting
and where you're from.
Speaker 2 (01:30):
Originally, I'm from Nonon, Georgia, which when I was growing
up there was a small town and after the Olympics
in ninety six, there were no small towns that close
to Atlanta there. It sort of swallowed everything. So but
you know, I grew up my dad was a piano player,
(01:53):
mostly you know, church music. My grandfather was a piano player,
and it was mostly like jazz standards, you know, from
the thirties and forties, twenties and thirties and forties. So
I heard I started as a piano player, I guess,
is what I'm trying to get at. And then I
heard a Chuck Berry record when I was about twelve
(02:13):
years old and just lost my mind about guitar and
needed a guitar immediately. But so that was a lot
of musicianship, you know, went on for years, and I
think when I was a teenager was when I started
getting interested in how to write songs because my friend
and I started a band and we you know, we
(02:33):
sort of ran out of cover songs and started writing
songs to emulate the bands that we were into and professionally.
I guess I was living in Atlanta in my twenties
and my wife and I had a band, my then
girlfriend who would become my wife. We had a band
and we were writing a lot of songs. And I
(02:57):
had an uncle in the business, and I would send
him songs occasionally, and he was the one who was like,
you guys, ought to move to either Austin, Texas or
Nashville and sort of pursue this, you know, do it.
And we didn't know anybody in Austin, so we moved
to Nashville and got started learning how to, you know,
(03:20):
professionally write songs about going to writers' nights and trying
to get in the room with what we considered real songwriters.
And that's a you know, no matter how much you
do before you get to town, when you get to town,
you're starting over. It doesn't really matter what you've done
before you got here. At least it was that way
when we came here.
Speaker 3 (03:39):
Yeah. Absolutely, And it sounds like you grew up around
all sorts of genres growing up and that's so special
that you were able to write and do songs and
come out and pursue music with your wife and do
music together.
Speaker 2 (03:53):
I mean some of my favorite we toured a lot,
and some of my favorite memories of playing music were
the two of us just dragging a giant PA system
around to bars and restaurants and setting up ourselves and
playing all night. For it was not very much money,
but a whole lot of fun. It was a lot
(04:14):
of sweat at the time, but man, we had a
We had a really good time. It's what bonded us
was playing music together, singing together. That's how we met.
We met on a gig.
Speaker 3 (04:27):
Oh yeah, that's special. So you and your wife, you're
out here, you're playing at bars, doing gigs, you know,
trying to make it a Nashville. What was the turning
point in your career in Nashville? How did you get
into country music and get your first major cut as
a songwriter.
Speaker 2 (04:46):
Well, let's see, the first major cut as a songwriter
was an Alan Jackson song, two of them at the
same time. So we, you know, we were writing and
sort of trying to, you know, learn how to do things,
and we had a handful of songs and I took
them to Alan And this was like you know, pre
(05:07):
Napster and all of that stuff, when records were selling.
So if you got a couple of songs on a
record that did well, and a lot of records did well,
like you know, a lot of major artists went gold
a lot, you know, so you could make a pretty
good living with album cuts without hits. And so anyway,
I got a couple of songs to him that he
(05:28):
really liked, one that Shannon, my wife, and I had
written together, and one that I'd written by myself. These
were songs I wrote in Atlanta, I think I can't remember,
but anyway, he liked him, recorded them, put him on
a record by the I mean, you know, we didn't
have publishing deals or anything. We just they were just
our songs. And man, the record did well, as all
his records were doing at the time. You know, we
(05:50):
made enough money to put a down payment on a house.
And I remember telling her. I was like, I thought,
you know, we can do this if we keep getting
better editor at writing songs and keep you know, meeting
more people, like we can make a decent living, you know,
writing songs. It's like almost immediately like naster sort of
(06:13):
gobbled up the publishing business or the record selling business,
I should say, so most of that the way that
that all worked changed like immediately, like overnight, So then
you had to kind of figure out new ways to
do it and sort of stay alive. But it was
(06:33):
an interesting little window that you know, kind of closed
as soon as we jumped jumped through it.
Speaker 3 (06:39):
Well, I love that you brought that up because I
think a lot of people don't realize that it's tough
for songwriters to make a living now, just as a
songwriter getting cuts unless it's a hit song. So how
do you navigate that change in the industry when most
of the income is based on streaming royalty that aren't
(07:01):
as much as back in the day with CDs.
Speaker 2 (07:04):
Yeah, and it's really they're geared towards the ownership of
a master recording, which for people that aren't you know,
music business savvy, like basically means the record company that
owns the record makes money off of streaming, and songwriters,
you know, the publishing money off of that it's almost
non existent. So yeah, all of that did change. And
(07:26):
so what if it's a hit that's different where it
used to be. If it was on an album, you
still made some money. You had a hit, obviously you
made more money, but you could still make a living
off of album cuts, which there were plenty of. You know,
a lot of artists weren't interested in writing back, you know,
back then, unlike now. So I personally offset, you know,
(07:48):
that change by doing studio work. You know, I play
guitar and piano and seeing in the studio quite a bit,
with a lot of it with Frank Lindell, who runs
Carnival Music and I'm signed to you, and he's a
brilliant producer and a great publisher and a pretty good guy.
(08:09):
So I'll work a lot with him in the studio
and that's been a great thing. And I'll play shows
and whatever else you can do to sort of hang
in there if songs are your passion.
Speaker 3 (08:20):
Right, you definitely have to wear a lot of hats
in the music industry nowadays. But you know, besides being
a songwriter and studio musician, you're also an artist. And
just released your new folk album Nature of Necessity back
in September. Yeah, And what's interesting when I was reading
about your thoughts on this new album, you said, there's
(08:40):
no story behind the album you quoted, the story is
there's no story. I didn't get sober, there was no breakup.
You know, you're just a lyric junkie with a melody addiction,
and you know, I believe there's a story behind every song.
So there's no story of the album. What made you
(09:02):
put this collection of songs together and put it out
in the world.
Speaker 2 (09:07):
A habit probably like it's you know, I'm just I've
always been in the habit of releasing music. From way
before we moved to Nashville. We were making and putting
out records, either solo or as a band, whatever we
were doing. It's just I think if you have that
in you, you just always it's real hard to get out.
(09:28):
If that is something that you feel is important to you,
to make a piece of work and put it out
in the world, that's a hard thing to not do
if you have that inkling. And I've just always had
that inkling as a part of, you know, whatever I'm doing.
And this collection, like all records, to me, I think
(09:48):
they're all born out of the same little swell of
I guess I'll call it inspiration. You know, you sort
of get on a kick with a certain thing, and
there's a new excitement around some You've turned some corner
in your process or journey as a songwriter or artist
or whatever. And when you do that, there's all this
(10:11):
You get new wind in your sales and you know
a lot of new material that way. And so every
album that I've done has always been a collection of
whatever that particular moment was, you know, and then maybe
long moments. It maybe a year that it takes to
get all of that together, but they all hang together
in the same way. They're all kind of born out
of the same new new mindset or experience. So and
(10:35):
these were that, with the exception of a couple, some
of these songs were a lot older than the others,
particularly Dreamer and the Realist and Heaven When I Die
I think predated the writing of a lot of these
other songs, So they were the outliers, I guess, but
they fit together with all of.
Speaker 3 (10:54):
This they do. Yeah, it's I think it's beautifully pieced together.
Dreamer and the Realist is one of my favorites. And
I think you did such a great job, which is
the detail of all of the songs, and listening through
the album was Bob Dylan ever a lyrical influence of yours.
Speaker 2 (11:12):
That's funny. Nobody's ever asked that. And I think I
have like a complicated relationship with Bob Dylan's catalog, and
maybe most people do. I don't know. I don't talk
about it much, I guess, but man, I think some
of his work is very good and important, and I
think some of it is not very good. And I
(11:35):
almost think that's a hot take, I guess for a songwriter.
But I also think his figure looms so large over
the craft of songwriting it's hard to accurately assess the
quality of a lot of his work, in the same
(11:57):
way that I think Picasso is that way in the
art work. He looms so large, he's so iconic, he's
synonymous with being a painter, the way that Bob Dylan
is synonymous with being a songwriter. So it's very hard
to accurately assess the quality of it because he's synonymous
with it. But so I try to. I don't know.
(12:21):
I have a weird relationship that Now, some of my
favorite songwriters are just absolute devotees of Bob Dylan, like
Mark Knopfler, to me, is like the greatest living songwriter
in my opinion, and he's an absolute worshiper of Bob
Dylan's writing. But I think markin Knopffler's writing. I hold
Mark Knopfler's writing in higher esteem personally. Yeah, he does
(12:45):
something for me that.
Speaker 1 (12:46):
Bob Dylan does not.
Speaker 3 (12:48):
Okay, And you talk about painting, and you're also a painter.
I saw some of your work on social media. It's
really beautiful. And you have a thing shockboard wall behind
you all sort drawing too.
Speaker 2 (13:01):
So that something making messes. I make noise and messes,
I guess, I don't know.
Speaker 3 (13:07):
Yeah, So you just love painting and your free time
when you're not making music.
Speaker 2 (13:12):
Well, you know, I don't know if I love it.
I do it, and like it's it's as frustrating as
like writing songs is kind of frustrating to me, and
painting is very frustrating because I'm you know, I have
I mean, I've been making some sort of visual art
since I was a child, but I'm still not very
(13:32):
good at it. Like it's still very it's still a
really frustrating thing for me to do. My wife will say,
why don't you go relax and pain? And those two
things are not compatible relaxing like it's a it's a
it's just a different, a different frustration to pick up
when that's not a guitar and some words I guess,
but but I appreciate your kind words about it. It
(13:53):
is something that I enjoy the frustration of it, I guess.
Speaker 3 (13:58):
I don't know what's wrong with me, but you've definitely
have many creative talents. I want to go back to
your new album. When I first listened to it and
Her Yellow Bird, I was really enthralled by the female
voices I kept hearing on the album. Who were your
background vocalists for the album?
Speaker 2 (14:20):
Well, thank you. One of them is Shannon, my wife,
and the other is Anna Laddel, who mixed the record actually,
so she was our mixing engineer and recorded like all
of the overdubs that we did post tracking. The the
two of them together, man, they's just what they sing
to me is so unpredictable and the texture of their
(14:44):
voices is unique. And that was sort of We recorded
this album with the idea that it would be live
three piece, myself playing and seeing live and Glenn Warf
and Matt Chamberlain basing drums.
Speaker 3 (14:59):
That was it.
Speaker 2 (15:00):
That's all that that was the whole album, that's what
it was going to be. So we tracked the album
that way. You know, there's some problems in that, like
things don't things don't happen that you're so used to
hearing happen. And I kind of liked the wonkiness of it,
the fact that it did not satisfy you in the
ways that you're used to being satisfied by production, you know,
(15:22):
I was. I was kind of and Frank was excited
about it too, but we both love, you know, harmony
so much. And once we got Shannon and Anna to
sing on like one song, which I don't know what
that was, it might have been Yellow Bird. That was
pretty early on in the mixing process. Once that happened,
it just opened the can of worms and then we started,
you know, overdubbing all kinds of things. But we still
(15:46):
kept the bones of it, which is my playing and
singing in Glenn's bass and Matt drums. We kept all
that live just to bother ourselves, I guess. I don't know,
there's so many imperfections in it that I've come to
find charming in a way. But but yeah, their voices
kind of started the whole we're overdubbing on this. Yeah.
Speaker 3 (16:07):
Their voices are so beautiful on the album. And you
also feature Leanne Wilmack and Patty Griffin on a couple
of songs on your album.
Speaker 2 (16:15):
I love both of them so much, and they were
so nice. There's been so good to me over the years,
and uh, it was great to have them be a
part of this and talk about two really unmistakable voices.
I mean, like you know each of them when you
hear you know, just a few notes out of there,
out of their voice.
Speaker 3 (16:36):
Yeah. And where in Nashville did you record this album.
Speaker 2 (16:41):
It's East Irish. It used to be the House of
Blues and uh, you know you're low Coal, Yeah I am. Yeah, Yeah,
I don't know. They might have changed the name from
then even I can't remember, but but yeah, that's where
we recorded. They call it the Sun Room, Uh, kind
of modeled after Sun Records. But it's the only time
(17:04):
I've ever worked with it.
Speaker 3 (17:05):
Oh, it's the only time you've worked there. Okay, I
was gonna ask if you recorded your previous albums there.
Speaker 2 (17:10):
No, that's the only time I've ever been there. I've
been in a lot of studios in Nashville. But and
I've worked in I think I've worked in that room before,
but not on anything for me. I was, you know,
playing on something for someone else. But it's cool studio.
Speaker 3 (17:28):
Yeah, it's a it's a great studio. And your new
album it's so beautiful. So what's next for you now
that you have this new album out? Are you playing
any shows as an artist?
Speaker 2 (17:39):
I am, yeah, and probably not as many as my
wife and Frank would like, but I'm playing as many
as I can. I say yes to a lot of things. Yeah,
I'm actually going to North Carolina to more On to
play a show. So yeah, I'm playing as much as
my life and bones will tolerate.
Speaker 3 (18:01):
And can people find your website to see where your
upcoming shows are.
Speaker 2 (18:06):
Yeah, it's all on adamwrightsongs dot com. And you know,
I try to be pretty good about posting what's coming
up on social media. Step.
Speaker 3 (18:19):
So we're on taking a walk in Nashville. So I
always like to ask guests this question. Do you have
a favorite place that you like to take a walk
in Nashville.
Speaker 2 (18:29):
Let's see in Nashville. See, I live just outside in
Nashville and I walk a lot, so I usually walk
around there, just kind of near my house. But we
used to go to Percy Warner. That's my favorite a
lot when we lived on that side of town. That's
a good walk, and I'll tell you what, you can
(18:50):
get a little turned around over there. Sometimes there's a you.
Speaker 3 (18:53):
Can I always rely on my husband because he's run
those paths so many times.
Speaker 2 (18:58):
You get lost. I took a bike up there one
time when we lived over there years ago, and I
genuinely got lost. I did not know where it was
and I had been biking for hours at that point.
Speaker 3 (19:11):
Oh.
Speaker 2 (19:11):
I remember I had to call my wife and say,
you have to come pick me up, like my legs
are jello and it's getting dark. Yeah, yeah, that was
I guess that was probably my favorite. I like walking
around Music Row during the daytime. You know, my office
is on Music Grows, so sometimes if I have a
few minutes, I'll just walk around here and remember.
Speaker 3 (19:33):
All of the little buildings that were I know a
lot of condos on Music Row.
Speaker 2 (19:39):
Yeah yeah, yeah, condo city. They see.
Speaker 3 (19:43):
Well, Adam, thank you so much for being on taking
a walk Nashville today. Everyone, I should go check out
your new album, Nature of Necessity. And find your website
for your upcoming shows. Thank you for being on today.
Speaker 2 (19:57):
Thanks Sarah, I appreciate it.
Speaker 1 (20:00):
Thanks for listening to Taking a Walk Nashville with singer
songwriter Sarah Harrelson. And check out our other podcasts, Music
Saved Me, Comedy Save Me, and Taking a Walk. Available
on the iHeartRadio app, Apple Podcasts, or wherever you get
your podcasts
Taking a Walk Nashville.
Speaker 2 (00:02):
If that is something that you feel is important to you,
to make a piece of work and put it out
in the world, that's a hard thing to not do
if you have that.
Speaker 3 (00:12):
Inkley, Hi, this is Sarah Harrelson, your host of Taking
a Walk in Nashville Today. I am sitting down with
Nashville songwriter Adam Wright to talk about his new album,
Nature of Necessity. Join me as we unfold his journey
from Georgia Roots to pursuing a music dream with his wife, Shannon.
(00:35):
Adam Wright is a twice Grammy nominated songwriter, singer, producer,
and musician and is signed with Carnival Music. His songs
have been recorded and performed by artists such as Alan Jackson,
Leanne Wollmack, John Legend, Brandy Clark, Trisha Yearwood, and Garth Brooks,
just to name a fuel. Let's take a walk with
(00:57):
Adam and Nashville together.
Speaker 1 (01:03):
Welcome to Taking a Walk Nashville with your hosts singer
songwriter Sarah Harrelson.
Speaker 3 (01:09):
So, Adam, thank you so much for being on Taking
a Walk Nashville today. Your songs have been recorded by
Nashville giants like Garth Brooks, Alan Jackson, Leon Wilmack, and
one of my favorites, Brandy Clark. Can you just start
by telling listeners how you got your start in songwriting
and where you're from.
Speaker 2 (01:30):
Originally, I'm from Nonon, Georgia, which when I was growing
up there was a small town and after the Olympics
in ninety six, there were no small towns that close
to Atlanta there. It sort of swallowed everything. So but
you know, I grew up my dad was a piano player,
(01:53):
mostly you know, church music. My grandfather was a piano player,
and it was mostly like jazz standards, you know, from
the thirties and forties, twenties and thirties and forties. So
I heard I started as a piano player, I guess,
is what I'm trying to get at. And then I
heard a Chuck Berry record when I was about twelve
(02:13):
years old and just lost my mind about guitar and
needed a guitar immediately. But so that was a lot
of musicianship, you know, went on for years, and I
think when I was a teenager was when I started
getting interested in how to write songs because my friend
and I started a band and we you know, we
(02:33):
sort of ran out of cover songs and started writing
songs to emulate the bands that we were into and professionally.
I guess I was living in Atlanta in my twenties
and my wife and I had a band, my then
girlfriend who would become my wife. We had a band
and we were writing a lot of songs. And I
(02:57):
had an uncle in the business, and I would send
him songs occasionally, and he was the one who was like,
you guys, ought to move to either Austin, Texas or
Nashville and sort of pursue this, you know, do it.
And we didn't know anybody in Austin, so we moved
to Nashville and got started learning how to, you know,
(03:20):
professionally write songs about going to writers' nights and trying
to get in the room with what we considered real songwriters.
And that's a you know, no matter how much you
do before you get to town, when you get to town,
you're starting over. It doesn't really matter what you've done
before you got here. At least it was that way
when we came here.
Speaker 3 (03:39):
Yeah. Absolutely, And it sounds like you grew up around
all sorts of genres growing up and that's so special
that you were able to write and do songs and
come out and pursue music with your wife and do
music together.
Speaker 2 (03:53):
I mean some of my favorite we toured a lot,
and some of my favorite memories of playing music were
the two of us just dragging a giant PA system
around to bars and restaurants and setting up ourselves and
playing all night. For it was not very much money,
but a whole lot of fun. It was a lot
(04:14):
of sweat at the time, but man, we had a
We had a really good time. It's what bonded us
was playing music together, singing together. That's how we met.
We met on a gig.
Speaker 3 (04:27):
Oh yeah, that's special. So you and your wife, you're
out here, you're playing at bars, doing gigs, you know,
trying to make it a Nashville. What was the turning
point in your career in Nashville? How did you get
into country music and get your first major cut as
a songwriter.
Speaker 2 (04:46):
Well, let's see, the first major cut as a songwriter
was an Alan Jackson song, two of them at the
same time. So we, you know, we were writing and
sort of trying to, you know, learn how to do things,
and we had a handful of songs and I took
them to Alan And this was like you know, pre
(05:07):
Napster and all of that stuff, when records were selling.
So if you got a couple of songs on a
record that did well, and a lot of records did well,
like you know, a lot of major artists went gold
a lot, you know, so you could make a pretty
good living with album cuts without hits. And so anyway,
I got a couple of songs to him that he
(05:28):
really liked, one that Shannon, my wife, and I had
written together, and one that I'd written by myself. These
were songs I wrote in Atlanta, I think I can't remember,
but anyway, he liked him, recorded them, put him on
a record by the I mean, you know, we didn't
have publishing deals or anything. We just they were just
our songs. And man, the record did well, as all
his records were doing at the time. You know, we
(05:50):
made enough money to put a down payment on a house.
And I remember telling her. I was like, I thought,
you know, we can do this if we keep getting
better editor at writing songs and keep you know, meeting
more people, like we can make a decent living, you know,
writing songs. It's like almost immediately like naster sort of
(06:13):
gobbled up the publishing business or the record selling business,
I should say, so most of that the way that
that all worked changed like immediately, like overnight, So then
you had to kind of figure out new ways to
do it and sort of stay alive. But it was
(06:33):
an interesting little window that you know, kind of closed
as soon as we jumped jumped through it.
Speaker 3 (06:39):
Well, I love that you brought that up because I
think a lot of people don't realize that it's tough
for songwriters to make a living now, just as a
songwriter getting cuts unless it's a hit song. So how
do you navigate that change in the industry when most
of the income is based on streaming royalty that aren't
(07:01):
as much as back in the day with CDs.
Speaker 2 (07:04):
Yeah, and it's really they're geared towards the ownership of
a master recording, which for people that aren't you know,
music business savvy, like basically means the record company that
owns the record makes money off of streaming, and songwriters,
you know, the publishing money off of that it's almost
non existent. So yeah, all of that did change. And
(07:26):
so what if it's a hit that's different where it
used to be. If it was on an album, you
still made some money. You had a hit, obviously you
made more money, but you could still make a living
off of album cuts, which there were plenty of. You know,
a lot of artists weren't interested in writing back, you know,
back then, unlike now. So I personally offset, you know,
(07:48):
that change by doing studio work. You know, I play
guitar and piano and seeing in the studio quite a bit,
with a lot of it with Frank Lindell, who runs
Carnival Music and I'm signed to you, and he's a
brilliant producer and a great publisher and a pretty good guy.
(08:09):
So I'll work a lot with him in the studio
and that's been a great thing. And I'll play shows
and whatever else you can do to sort of hang
in there if songs are your passion.
Speaker 3 (08:20):
Right, you definitely have to wear a lot of hats
in the music industry nowadays. But you know, besides being
a songwriter and studio musician, you're also an artist. And
just released your new folk album Nature of Necessity back
in September. Yeah, And what's interesting when I was reading
about your thoughts on this new album, you said, there's
(08:40):
no story behind the album you quoted, the story is
there's no story. I didn't get sober, there was no breakup.
You know, you're just a lyric junkie with a melody addiction,
and you know, I believe there's a story behind every song.
So there's no story of the album. What made you
(09:02):
put this collection of songs together and put it out
in the world.
Speaker 2 (09:07):
A habit probably like it's you know, I'm just I've
always been in the habit of releasing music. From way
before we moved to Nashville. We were making and putting
out records, either solo or as a band, whatever we
were doing. It's just I think if you have that
in you, you just always it's real hard to get out.
(09:28):
If that is something that you feel is important to you,
to make a piece of work and put it out
in the world, that's a hard thing to not do
if you have that inkling. And I've just always had
that inkling as a part of, you know, whatever I'm doing.
And this collection, like all records, to me, I think
(09:48):
they're all born out of the same little swell of
I guess I'll call it inspiration. You know, you sort
of get on a kick with a certain thing, and
there's a new excitement around some You've turned some corner
in your process or journey as a songwriter or artist
or whatever. And when you do that, there's all this
(10:11):
You get new wind in your sales and you know
a lot of new material that way. And so every
album that I've done has always been a collection of
whatever that particular moment was, you know, and then maybe
long moments. It maybe a year that it takes to
get all of that together, but they all hang together
in the same way. They're all kind of born out
of the same new new mindset or experience. So and
(10:35):
these were that, with the exception of a couple, some
of these songs were a lot older than the others,
particularly Dreamer and the Realist and Heaven When I Die
I think predated the writing of a lot of these
other songs, So they were the outliers, I guess, but
they fit together with all of.
Speaker 3 (10:54):
This they do. Yeah, it's I think it's beautifully pieced together.
Dreamer and the Realist is one of my favorites. And
I think you did such a great job, which is
the detail of all of the songs, and listening through
the album was Bob Dylan ever a lyrical influence of yours.
Speaker 2 (11:12):
That's funny. Nobody's ever asked that. And I think I
have like a complicated relationship with Bob Dylan's catalog, and
maybe most people do. I don't know. I don't talk
about it much, I guess, but man, I think some
of his work is very good and important, and I
think some of it is not very good. And I
(11:35):
almost think that's a hot take, I guess for a songwriter.
But I also think his figure looms so large over
the craft of songwriting it's hard to accurately assess the
quality of a lot of his work, in the same
(11:57):
way that I think Picasso is that way in the
art work. He looms so large, he's so iconic, he's
synonymous with being a painter, the way that Bob Dylan
is synonymous with being a songwriter. So it's very hard
to accurately assess the quality of it because he's synonymous
with it. But so I try to. I don't know.
(12:21):
I have a weird relationship that Now, some of my
favorite songwriters are just absolute devotees of Bob Dylan, like
Mark Knopfler, to me, is like the greatest living songwriter
in my opinion, and he's an absolute worshiper of Bob
Dylan's writing. But I think markin Knopffler's writing. I hold
Mark Knopfler's writing in higher esteem personally. Yeah, he does
(12:45):
something for me that.
Speaker 1 (12:46):
Bob Dylan does not.
Speaker 3 (12:48):
Okay, And you talk about painting, and you're also a painter.
I saw some of your work on social media. It's
really beautiful. And you have a thing shockboard wall behind
you all sort drawing too.
Speaker 2 (13:01):
So that something making messes. I make noise and messes,
I guess, I don't know.
Speaker 3 (13:07):
Yeah, So you just love painting and your free time
when you're not making music.
Speaker 2 (13:12):
Well, you know, I don't know if I love it.
I do it, and like it's it's as frustrating as
like writing songs is kind of frustrating to me, and
painting is very frustrating because I'm you know, I have
I mean, I've been making some sort of visual art
since I was a child, but I'm still not very
(13:32):
good at it. Like it's still very it's still a
really frustrating thing for me to do. My wife will say,
why don't you go relax and pain? And those two
things are not compatible relaxing like it's a it's a
it's just a different, a different frustration to pick up
when that's not a guitar and some words I guess,
but but I appreciate your kind words about it. It
(13:53):
is something that I enjoy the frustration of it, I guess.
Speaker 3 (13:58):
I don't know what's wrong with me, but you've definitely
have many creative talents. I want to go back to
your new album. When I first listened to it and
Her Yellow Bird, I was really enthralled by the female
voices I kept hearing on the album. Who were your
background vocalists for the album?
Speaker 2 (14:20):
Well, thank you. One of them is Shannon, my wife,
and the other is Anna Laddel, who mixed the record actually,
so she was our mixing engineer and recorded like all
of the overdubs that we did post tracking. The the
two of them together, man, they's just what they sing
to me is so unpredictable and the texture of their
(14:44):
voices is unique. And that was sort of We recorded
this album with the idea that it would be live
three piece, myself playing and seeing live and Glenn Warf
and Matt Chamberlain basing drums.
Speaker 3 (14:59):
That was it.
Speaker 2 (15:00):
That's all that that was the whole album, that's what
it was going to be. So we tracked the album
that way. You know, there's some problems in that, like
things don't things don't happen that you're so used to
hearing happen. And I kind of liked the wonkiness of it,
the fact that it did not satisfy you in the
ways that you're used to being satisfied by production, you know,
(15:22):
I was. I was kind of and Frank was excited
about it too, but we both love, you know, harmony
so much. And once we got Shannon and Anna to
sing on like one song, which I don't know what
that was, it might have been Yellow Bird. That was
pretty early on in the mixing process. Once that happened,
it just opened the can of worms and then we started,
you know, overdubbing all kinds of things. But we still
(15:46):
kept the bones of it, which is my playing and
singing in Glenn's bass and Matt drums. We kept all
that live just to bother ourselves, I guess. I don't know,
there's so many imperfections in it that I've come to
find charming in a way. But but yeah, their voices
kind of started the whole we're overdubbing on this. Yeah.
Speaker 3 (16:07):
Their voices are so beautiful on the album. And you
also feature Leanne Wilmack and Patty Griffin on a couple
of songs on your album.
Speaker 2 (16:15):
I love both of them so much, and they were
so nice. There's been so good to me over the years,
and uh, it was great to have them be a
part of this and talk about two really unmistakable voices.
I mean, like you know each of them when you
hear you know, just a few notes out of there,
out of their voice.
Speaker 3 (16:36):
Yeah. And where in Nashville did you record this album.
Speaker 2 (16:41):
It's East Irish. It used to be the House of
Blues and uh, you know you're low Coal, Yeah I am. Yeah, Yeah,
I don't know. They might have changed the name from
then even I can't remember, but but yeah, that's where
we recorded. They call it the Sun Room, Uh, kind
of modeled after Sun Records. But it's the only time
(17:04):
I've ever worked with it.
Speaker 3 (17:05):
Oh, it's the only time you've worked there. Okay, I
was gonna ask if you recorded your previous albums there.
Speaker 2 (17:10):
No, that's the only time I've ever been there. I've
been in a lot of studios in Nashville. But and
I've worked in I think I've worked in that room before,
but not on anything for me. I was, you know,
playing on something for someone else. But it's cool studio.
Speaker 3 (17:28):
Yeah, it's a it's a great studio. And your new
album it's so beautiful. So what's next for you now
that you have this new album out? Are you playing
any shows as an artist?
Speaker 2 (17:39):
I am, yeah, and probably not as many as my
wife and Frank would like, but I'm playing as many
as I can. I say yes to a lot of things. Yeah,
I'm actually going to North Carolina to more On to
play a show. So yeah, I'm playing as much as
my life and bones will tolerate.
Speaker 3 (18:01):
And can people find your website to see where your
upcoming shows are.
Speaker 2 (18:06):
Yeah, it's all on adamwrightsongs dot com. And you know,
I try to be pretty good about posting what's coming
up on social media. Step.
Speaker 3 (18:19):
So we're on taking a walk in Nashville. So I
always like to ask guests this question. Do you have
a favorite place that you like to take a walk
in Nashville.
Speaker 2 (18:29):
Let's see in Nashville. See, I live just outside in
Nashville and I walk a lot, so I usually walk
around there, just kind of near my house. But we
used to go to Percy Warner. That's my favorite a
lot when we lived on that side of town. That's
a good walk, and I'll tell you what, you can
(18:50):
get a little turned around over there. Sometimes there's a you.
Speaker 3 (18:53):
Can I always rely on my husband because he's run
those paths so many times.
Speaker 2 (18:58):
You get lost. I took a bike up there one
time when we lived over there years ago, and I
genuinely got lost. I did not know where it was
and I had been biking for hours at that point.
Speaker 3 (19:11):
Oh.
Speaker 2 (19:11):
I remember I had to call my wife and say,
you have to come pick me up, like my legs
are jello and it's getting dark. Yeah, yeah, that was
I guess that was probably my favorite. I like walking
around Music Row during the daytime. You know, my office
is on Music Grows, so sometimes if I have a
few minutes, I'll just walk around here and remember.
Speaker 3 (19:33):
All of the little buildings that were I know a
lot of condos on Music Row.
Speaker 2 (19:39):
Yeah yeah, yeah, condo city. They see.
Speaker 3 (19:43):
Well, Adam, thank you so much for being on taking
a walk Nashville today. Everyone, I should go check out
your new album, Nature of Necessity. And find your website
for your upcoming shows. Thank you for being on today.
Speaker 2 (19:57):
Thanks Sarah, I appreciate it.
Speaker 1 (20:00):
Thanks for listening to Taking a Walk Nashville with singer
songwriter Sarah Harrelson. And check out our other podcasts, Music
Saved Me, Comedy Save Me, and Taking a Walk. Available
on the iHeartRadio app, Apple Podcasts, or wherever you get
your podcasts
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