Since the show began almost two years ago, A Change of Tune has highlighted some of the best up-and-coming artists out of these West Virginia hills with podcast-y chats ranging from Bishops to Rozwell Kid, The Sea The Sea to Bud Carroll and beyond.
But those interviews have been a bit infrequent, and since West Virginia Day is coming up (not to mention A Change of Tune’s second birthday), we thought we’d do something special: 30 days, 30 brand new #WVmusic interviews that range from Morgantown alt-rockers and Parkersburg singer-songwriters to West Virginia music venues and regional artist management and beyond, all of which contribute to this state’s wild and wonderful music scene.
And today, we are chatting with The 29ers, a country-tinged rock band based in Shepherdstown, West Virginia. The band’s five members have only been performing in this configuration for a short period of time, yet they’ve released a rock’n good EP and are already planning a forthcoming follow-up release. With that said, let’s get to know the men behind The 29ers (namely Matt Metz, Martin Metz, Matt Kline, Chris Chilcoat, and Eric Watland).
Credit Courtesy of The 29ers
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The 29ers gave the crowd some countrified rock feels at this 2015 Shepherdstown Opera House show.
How did The 29ers start playing music together (when, where, why, etc.)?
The band started a year ago after Matt Kline and Matt Metz played an acoustic set together. After that, they decided to flesh out their songs with more (and louder) instruments. They now share lead singing and songwriting duties for The 29ers.
Kline and Metz have actually played in multiple bands and genres together for over 10 years. They made up half of the folk string band The Fox Hunt, which spent 8 years touring around much of the United States, as well as parts of Ireland, Scotland, and Japan. Prior to that, they played with Chilcoat in the instrumental post-punk/metal band The Red Oranges, which garnered a reputation for complex song structures and frenetic live shows.
Their harmonizing vocals and guitars are now complemented by Chris Chilcoat on drums, Martin Metz on bass, and Eric Watland on keyboards.
Where does The 29ers’ name come from?
The number 29 holds several different meanings of varying importance to the band members. Most importantly is the fact that a score of 29 in Cribbage is the perfect hand!
How has the band’s sound changed over time (if at all)?
Our music started off quiet and acoustic. Then we switched to electric guitars and it got really loud. Now we realize you can play electric guitars at a lower volume.
Where does the band play in and around West Virginia (venues, festivals, etc.)?
We primarily play around the Shepherdstown area, but we have also played 123 Pleasant Street in Morgantown and The V Club in Huntington a few times.
Credit Courtesy of The 29ers
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Matt Kline (left) and Bud Carroll (right) work through The 29ers’ debut EP.
What’s been the highlight of the band’s musical journey?
Recording our debut EP with Bud Carroll was priceless. Getting to hang out with someone that talented and who we’ve admired for a long time was incredible. We recorded that 4-song EP over a long weekend of 10-hour days.
What’s it like making music in West Virginia?
It’s special. There are (and have been) such great music communities, specifically in Shepherdstown, Morgantown, and Huntington. There’s a large number of insanely talented folks in this state and a kind of instant camaraderie between West Virginia bands.
Do you feel held back by being in West Virginia? Or does it feel like a musically-supportive place?
West Virginia has always been supportive of our music, 100%. Different places in West Virginia are close to other good music towns, so it’s never felt isolated or limiting in that way. Because of the support of those music communities, it’s now a great time to be a band in West Virginia.
What, in your opinion, needs to happen in the West Virginia music scene for it to move forward?
More of the same. Great folks like Bud Carroll will keep making great records, Ian Thornton will keep finding and promoting great bands/artists, and the bands in West Virginia will keep playing and supporting each other, swapping shows, and encouraging a wide array of music. The Huntington Music and Arts Festival is a perfect example of a community coming together to support local West Virginia musicians.
What’s the band’s advice to anyone starting to make music?
Make sure to practice as much as you can and write songs every day. And be nice to everyone you meet! Other bands, venue owners, sound guys, bartenders, concert goers, everyone. You’ll get back what you give, so showing appreciation to the folks you meet will come back to you big time.
The 29ers’ latest release is the 4-song Inherent Buzz EP. The band will return to the studio soon to record a follow-up record, which is tentatively titled Spanish Panther. Keep an eye on their social media and website for more music and summer tour dates. To hear more #WVmusic, tune in to A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic.
Since the show began almost two years ago, A Change of Tune has highlighted some of the best up-and-coming artists out of these West Virginia hills with podcast-y chats ranging from The Sea The Sea to Coyotes in Boxes, Qiet to Bud Carroll and beyond.
But those interviews have been a bit infrequent, and since West Virginia Day is coming up (not to mention A Change of Tune’s second birthday), we thought we’d do something special: 30 days, 30 brand new #WVmusic interviews that range from Morgantown alt-rockers and Parkersburg singer-songwriters to West Virginia music venues and regional artist management and beyond, all of which contribute to this state’s wild and wonderful music scene.
And today, we are chatting with White Sulfur Springs musician Chandler Beavers, who became a fan of jam bands and bluegrass music at an early age. Since then, Chandler has gone on to make his own music, not to mention collaborate with regional artists like Beckley’s The Kind Thieves and Hiawatha’s Steamliner Bluegrass Band. Which begs the question…
Credit Alauren McClay
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Chandler Beavers has lived in different parts of West Virginia throughout his youth including Princeton, Athens, Charleston, Roanoke, and Bluefield. He currently resides in White Sulphur Springs.
How exactly did you start playing music (when, where, why, etc.)?
I started playing the mandolin in 2001, back when I was 10 and living in Princeton, West Virginia. I discovered my landlord was in a bluegrass band. I had never really listened to much bluegrass before then, but after hearing his popular band Black Diamond play, I was hooked. I haven’t looked back since.
How has your sound changed over time (if at all)?
I’ve progressed more and more towards the “jam” scene after starting with very traditional bluegrass music. When I first started playing bluegrass, I was fascinated with The Del McCoury Band. Over time, acts like Yonder Mountain String Band, Tim O’Brien, Leftover Salmon, Dave Matthews Band, and The Infamous Stringdusters made a huge impact on my music.
Where do you play in and around West Virginia (venues, festivals, etc.)?
I travel and play with a few groups at the moment. We play anything from small venues and festivals to the streets of Gatlinburg, Tennessee, during the summertime.
What’s been the highlight of your musical journey?
Man… the highlight for me so far has been meeting all the people associated with the genre. You won’t find a better crowd of folks anywhere in the world than the ones you find at a bluegrass gathering.
What’s it like making music in West Virginia?
Making music in West Virginia is amazing. The scenery and the people around you make for great inspiration.
Credit Alauren McClay
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Chandler Beavers newest release will be out later this year.
But do you feel held back by being in West Virginia? Or does it feel like a musically-supportive place?
Honestly? Yes, I do feel held back to a certain degree. When it comes to support, the people of West Virginia give you all the support you need, but the problem I’m becoming aware of is the small amount of bluegrass pickers in the area (especially young bluegrass pickers), not to mention the problem with venues. It’s hard to find a venue that will host bluegrass (or any genre for the matter) and be able to pay the act a decent wage for being there.
What I will say is that festival promoters have done a fantastic job lately in bringing top-notch acts to West Virginia. There are some new/newer festivals in West Virginia that are incredible experiences, and Mountain Stage continues to do a wonderful job keeping music alive.
What, in your opinion, needs to happen in the West Virginia music scene for it to move forward?
It’s growing and getting better. Like I said, there are new events popping up all the time, and that’s encouraging. I do believe West Virginia could use some more legitimate venues and maybe encourage more folks to get more involved with the music scene. It amazes me how many friends I have that love music but never make it out to support live music and support the bands. If we don’t support the artists, it’s hard for music to grow.
What advice would you give anyone starting out in music?
If your starting to make music and want to be somewhat serious about it, my advice would be to come up with some original material and follow your heart. Play the music that makes you happy. Music is supposed to be fun. Don’t play material or join up with bands if it makes you unhappy about music.
Chandler Beavers’ solo project Different will be released later this year. Keep an eye on his social media for music updates and tour schedules. To hear more #WVmusic, tune in to A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic.
Since the show began almost two years ago, A Change of Tune has highlighted some of the best up-and-coming artists out of these West Virginia hills with podcast-y chats ranging from The Sea The Sea to Coyotes in Boxes, Qiet to Bud Carroll and beyond.
But those interviews have been a bit infrequent, and since West Virginia Day is coming up (not to mention A Change of Tune’s second birthday), we thought we’d do something special: 30 days, 30 brand new #WVmusic interviews that range from Morgantown alt-rockers and Parkersburg singer-songwriters to West Virginia music venues and regional artist management and beyond, all of which contribute to this state’s wild and wonderful music scene.
And today, we are chatting with 18 Strings, a Morgantown-based string trio with an Appalachian twist (which they refer to as Appalachicana). So we asked the band…
Credit Helen Comber
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18 Strings’ members include Andy Tuck on vocals/guitar/harmonica, Chris Jones on mandolin/fiddle and Greg Thurman on bass.
How did 18 Strings start playing music together?
18 Strings started at the beginning of 2016. While the group is young in terms of band time, we’re all experienced and active members of the West Virginia music scene. In fact, Andy Tuck (vocals/guitar) had crossed paths with Chris Jones (mandolin/fiddle) long before 18 Strings began this past January. That was when Andy was performing a solo gig at Black Bear Burritos while Chris was eating (because the burritos there are delicious). Something grasped Chris to say, “Hey, why don’t we do a little something?” Chris wanted to get his mandolin back out, and that’s a good sign when he wants to get it out.
We wanted to do a stripped-down, acoustic string band type of thing. Chris and Greg Thurman (bass) were previously in a band called Whitewater, so Chris immediately called Greg to join our new endeavor. We got together at Chris’ kitchen table for our first band meeting, and we just clicked. It felt good from the get-go, really.
We all really like to play music in an original way while maintaining connections to tradition. If anything, 18 Strings was brought together by a mutual desire to explore the sonic possibilities of a string trio and to push those boundaries.
Where does the name 18 Strings come from?
The name of the group comes from the number of strings in the group — 6 on a guitar, 8 on a mandolin, 4 on a bass.
The name just jumped out. That was the one that everyone in the group perked up at. Andy was set on the name “John Work Three” after reading a book about Muddy Waters and learning that John Work III was the guy who initiated the first trip to Mississippi to record blues musicians. So “John Work Three” sounded cool to him, but no one in the band’s named John Work, so people would have been confused.
Chris was the one who finally said we should go with 18 Strings. Greg went along with that. And Andy was the one who suggested 18 Strings in the first place, so that was that.
John Bright down at The Purple Fiddle brought up a good point and say, “What happens if you get someone else in your band? Are you going to change the name?” And Andy said, “It will have to be 18 Strings etc.” If we were to add another instrument, it would probably be a second guitar.
Credit Helen Comber
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18 Strings are known for gigging at 123 Pleasant Street.
What’s been the highlight of 18 Strings’ musical journey?
Opening up for Larry Keel at 123 Pleasant Street on April 15. Up until that point, we had done mostly small, intimate venues. But that was the first show where we had a sound guy and an audience that was larger than what we had played in front of before. Plus we got to watch Larry Keel for free, so that was a highlight, for sure.
What’s it like making music in West Virginia?
Making music in West Virginia is an amazing experience. The cultural backdrop is already so rich in tradition, and it’s a wonderful to be a musician in an ever-evolving scene.
With that said, Morgantown is a strange little world. Andy has been around Morgantown for 15 years and has watched the scene become a bit cliquey. Even though there are heavy metal groups, bluegrass groups, indie rock groups, and jam band groups, there are very few bands that weave in and out of those particular genre styles. Luckily 18 Strings can fit in with multiple styles since we do multiple styles of music.
There’s also a cyclical nature to Morgantown because an entire new population comes through every so many years because of West Virginia University. In terms of how we’re getting along in Morgantown, we’re still working on getting a solid fanbase.
Where does the band play around West Virginia?
We play at Black Bear Burritos a lot and 123 Pleasant Street in Morgantown. Even though Morgantown is our homebase, we’re not bound to Morgantown, by any means. The band’s been booked all over West Virginia, including Elkins, Parkersburg, Thomas, and Cleveland, West Virginia. We’ve also played in Pittsburgh and North Carolina. We’re just trying to get as many opportunities to play as we can right now.
Credit Courtesy of 18 Strings
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18 Strings describe their bluegrass-rock hybrid as Appachicana.
Do you feel held back by being in West Virginia? Or does it feel like a musically-supportive place?
At times, West Virginia is very musically-supportive. The community that exists around the music can be very tight-knit.
With that said, if you’re just strictly talking about numbers in terms of places to play and people who come out to appreciate live music, one could say there’s a certain disadvantage to West Virginia’s music scene. If you take the city of Pittsburgh, for instance, there’s a million people in that metropolitan area. Whereas in West Virginia, there’s a million people in the entire state. If you take 10% of that million people who could be fans of your music, you would have a more concentrated fanbase in Pittsburgh compared to a less concentrated fanbase in West Virginia’s metropolitan areas.
This is where our music comes from. Our music is rooted here. But we can’t wait to go out and play in other areas so they can see that the music we represent, the Appalachian style of music, is being done in a new way.
You describe your music as Appalachicana. What does that term mean?
Chris came up with that name. What he was getting at is that we’re rooted in Appalachian musical styles, but we’re influenced by a lot of other American types of music, including acoustic classic rock songs like “Going to California” by Led Zeppelin and “Fearless” by Pink Floyd and artists like Bob Dylan, John Prine, Lead Belly, Creedence Clearwater Revival, Allman Brothers, and The Beatles. Appalachicana is geographical in location, but American music in scope.
What, in your opinion, needs to happen in the West Virginia music scene for it to move forward?
A Morgantown musician workshop would be great, where musicians who are interested in a larger scene could get together at a brew pub to cross-pollinate and be open to other styles. Most of the musicians that you talk to are into a wide range of music, but what they choose to do is focus on what the band is up to.
And there needs to be more promotion of West Virginia music. There’s a West Virginia Music Hall of Fame, and it’s great, but there needs to be more. It feels like there’s a cultural fence around West Virginia, and in order for the music scene in West Virginia to move forward, we need to kick down a couple walls and get out there. If you’re in Athens, Georgia and say, “I’m a musician,” then people will say, “Oh great! Where can I see you play?” Whereas in West Virginia, people would respond with, “Oh, how’s that working out for you?” I know West Virginia people love music, but it’s not taken seriously.
What advice would you give to anyone starting to make music?
The best thing to do is just to make music. Play with people at jam sessions, on your porch, in your garage, wherever. Just play with other people and learn how to collaborate and help each other learn. Because at the end of the day, playing music is supposed to be fun.
18 Strings’ self-titled debut will be out later this summer. Keep an eye on their social media for their music and tour dates. To hear more #WVmusic, tune in to A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds!
Since the show began almost two years ago, A Change of Tune has highlighted some of the best up-and-coming artists out of these West Virginia hills with podcast-y chats ranging from Tyler Childers to Ona, Bud Carroll to Coyotes in Boxes and beyond.
But those interviews have been a bit infrequent, and since West Virginia Day is coming up (not to mention A Change of Tune’s second birthday), we thought we’d do something special: 30 days, 30 brand new #WVmusic interviews that range from Morgantown alt-rockers and Parkersburg singer-songwriters to West Virginia music venues and regional artist management and beyond, all of which contribute to this state’s wild and wonderful music scene.
And today, we are chatting with The Horse Traders, a four-piece Americana alt-rock band out of Huntington, West Virginia. While they may not be trading horses, the band is known for trading good times and great tunes, especially with their new four-song EP I Don’t Mind. We sat down with The Horse Traders in our Charleston studios to talk about their musical journey, their love of #WVmusic and, of course, ’90s Britpop.
Warning: This podcast-y chat does contain a few expletives. Listener discretion is advised.
The Horse Traders’ newest release is I Don’t Mind. Hear more #WVmusic on A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds!
Interview Highlights:
On The Horse Traders’ musical origins:
Patrick Stanley (guitar, vocals): I decided I wanted to be in Oasis when I was 12 or 13, so I learned four chords on a guitar I found in the basement of our house. Two or three chords’ worth of improvement, here I am in The Horse Traders.
Travis Egnor (guitar, steel guitar): I got my first guitar when I was 5. No one really understood why. We didn’t have any music in our family, other than we had a big console record player filled with records and 8-tracks. It was a little bit of everything. One of my favorite songs was called “Cherry Baby,” some disco song, but I liked it just because it was on orange vinyl. There was some cool stuff in there, like some Stevie Wonder, Hank Jr. and Alice Cooper. It was a mix of two uncles, my dad and my mom’s music. I ended up listening to a little bit of everything.
Jeremy “Wood” Roberts (drums): I grew up in a super Christian household with not a lot of cool music in it. But “Hee Haw,” “Austin City Limits” and, believe it or not, “The Lawrence Welk Show” was some of the first stuff I got into. The “Grand Ole Opry” too.
I started playing drums in school, but I thought it was kind of lame, so I played guitar. I found rock n’ roll and MTV, and it got a lot more fun.
Credit Anthony Michael Davis
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The Horse Traders’ name comes former member Frank Miller and refers to Travis Egnor & Jeremy “Wood” Roberts’ constant buying, selling, and trading of items.
Brandon Mooney (bass): My parents had really good tastes. My dad was really into Creedence Clearwater Revival, which oddly enough he played bass when he was younger. He played in a Jimi Hendrix cover band when he was in high school. My mom was real into Michael Jackson, Beach Boys, Prince, stuff like that.
When I was a little kid I use to do concerts for my mom and sister in our living room with a hair brush, white glove and a little leather jacket. I did Michael Jackson concerts; it was pretty weird. I was a weird kid. Weird adult, even weirder kid.
Going into high school, a buddy offered to sell me an acoustic guitar for $40, and I thought it’d help me get girls, and I was really into Dave Matthews. What I found out was you could play all the Dave Matthew you want in high school, but that doesn’t make you know how to speak to people without that guitar in your hands. I learned how to be a huge Dave Matthews fan and to play music that actually meant something for a change, like The Horse Traders’ stuff currently.
On the formation of The Horse Traders:
Travis: I always say it’s a continuation of another band that Wood and I were in, but it’s so completely different now that it’s even hard to say that. Wood and I were in another band called Dead Leaves with a couple of guys that lived in Nebraska, and that was really difficult to keep going. So when we decided that just wasn’t going to work out, we decided to start another band and got together with our good friend Frank Miller and started The Horse Traders. There’s a few of those songs that we touch on every now and then, but it’s mostly different now.
As The Horse Traders, we had decided that we wanted to back up some other songwriters, so that’s how we got to playing with Patrick. Frank had some health issues and wasn’t able to continue touring and playing on the regular, so we decided to get ahold of Patrick and see if he wanted to be a Horse Trader.
Patrick: I owned a very small amount of instruments and musical equipment before I met Travis and Wood, but to be a Horse Trader means that nothing that you own is as valuable as the thing you’re about to own, and you should trade things, even if you love them more than you’ll love anything else.
<a href=”http://thehorsetraders.bandcamp.com/album/take-it”>Take It by The Horse Traders</a>
On the differences between Huntington and Charleston’s music scenes:
Wood: I started playing in Huntington when I was 16 or 17, and we had played Charleston a bunch because it was closer. It was always a treat to come to Huntington because the venues were always nicer, the crowds were always better and there was better food to eat. There’s a larger concentration of artistic people in Huntington then there seems to be anywhere else in the state that’s close to our age range.
Travis: He’s right. It’s amazing how different Huntington and Charleston, being as close together as they are. But the two are not similar; they’re very different. I feel a lot more comradery and support in Huntington, even though I know several bands from Charleston that I like a lot and are friends with. It seems like there’s a certain line that doesn’t get crossed in Charleston versus Huntington. The other bands we play with in Huntington are literally some of our best friends.
Brandon: I agree. Charleston seems more detached in that sense. For the most part, they’re all just bands that know each other, not bands that hang out with each other.
Patrick: It’s less stratified in Huntington. Mountain Stage and a bunch of other awesome musical things in Charleston are more established, but Huntington’s still trying to shake around to find out what the scene’s going to look like, which makes everybody a player.
On the future of #WVmusic:
Travis: It’s going so well. Now if we’re talking about Huntington, I’d suggest more of the same. It’d probably help to bring in some bigger, similar artists. I thought it was great when Jason Isbell came last year and played the Paramount Arts Center in Ashland, but there wasn’t a local opener for it. That’s really important because when you put a local opener on a show like that, not only is that local opener going to get their music to a larger audience, but it’ll get to the bigger artist they’re opening for. Eventually people are going to say, “Holy crap, there’s some serious stuff going on in West Virginia.”
Credit Anthony Michael Davis
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The Horse Traders celebrated their first anniversary as a new line-up in the spring of 2016.
Patrick: A perfect example is Lucero and Tyler Childers. Ben Nichols has played with him multiple times. Last time at the V Club he said, “I hate having to come up here after Tyler Childers,” which is crazy for him to say. That’s great. That’s an unreal thing for us to have in this tiny little place, where someone one who means a lot to a lot of people comes in and says, “This local boy, it’s really hard to come in and play after this guy.”
Travis: When you’ve got bands like Ona and Tyler Childers and Tim Lancaster and just some really amazing artists, eventually if you put them in front of the right people, they’re going to take notice.
Patrick: That’s the thing with the musical secret of any place in the history of recorded music: it’s this amazing secret, then it gets exposed, it’s still cool for fifteen minutes and then it’s over. We’re lucky enough to be a part of the time when it’s getting cool, and hopefully we’re going to be around when it’s the really cool thing to be a part of and see some of the aftermath of that. A scene is great until it’s discovered, and then it exists in this moment. Then once everyone knows about it, it’s over. I guess we’re lucky to be around in a time when we’re struggling to make it known.
Travis: Most of the stuff I listen to anymore is the people that we know.
Patrick: On a daily basis, I still listen to one Tyler Childers song.
Brandon: Go listen to anything that John R. Miller touches. And Tim Lancaster is great. And I’m super excited for the new record from Brandon Mitchell and his group The Disappearing Man. We didn’t talk about how important Nathan Thomas is to all things Huntington music.
Patrick: Yeah, let’s talk about that. One of the best things about the Huntington scene is we have local radio enforcement to back it up. That’s easy to overlook sometimes, and it’s easy to be like, “I forgot to listen to WMUL today,” but the fact that we have somebody who is so passionate about bringing local music to college ears, and Huntington ears is unbelievably refreshing. It’s great to have that shoulder to lean on and that person and influence.
On advice to anyone wanting to get into music:
Wood: Go to college.
Credit Courtesy of The Horse Traders
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The Horse Traders latest release is a four-song EP titled I Don’t Mind.
Travis: Don’t have crazy, lofty expectations. Go into it with your whole head and your whole heart. Do it as good as you can, as often as you can. Play with everybody. Don’t just decide that you’re a punk musician and just do punk. Don’t just decide that you’re a country musician and just play country. Play everything with everybody. It will make you such a more well-rounded musician, and you’ll meet tons of people and have much more fun.
Patrick: Finish writing your songs even if they’re bad, because they’ll eventually be good.
Since the show began almost two years ago, A Change of Tune has highlighted some of the best up-and-coming artists out of these West Virginia hills with podcast-y chats ranging from Rozwell Kid to Beach House drummer Graham Hill, Goodwolf to Teammate’s Scott Simons and beyond.
But those interviews have been a bit infrequent, and since West Virginia Day is coming up (not to mention A Change of Tune’s second birthday), we thought we’d do something special: 30 days, 30 brand new #WVmusic interviews that range from Morgantown alt-rockers and Parkersburg singer-songwriters to West Virginia music venues and regional artist management and beyond, all of which contribute to this state’s wild and wonderful music scene.
And today, we are chatting with Hello June, an indie rock four-piece that was started just a few years back by Morgantown native Sarah Rudy. The band has now grown to include Summersville’s Nate Snyder and Charleston buds Whit Alexander and Chad Brown. We sat down with the band to talk about their new release and what it’s like being a rock’n group of twenty-somethings in northern West Virginia.
Credit Courtesy of Hello June
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How did Hello June come together?
Nate Snyder (bassist): Sarah started the band in 2013 with Whit. It started as a little project, mostly recording songs that Sarah was writing. And that’s how Hello June’s EP came out around that time. it kind of took off from there. Eventually, everything went on a little break. Sarah ran into me, randomly, through another band practice that never worked out. We hit it off, and she asked me to play in Hello June. So I came up, and Chad moved in with us around the same time. Me, Sarah and Chad actually live together. So we all started playing, and Whit rejoined as the drummer as he was the guitarist previously.
Sarah Rudy (vocalist & guitarist): Hello June was my first official project. But Chad, Whit and I had a little project when we lived in the same apartment building around 2008 or 2009. So we had a history of playing together. And the reason why things are coming together so quickly with Hello June is because Chad and White grew up learning how to play together, so it’s really awesome to have them in the same room.
Nate: I literally just joined in February of this year [laughing]. It’s only been this formation since mid-March.
Are you all from West Virginia originally?
Sarah: Whit and Chad are from Charleston. I’m from Morgantown.
Nate: I’m from Summersville.
How did you get into music?
Nate: Well, I started playing bass originally than switched to guitars and then drums, because in Summersville, nobody ever seemed to have a drummer. When I was about 15, I was sneaking into bars to play a 30-minute set with bands who were in their 40’s, and then I would have to sneak out really quickly. That was my first taste of playing music, and then it kind of just kept going from there.
Credit Courtesy of Hello June
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Hello June in silhouette.
Sarah: I grew up playing. My grandfather played guitar, so he taught me how to play. Music is just integral to my family.
Chad Brown (guitarist): I started playing drums when I was 5, then switching to guitars at around 11. Everyone in my family plays music, so I’ve been around the Appalachian music scene since I could walk.
Whit Alexander (drummer & percussionist): My dad and uncle both played guitar, so I grew up around that. And when Chad had a band in high school, they were in need of a drummer, so I starting drumming on tables and then starting drumming with real percussion instruments.
When you were growing up in West Virginia, did you look up to any bands playing in the state?
Nate: Growing up, no. If you count college growing up, then I eventually found Daniel Johnston. He became a very big influence on me, and it was pleasure to find out that he was from West Virginia. When I was younger, I never got into the country music thing. I was always idolizing classic rock, and then I find indie and went in that direction very quickly.
Sarah: I always appreciated Jason Molina. He lived here for a little bit. He’s one of my favorite artists, so the fact that he had any ties to West Virginia was exciting to me.
Chad: For me, growing up in Charleston and being around Mountain Stage, Michael Lipton has been one of my favorite guitar players for a long time.
Whit: I had the opportunity to work with Larry Groce for a little bit on Mountain Stage about eight years ago, and he’s somebody that I’ve always idolized in the West Virginia music scene. But also, Bud Carroll had a band called American Minor that, when I was in high school, a band that I got really into. Their sound was really cool.
It’s interesting you all brought up Jason Molina and Daniel Johnston. Of the #WVmusic interviews I’ve done so far, no one has cited those artists for inspiration.
Sarah: I’m not surprised. We’re a little bit weird [laughing]. I know William Matheny loves Jason Molina…
Nate: …he just won’t admit it [laughing].
Sarah: [Laughing] He just doesn’t love Jason as much as I do.
When you were growing up in West Virginia, was it hard trying to make music that was less country and more indie rock?
Nate: Absolutely. For me it was, at least. I grew up listening to Garth Brooks, and I can literally remember the day I first heard The Beatles. And I thought, “Oh ok. That’s cooler than everything else.” I started down that path, which lead to classic rock and indie music eventually. But when I would hang out with my friends, and they would want to listen to the new Jay Z or Kanye West or Toby Keith album at the time, I would say, “That’s cool… but Clap Your Hands Say Yeah (which is another band from West Virginia that I should mention)!” And my friends would say, “Yeah… nobody cares. Go away. Go listen to your weird music.”
The lead singer from Clap Your Hands Say Yeah is actually from the Morgantown area, if I’m not mistaken. I got to meet Surfer Blood when they played up here at 123 Pleasant Street, and the first question they asked me was, “Does everyone here love Clap Your Hands Say Yeah because of West Virginia?” And I was like, “I don’t think anybody else besides me knows that they’re from West Virginia.” [Laughing] The lead singer is from here, but he eventually moved to New York. There’s actually a line “The Skin of My Yellow Country Teeth” that says, “Far, far away from West Virginia / I will try on New York City,” and that’s literally what he did. It’s kind of an autobiographical song.
And Katy Goodman from La Sera (who recently played here at 123 Pleasant Street) and Vivan Girls said that her family was from the Lewisburg area.
Chad: I came up on a lot more traditional Appalachian music. There was a lot of acoustic string music and a lot of Southern rock in my house. We played a lot of juke joints and dive bars, so it was a lot more normal for me to deal with that than to go out and fight to play a surf punk song or a metal song.
Sarah: I honestly don’t know if I ever thought about. I think I just do whatever I feel like doing [laughing]. I grew up listening to a bunch of different stuff like Neil Young and Elton John and some crazy things my mother would bring to the table. I never really thought about where we were in West Virginia or where I was even in the world. I just did whatever I felt was right at the time [laughing].
Credit Aaron New
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Hello June is Chad Brown, Whit Alexander, Sarah Rudy and Nate Snyder.
I’ve tried to find bands that have made good music, regardless of where they’re from or who’s in the band, but I would say that only a small portion of those bands involved women. What are your thoughts on that, Sarah?
Sarah: I think that’s pretty accurate. Haley Slagle is around Morgantown, and she’s one of the first women artists in West Virginia I noticed when I moved back here. The music scene around here is very male-dominated, and I don’t think that’s unique to Morgantown; I think it’s across the state. I definitely think that’s a good observation [laughing].
I really don’t know why we don’t see more women playing around the state. If you go to a show any given night, it’s extremely rare to see a female up there. So I don’t know if it’s because it’s expected because it’s the norm as of now or something else. I do think it’s changing in a different direction. Recently, I’ve come into contact with different females in our music. Tonight, we’re playing a show with The Furr, which has a female drummer, and that’s pretty cool. But in general, the female presence is lacking in my humble female opinion [laughing].
Nate: I will say that I have no experience in being a female member of a band [laughing], but pretty much every band I’ve been in has had a female in at some point, either permanently or is led by a female. It’s always been great. When I was younger, I heard somebody say, “Well, that band would be a lot better if that girl wasn’t on stage.” That really irked me at a young age, and even though I don’t necessarily seek it out, I always enjoy whenever there’s a female in a band. So when Sarah asked me play up here, it was even better because I knew how strong of a lead she was and how her work would be a good push for young girls and older women to just get out there and step up on stage, stand in the spotlight and do their thing.
Sarah: Thanks, man. Appreciate it.
Where does the name Hello June come from?
Sarah: I loved Johnny Cash growing up. I actually thought my grandfather was Johnny Cash probably until the year 2000. And I also looked up to June Carter Cash and her presence, probably because she was female and I felt connected to her. So Hello June stemmed from that. It sounds silly, but whenever Johnny Cash would get up on stage and say, “Hello, I’m Johnny Cash,” putting those concepts together is how I came up with that band name.
Credit Courtesy of Hello June
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A snapshot of Hello June’s recording space.
How would you describe Hello June’s sound?
Nate: That’s actually been a really difficult question for us. We describe our sound as indie rock in general. Some people describe us as bummer rock, which…
Sarah: I don’t agree with that.
Nate: We don’t agree with it. There’s a mellow feel to what we do, even though we do get intense from time to time in our live shows. I always tell people that it’s a little bit of rock, a little bit of indie and it’s also got a country tinge to it.
Sarah: Honestly, it’s really hard for me to categorize it. Hopefully one day I will be able to articulate that to you [laughing].
What are some of the influences on the band and the music?
Nate: The National is really big for me, I think for Sarah also. For me, I look up to bands like Frightened Rabbit and Death Cab for Cutie. Those all are really depressing bands, which I realize…
Sarah: Yeah about that “bummer rock” description… [laughing]
Nate: I’m the bummer, and they’re the rock [laughing]. But those bands have been big to me. I’ve also been listening to a lot of Lady Lamb recently, because I’ve been trying to get more into the mindset of Sarah’s style of playing. I’m producing the new Hello June record, so I wanted to make sure I understood how female vocals sat into the mixes and how they should be presented. And going to newer bands like Lady Lamb, La Sera and Alvvays, I paid a lot of attention to those sounds and used those influences on how we recorded.
<a href=”http://hellojune.bandcamp.com/album/hello-june-ep”>Hello June EP by Hello June</a>
It doesn’t seem like you’ve released much since your 2013 self-titled EP. Is there a reason for that?
Sarah: We just took a very long break. Whit and I released that EP, and we desperately tried to get a band together at that point, but it just wasn’t happening. We both went back to school (Whit studies computer science, I was studying biology), and we finished our degrees. We just weren’t focusing on music at all. Just recently, I decided to pull it back up and see what we could do with it.
Now you have the band back together and a new single out titled “Handshakes.” Can you talk about this new release a little bit?
Sarah: I wrote the bones of it a couple years ago, and I always wanted to do something with it. I brought it to these guys, and it started coming together. When we started playing together, that’s when things really started coming together, and we started figuring out different arrangements that we appreciated. And then we started recording it.
Credit Courtesy of Hello June
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Hello June’s new single is “Handshakes.” Expect a full-length from the band by the end of the year.
Nate: When Sarah first asked me to play, I was already a huge fan of the self-titled EP. So when she said she was working on a full-length, I thought that was incredible and jumped on the opportunity as quickly as possible. I didn’t know what my part was going to be. I fell into playing the bass after trying several different instruments including a very small synthesizer [laughing] which is funny because I’m 6’4’’ and giant. So a little tiny synthesizer was an interesting choice for me.
But whenever we started restructuring the songs that Sarah had written three or four years ago, it was originally just me, Sarah and Chad with headphone practice and ran everything through the computer in our apartment because we couldn’t play loud. For a little while, Whit was even playing drums in the keyboards, which was hilarious and awesome at the same time [laughing]. He was actually really good at it. We finally got a space, and as soon as we got into the space, we could finally play how we wanted to…
Sarah: Like real people [laughing].
Nate: We could make as much noise as wanted to, and we definitely did. I think it took two or three practices when we began feeling really tight as a band and how to react to each other doing things. Sarah did the self-titled EP pretty much by herself with Whit on it as well (she had a drummer at the time who also did some tracks), but she handed the reins over for me for most of “Handshakes.” Between the four of us, we’ve all been jumping in and attacking the recording process on our own, taking things one step at a time. We all had enough experience to know how it would go, but not enough to see how it would turn out…
Sarah: We still don’t know how it’s going to turn out [laughing].
Nate: [Laughing] Yeah. But so far, we’re pretty pleased with what we’ve done. We’re anticipating eight to ten songs on the new full-length, and the original three songs from the EP will be recorded the way we play them now for the upcoming full-length release. Because they still get a lot of attention and good response from the shows, so we thought it was time to rerecord them and put them back out.
Let’s talk about you all playing in Morgantown. How welcoming has the city been to your music?
Sarah: Very welcoming. The response we’ve gotten has always been positive.
Credit Courtesy of Hello June
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Hello June performed at U92 FM’s inaugural Moose Fest at 123 Pleasant Street.
Nate: I was recently talking to U92 FM’s Aaron New about Moose Fest, which was our first full-band show. We were playing the upper bar of 123 Pleasant Street and the tiny area in front of the window. He said that from what he heard, other than Rozwell Kid playing the fest (who has been an established band for a long time), and he said that people were really excited to see us and the bar was full when we played. A lot of people did respond really strongly to Hello June’s first EP, and I think everybody was excited to hear that something new was coming out.
We picked a weird time to start being a band and playing out more since all the college students leave, so the audiences are cut in half in Morgantown, but a lot of the locals have come out and are being receptive to our music.
Sarah: When I came back from Baltimore around 2011, I was not super into playing shows at that point. I felt like the Morgantown music scene was harsher at that point. But more recently, there’s been some really, really quality bands that have popped up, and the audiences have helped with that.
What have your experiences been playing music in West Virginia?
Nate: Having played in West Virginia most of my life, it’s definitely been a lot of positives and a lot of negatives, especially being an indie band. Morgantown is really the only place you can fit in, for the most part. Maybe Charleston (sometimes). It’s hard to book shows if you’re not playing modern country songs, not even classic country. We’re lucky to have 123 Pleasant Street, and Mainstage Morgantown is starting to get a little more indie. And Gene’s is starting to put on shows. The fact that they’re opening the doors to alternative and indie bands, not just your typical metal and country and bluegrass, that’s just amazing. Don’t get me wrong, there are downfalls for playing in the same spot. But you just have to keep pushing through that and look at the positives.
#thestruggletostay has been a big topic of conversation in West Virginia. Do you all expect this band to stay in West Virginia much longer?
Chad: If we got the opportunity, I don’t think anyone would think, “No, we can’t move. This is not an option.” It’s so cheap, and we’re all here. Whit is married. There’s no need for us to go anywhere now. It’s easy here.
Sarah: I like it here. I wasn’t expecting to stay much longer after moving back from Baltimore. I was just finishing up some school stuff, but I now appreciate the mix of things going on in Morgantown.
Nate: For the longest time, my life’s goal was to leave West Virginia. But I realize now that it’s not a terrible place, and I can accept where I am for right now.
When people walk away from this interview, what is the one thing they should know about Hello June?
Chad: We have fun [laughing]. We do.
Sarah: We’re all really good friends. We have a strong connection.
<a href=”http://hellojune.bandcamp.com/track/handshakes”>Handshakes by Hello June</a>
Hello June’s newest single is “Handshakes,” available now on their Bandcamp. Hear more #WVmusic on A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds!
Since the show began almost two years ago, A Change of Tune has highlighted some of the best up-and-coming artists out of these West Virginia hills with podcast-y chats ranging from Tyler Childers to Ona, Sean Richardson to Kyle Meadows and beyond.
But those interviews have been a bit infrequent, and since West Virginia Day is coming up (not to mention A Change of Tune’s second birthday), we thought we’d do something special: 30 days, 30 brand new #WVmusic interviews that range from Morgantown alt-rockers and Parkersburg singer-songwriters to West Virginia music venues and regional artist management and beyond, all of which contribute to this state’s wild and wonderful music scene.
And today, we are chatting with 27-year-old Parkersburg singer-songwriter Corey Shields. Or should we say Mid-Ohio Valley singer-songwriter, because you might find him playing more often across the border in Marietta, Ohio than in his hometown of Parkersburg, West Virginia. But why is it hard to build a scene in that part of the Mountain State? Let’s find out…
Corey Shields’ newest release is Only Questions. Hear more #WVmusic on A Change of Tune, airing Saturday nights at 10 on West Virginia Public Broadcasting. And for more #WVmusic chats, make sure to go to wvpublic.org/wvmusic and subscribe to our RSS / podcast feeds!
Interview Highlights
On starting music in Parkersburg:
I thought I wanted to be a drummer when I was 9 or 10. I remember they brought the junior high band to our elementary band, and they let us try different instruments. I immediately wanted to play the snare drum. Of course, Mom and Dad weren’t too happy about that because it’s the noisiest of things. My neighbor actually was a drummer, so he gave me a snare drum, and I’d sit around and pretend like I knew what I was doing. But it never really went anywhere.
And then I had some family troubles, became the typical teenager. I was 13, and I found a nylon string classical guitar under my grandma’s bed. I had no idea what I was doing, but thought it might be cool because all the cool kids play guitar [laughing]. I proved myself enough so that my grandma just let me have it. My mom bought me an electric guitar for my 14th birthday, it was one of those $100 nothing-special-guitars, but I still have the guitar. I kept it. I’m one of those sentimental types. I kind of moved from there and spent every penny that I could through high school buying all kinds of gear.
Then I was in bands in high school and wanted to do the whole rock star thing. And I guess that feeling never really died.
Credit Knobel Photography
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Corey Shields isn’t afraid to belt it out.
On loving rock music as a kid and playing more acoustic material as a young adult:
Nothing changed because that was always the type of music I was listening to, but as a 15- or 16-year-old kid, I’m like, “Heavy metal for days!” I always had this love of pop music, like Justin Timberlake. I don’t care what kind of music it is. I love a really good hook.
I was at the exact right age when metalcore became the big thing with bands like Killswitch Engage and Avenge Sevenfold. I loved that stuff because it had hooks, but it was heavy. So I still got to wear black t-shirts and things like that.
When I was around 14 or 15, John Mayer came on the scene, and I fell in love with his music. And I still love his music, even though I’m not a fan of his personality sometimes. People are like, “Oh, you like the guy who plays ‘Your Body is a Wonderland.’” And I’m like, “No, I like the guy who plays with Steve Jordan and Pino Palladino.” He uses a lot of jazz chords and things, and it’s more intricate than it appears.
On staying in West Virginia after college:
My senior year of college, my wife Heather and I went to Pittsburgh, our concert destination. And we actually went apartment hunting at one point. We were totally committed. I was going to graduate, and we were moving to Pittsburgh. That was the goal. That was exactly what was going to happen. I was supposed to graduate in May, and in February we found out she was pregnant. So we hit pause for a second to reassess everything.
All of our immediate family is in Parkersburg or the very near area. There’s no one in Pittsburgh for us. So it was more of a family decision of how can I tell my mom, “You’re going to be a grandma… Oh and we’re moving three hours away.” I couldn’t do that in the same breath.
So we hit pause, and we started looking, and we found that we could live in Parkersburg and go ahead and buy a house. Heather’s a nurse, and she was able to get a job right away. So it just worked out. It made the most sense to stay here and stay with our family.
On #thestruggletostay in West Virginia:
Speaking of Parkersburg specifically… the local establishment is not the most helpful in terms of the arts and the arts scene in this area. It’s a city that’s heavily populated with the older generation, and they don’t want us kids coming in, tearing up their nice things. I get that vibe a lot. I try to introduce myself to people, and they see me, catch a glimpse of a tattoo, and see my long hair, and they immediately assume the worst. There’s been a few times where that’s been really annoying because people just make assumptions about you. So that part’s been really frustrating with Parkersburg specifically.
That’s where Marietta, Ohio, came into play. Their scene has been super helpful to me. You can see West Virginia from some of the venues I play there. It’s right across the river. And for some reason, that magical bridge across the river is just a different world of this music culture that has really embraced me.
If I just went off the reaction I got in Parkersburg, I would’ve stopped playing music immediately. I never would’ve bothered. There’s not a lot of support right here, and it’s really frustrating, especially in the last year after watching Huntington and Charleston and the awesome bands there from afar. I feel hundreds of miles away. It’s a different world.
That’s my thing in Parkersburg: I’m a hometown guy, and I don’t play offensive music. My music’s not in your face, cursing everywhere. It’s pretty laid back music. You’d think I could get some support around here. Honestly, it feels like other places have really taken off, but I haven’t moved from square one in my own town.
Credit Liv Hefner Photography
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Corey Shields has high hopes for the Mid-Ohio Valley.
On things he sees in Marietta that he’d like to see in Parkersburg:
Number one: young people. I don’t want to sound like I’m talking down on my city, because I honestly do love Parkersburg. I think it has a lot to offer if it was just utilized properly. But you could put Marietta verse Parkersburg as the liberal versus conservative towns. That’s exactly what it feels like. Because you go to Marietta where it’s fresh, it’s always clean, young people everywhere. Then you go to Parkersburg, and there’s not a whole lot. Our downtowns are night and day. I wish Parkersburg would catch up, but I don’t know, it feels like there’s some people holding Parkersburg back. It feels like there’s a hold on Parkersburg, like it’s stuck in the past, where it won’t trust the new young adults.
April of last year, I went out and started playing some open mics, trying to meet some like-minded people. I started building meaningful relationships with other musicians. I immediately found that if you don’t have material, no one will book you, believe it or not [laughing]. So I decided to record an EP, and it was done over two weeks. It certainly wasn’t the best, but it was enough to get the point across and help me get some gigs, meet some more people. Things kept moving at a somewhat scary pace, honestly. It picked up faster than I thought it ever would.
I had these songs I was playing all the time, but they weren’t recorded yet. All of the songs had been written. I really wanted to put them together and record it all properly so I started recording end of December, early January. I think I had 15 songs, and I ended up cutting a few. I recorded it on my own. I just used the equipment I acquired over the last 12 years or so. I threw together the album, and I talked to a friend of mine about helping me with some album art, and she jumped on it. The album art’s probably the coolest thing I’ll ever be involved in.
Credit Courtesy of Corey Shields
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The album artwork for Corey Shields’ debut release was shot by Mid-Ohio Valley photographer Liv Hefner. You may see her work in the regional publication Clutch MOV.
On #WVmusic outside of Parkersburg:
My wife and I seriously listen to Ona’s American Fiction in the car, just for fun. I would listen to a band like Ona no matter where they’re from. It’s awesome that they’re from Huntington, that’s incredible that you could slip into the V Club and see them. But the location didn’t draw me to them; it was their sound. That’s what I’d like to get out of the Mid-Ohio Valley. It doesn’t matter where we come from, it’s just good music.
A few months ago in Marietta, I got to play before Tyler Childers, and he was so incredibly kind to me. That was my first step into the Huntington scene. He was really nice to me, and he named some people I should talk to like Ian Thornton and JJ Waters. I started messaging these people after the show, and all of these people have been really nice to me.
Credit Corey Shields
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Corey Shields’ American Minor CD, signed by one of the band members.
Bud Carroll’s American Minor was my first “sneaking into a club” show. They opened for Shooter Jennings in Athens, Ohio, and it was a 21+ show, I was 16, and my mom snuck me in. I got to see American Minor front row. I immediately put them into this rock star category. I learned a few of their songs playing along with the CD. The thought of guys like Bud Carroll ever hearing anything I do, it’s unfathomable to me.
And I really like Todd Burge, who only lives a few blocks from me. I was on a run last year, and I found out he lived right there. I really like what he’s done. He’s really friendly, really helpful, gives me advice anytime I ask for it. I mean, he’s the reason I got to play with Tyler Childers. It’s incredible how all of these things line up.
