Dial Back Sound

Taylor Hollingsworth - Tap Dancin’ Daddy Birmingham, Alabama's Taylor Hollingsworth has always resisted easy...

Thanks, Ruta 66 - Tiempos de Rock & Roll and Eduardo Izquierdo for this long-form interview. Translated below here to English, it's available in Spain & at this link: https://www.ruta66.es/2026/05/encuentros/dash-rip-rock-crunchy-guitars-humor-desafiante-y-resistencia-surena/

𝙃𝙖𝙞𝙡𝙞𝙣𝙜 𝙛𝙧𝙤𝙢 𝙉𝙚𝙬 𝙊𝙧𝙡𝙚𝙖𝙣𝙨 𝙖𝙣𝙙 𝙝𝙖𝙫𝙞𝙣𝙜 𝙨𝙥𝙚𝙣𝙩 𝙤𝙫𝙚𝙧 𝙩𝙝𝙧𝙚𝙚 𝙙𝙚𝙘𝙖𝙙𝙚𝙨 𝙝𝙞𝙩𝙩𝙞𝙣𝙜 𝙩𝙝𝙚 𝙨𝙩𝙖𝙜𝙚, 𝘿𝙖𝙨𝙝 𝙍𝙞𝙥 𝙍𝙤𝙘𝙠 𝙝𝙖𝙨 𝙗𝙚𝙚𝙣 𝙖 𝙝𝙖𝙥𝙥𝙮 𝙖𝙣𝙤𝙢𝙖𝙡𝙮 𝙞𝙣 𝙩𝙝𝙚 𝘼𝙢𝙚𝙧𝙞𝙘𝙖𝙣 𝙧𝙤𝙘𝙠 𝙡𝙖𝙣𝙙𝙨𝙘𝙖𝙥𝙚. 𝙏𝙤𝙤 𝙥𝙪𝙣𝙠 𝙛𝙤𝙧 𝙤𝙧𝙩𝙝𝙤𝙙𝙤𝙭 𝙘𝙤𝙪𝙣𝙩𝙧𝙮, 𝙩𝙤𝙤 𝙎𝙤𝙪𝙩𝙝𝙚𝙧𝙣 𝙛𝙤𝙧 𝙞𝙣𝙙𝙞𝙚 𝙤𝙧𝙩𝙝𝙤𝙙𝙤𝙭𝙮, 𝙩𝙝𝙚𝙮 𝙝𝙖𝙫𝙚 𝙧𝙚𝙢𝙖𝙞𝙣𝙚𝙙 𝙛𝙖𝙞𝙩𝙝𝙛𝙪𝙡 𝙩𝙤 𝙖 𝙥𝙤𝙬𝙚𝙧-𝙩𝙧𝙞𝙤 𝙛𝙤𝙧𝙢𝙪𝙡𝙖 𝙩𝙝𝙖𝙩 𝙗𝙡𝙚𝙣𝙙𝙨 𝙘𝙧𝙪𝙣𝙘𝙝𝙮 𝙜𝙪𝙞𝙩𝙖𝙧𝙨, 𝙞𝙧𝙧𝙚𝙫𝙚𝙧𝙚𝙣𝙩 𝙝𝙪𝙢𝙤𝙧, 𝙖𝙣𝙙 𝙖 𝙙𝙚𝙚𝙥𝙡𝙮 𝙇𝙤𝙪𝙞𝙨𝙞𝙖𝙣𝙖𝙣 𝙞𝙙𝙚𝙣𝙩𝙞𝙩𝙮. 𝙉𝙤𝙬 𝙩𝙝𝙚𝙮 𝙧𝙚𝙩𝙪𝙧𝙣 𝙬𝙞𝙩𝙝 𝘼 𝙎𝙤𝙣𝙜 𝙄𝙣 𝙀𝙫𝙚𝙧𝙮𝙤𝙣𝙚—𝙖 𝙨𝙩𝙧𝙞𝙥𝙥𝙚𝙙-𝙙𝙤𝙬𝙣, 𝙝𝙖𝙧𝙙-𝙝𝙞𝙩𝙩𝙞𝙣𝙜 𝙖𝙡𝙗𝙪𝙢 𝙥𝙧𝙤𝙙𝙪𝙘𝙚𝙙 𝙗𝙮 𝘽𝙤𝙗𝙗𝙮 𝙈𝙖𝙩𝙩 𝙋𝙖𝙩𝙩𝙤𝙣 (𝘿𝙧𝙞𝙫𝙚-𝘽𝙮 𝙏𝙧𝙪𝙘𝙠𝙚𝙧𝙨, 𝙏𝙝𝙚 𝘿𝙚𝙭𝙖𝙩𝙚𝙚𝙣𝙨) 𝙩𝙝𝙖𝙩 𝙘𝙖𝙥𝙩𝙪𝙧𝙚𝙨 𝙩𝙝𝙚 𝙬𝙞𝙡𝙙 𝙚𝙡𝙚𝙘𝙩𝙧𝙞𝙘𝙞𝙩𝙮 𝙤𝙛 𝙩𝙝𝙚𝙞𝙧 𝙡𝙞𝙫𝙚 𝙨𝙝𝙤𝙬𝙨 𝙡𝙞𝙠𝙚 𝙛𝙚𝙬 𝙧𝙚𝙘𝙤𝙧𝙙𝙨 𝙙𝙤. 𝙒𝙚 𝙨𝙥𝙤𝙠𝙚 𝙬𝙞𝙩𝙝 𝙛𝙧𝙤𝙣𝙩𝙢𝙖𝙣 𝘽𝙞𝙡𝙡 𝘿𝙖𝙫𝙞𝙨 𝙖𝙗𝙤𝙪𝙩 𝙙𝙚𝙛𝙞𝙖𝙣𝙩 𝙝𝙪𝙢𝙤𝙧, 𝘽𝙞𝙜 𝙋𝙝𝙖𝙧𝙢𝙖, 𝙪𝙣𝙡𝙚𝙖𝙨𝙝𝙚𝙙 𝙘𝙤𝙫𝙚𝙧 𝙨𝙤𝙣𝙜𝙨, 𝙖𝙣𝙙 𝙖𝙣 𝙪𝙣𝙬𝙖𝙫𝙚𝙧𝙞𝙣𝙜 𝙛𝙖𝙞𝙩𝙝 𝙞𝙣 𝙧𝙤𝙘𝙠 '𝙣' 𝙧𝙤𝙡𝙡 𝙖𝙨 𝙖 𝙛𝙤𝙧𝙢 𝙤𝙛 𝙧𝙚𝙨𝙞𝙨𝙩𝙖𝙣𝙘𝙚.

𝟭. 𝗔 𝗦𝗼𝗻𝗴 𝗜𝗻 𝗘𝘃𝗲𝗿𝘆𝗼𝗻𝗲 𝘀𝗼𝘂𝗻𝗱𝘀 𝗹𝗶𝗸𝗲 𝗗𝗮𝘀𝗵 𝗥𝗶𝗽 𝗥𝗼𝗰𝗸 𝘀𝘁𝗿𝗶𝗽𝗽𝗲𝗱 𝗱𝗼𝘄𝗻 𝘁𝗼 𝘁𝗵𝗲 𝗯𝗼𝗻𝗲. 𝗪𝗮𝘀 𝗶𝘁 𝗮 𝗰𝗼𝗻𝘀𝗰𝗶𝗼𝘂𝘀 𝗱𝗲𝗰𝗶𝘀𝗶𝗼𝗻 𝘁𝗼 𝗿𝗲𝗱𝘂𝗰𝗲 𝘁𝗵𝗲 𝘀𝗼𝗻𝗴𝘀 𝘁𝗼 𝗰𝗿𝘂𝗻𝗰𝗵𝘆 𝗴𝘂𝗶𝘁𝗮𝗿𝘀, 𝗱𝗶𝗿𝘁𝘆 𝗯𝗮𝘀𝘀 𝗮𝗻𝗱 𝘀𝘁𝗿𝗮𝗶𝗴𝗵𝘁-𝗮𝗵𝗲𝗮𝗱 𝗱𝗿𝘂𝗺𝘀?

When we play live that's what you get – three guys playing the f**k out of our instruments. But that’s not as easy to capture on tape as you would think. Bobby Matt Patton & the audio engineers he assembled got the sounds. Henry Barbe, Clay Jones & Starlin Browning played a big part. There was a lot of skill in that room. Go look at their Discogs- Clay’s worked on projects from Buddy Guy to Modest Mouse. Henry has worked on projects for Drive-By Truckers and Against Me’s Laura Jane Grace. Starlin has great ears for mixdown. Also, there’s some amazing vintage gear at Dial Back we grabbed off the walls.

𝟮. 𝗬𝗼𝘂’𝘃𝗲 𝗯𝗲𝗲𝗻 𝗺𝗶𝘅𝗶𝗻𝗴 𝗰𝗼𝘂𝗻𝘁𝗿𝘆 𝗮𝗻𝗱 𝗽𝘂𝗻𝗸 𝘀𝗶𝗻𝗰𝗲 𝗹𝗼𝗻𝗴 𝗯𝗲𝗳𝗼𝗿𝗲 𝗽𝗲𝗼𝗽𝗹𝗲 𝘀𝘁𝗮𝗿𝘁𝗲𝗱 𝗰𝗮𝗹𝗹𝗶𝗻𝗴 𝗶𝘁 “𝗮𝗹𝘁-𝗰𝗼𝘂𝗻𝘁𝗿𝘆.” 𝗛𝗼𝘄 𝗱𝗼 𝘆𝗼𝘂 𝗸𝗲𝗲𝗽 𝘁𝗵𝗮𝘁 𝗳𝗼𝗿𝗺𝘂𝗹𝗮 𝗮𝗹𝗶𝘃𝗲 𝗮𝗳𝘁𝗲𝗿 𝗳𝗶𝗳𝘁𝗲𝗲𝗻 𝗮𝗹𝗯𝘂𝗺𝘀 𝘄𝗶𝘁𝗵𝗼𝘂𝘁 𝘀𝗹𝗶𝗽𝗽𝗶𝗻𝗴 𝗶𝗻𝘁𝗼 𝗻𝗼𝘀𝘁𝗮𝗹𝗴𝗶𝗮?

I don’t have a formula, and I’ve never played just one type of music. I was born in New Orleans and lived in New Orleans and Louisiana my whole life except for a few years in Nashville. My mom was from Georgia, so I have a Southern accent. Rock, cowpunk, whatever I do…my Southern accent might slip out, which is gonna make people call me alt country. Ha. It’s true Dash was one of the first bands doing punked covers of things like "Jambalaya" and "White Lightning"- and that’s because I grew up dealing with the bu****it in Louisiana and the Baptist church and got into rock and new wave and punk early on. And my dad loved real country music. Since I started, I’ve never stopped writing new songs- rock, cowpunk, or indie ballads that are alt-country or jangle pop.

And as far as nostalgia goes, Dash has never stopped gigging or recording since I started it. No time for looking back when you’re busy playing and writing and loading the van. Any heartfelt music that’s a blast to perform will never lose its excitement for me. In New Orleans you see so many amazing musicians with long careers just getting better and better. When I was young, I thought the old guys were the coolest. I could picture myself being a grizzled gunslinger like Bo Diddley or Carl Perkins one day. I got to pick up Bo Diddley at the airport once and got to carry his guitar. It was one of the heaviest things I ever had to carry in my life.

𝟯. 𝗧𝗵𝗲 𝗮𝗹𝗯𝘂𝗺 𝘄𝗮𝘀 𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗱 𝗯𝘆 𝗕𝗼𝗯𝗯𝘆 𝗠𝗮𝘁𝘁 𝗣𝗮𝘁𝘁𝗼𝗻 𝗳𝗿𝗼𝗺 𝗗𝗿𝗶𝘃𝗲-𝗕𝘆 𝗧𝗿𝘂𝗰𝗸𝗲𝗿𝘀. 𝗪𝗵𝗮𝘁 𝗱𝗶𝗱 𝗵𝗲 𝗯𝗿𝗶𝗻𝗴 𝘁𝗼 𝘁𝗵𝗲 𝘀𝘁𝘂𝗱𝗶𝗼 𝗮𝘀 𝘀𝗼𝗺𝗲𝗼𝗻𝗲 𝘄𝗵𝗼 𝗮𝗹𝘀𝗼 𝗰𝗼𝗺𝗲𝘀 𝗳𝗿𝗼𝗺 𝗮 𝗯𝗮𝗻𝗱 𝘄𝗶𝘁𝗵 𝘀𝘂𝗰𝗵 𝗮 𝘀𝘁𝗿𝗼𝗻𝗴 𝗦𝗼𝘂𝘁𝗵𝗲𝗿𝗻 𝗶𝗱𝗲𝗻𝘁𝗶𝘁𝘆?

Bobby Matt comes from a Southern punk headspace like me. I first met him when he was in his old band the Dexateens. We sort of cut our teeth at some of the same venues, festivals, house parties and sh*tholes but during different years, though we did play the Nick in Birmingham with the Dexateens one night. This was before his time with the Drive-By Truckers. Matt enjoys our haywire humor and knows the history of the band and is familiar with our records. He’s a musician-producer. At Dial Back, he had a solid idea of what he wanted out of this record and he steered us right to it. He's soft-spoken and Southern, so he had a polite way to word his ideas. Plus he's funny as hell in a real dry way. We trusted his advice & direction.

𝟰. 𝗨𝗡𝗖𝗨𝗧 𝗺𝗮𝗴𝗮𝘇𝗶𝗻𝗲 (𝗨𝗞) 𝘁𝗮𝗹𝗸𝘀 𝗮𝗯𝗼𝘂𝘁 𝘆𝗼𝘂𝗿 “𝗱𝗲𝗳𝗶𝗮𝗻𝘁 𝗵𝘂𝗺𝗼𝘂𝗿” 𝗺𝗮𝘀𝗸𝗶𝗻𝗴 𝗮 𝘁𝗶𝗿𝗲𝗱 𝗯𝘂𝘁 𝗴𝗲𝗻𝗲𝗿𝗼𝘂𝘀 𝘃𝗶𝗲𝘄 𝗼𝗳 𝘁𝗵𝗲 𝘄𝗼𝗿𝗹𝗱. 𝗗𝗼𝗲𝘀 𝘄𝗿𝗶𝘁𝗶𝗻𝗴 𝘀𝗼𝗻𝗴𝘀 𝗵𝗲𝗹𝗽 𝘆𝗼𝘂 𝗸𝗲𝗲𝗽 𝗹𝗮𝘂𝗴𝗵𝗶𝗻𝗴 𝗮𝘁 𝗲𝘃𝗲𝗿𝘆𝘁𝗵𝗶𝗻𝗴, 𝗼𝗿 𝗷𝘂𝘀𝘁 𝘀𝘁𝗼𝗽 𝘆𝗼𝘂𝗿𝘀𝗲𝗹𝗳 𝗳𝗿𝗼𝗺 𝗴𝗲𝘁𝘁𝗶𝗻𝗴 𝗳𝗲𝗱 𝘂𝗽 𝘄𝗶𝘁𝗵 𝗶𝘁 𝗮𝗹𝗹?

I guess I’m a cynical but hopeful person. The world is so bizarre right now you almost have to bring humor in to counter the hideous reality. But I’ve always noticed the ironies. I don’t think I write as a coping mechanism. Songs and lyrics pop into my head. I can sit down and write, but just as often a line pops into my head. It’s fun to deliver clever songs live and get an immediate response. I like bands that have fun and are secretly cracking jokes all the time, and it's up to the listener to sort it all out. Wade Hymel, our drummer, is an amazing writer who is another cynical/hopeful type. His song “2 Much 2 Do” on this record is super weird and heavy.

𝟱. “𝗣𝗮𝗶𝗻 𝗣𝗶𝗹𝗹𝘀 𝗡𝗲𝘃𝗲𝗿 𝗘𝘅𝗽𝗶𝗿𝗲” 𝘁𝗮𝗸𝗲𝘀 𝗮𝗶𝗺 𝗮𝘁 𝗯𝗶𝗴 𝗽𝗵𝗮𝗿𝗺𝗮 𝗮𝗻𝗱 𝗯𝗶𝗴 𝗿𝗲𝗹𝗶𝗴𝗶𝗼𝗻. 𝗗𝗶𝗱 𝘁𝗵𝗮𝘁 𝘀𝗼𝗻𝗴 𝗰𝗼𝗺𝗲 𝗳𝗿𝗼𝗺 𝗮𝗻𝗴𝗲𝗿, 𝘀𝗮𝗿𝗰𝗮𝘀𝗺, 𝗼𝗿 𝘀𝗶𝗺𝗽𝗹𝘆 𝘄𝗮𝘁𝗰𝗵𝗶𝗻𝗴 𝘁𝗵𝗲 𝘀𝗮𝗺𝗲 𝘀𝘁𝗼𝗿𝘆 𝗽𝗹𝗮𝘆 𝗼𝘂𝘁 𝗼𝘃𝗲𝗿 𝗮𝗻𝗱 𝗼𝘃𝗲𝗿 𝗮𝗴𝗮𝗶𝗻 𝗶𝗻 𝗟𝗼𝘂𝗶𝘀𝗶𝗮𝗻𝗮?

The chorus came from a disagreement I had about whether things like Tylenol or hot sauce or pickles expire. The rest of the song grew from there. It’s an anthem for rocking on in spite of it all. It’s about the tragic absurdity of so many people getting grifted by you name it– corrupt preachers, drug companies, the crappy conditions of their lives, even themselves. It deals with a country pill freak point of view and how things can always go from bad to worse. It’s about seeing all that is pitiful and hateful and stupid and conniving and rocking on anyway. Recording this with Bobby Matt was perfect--he got the gist of this song immediately. He came up with the Rush Limbaugh line which we loved. “Pain Pills” is not just about Louisiana or the South – the garbage and grift is widespread in America and the world.

𝟲. 𝗗𝗮𝘀𝗵 𝗥𝗶𝗽 𝗥𝗼𝗰𝗸 𝗵𝗮𝘃𝗲 𝗮𝗹𝘄𝗮𝘆𝘀 𝗺𝗮𝗻𝗮𝗴𝗲𝗱 𝘁𝗼 𝗯𝗲 𝗽𝗼𝗹𝗶𝘁𝗶𝗰𝗮𝗹 𝘄𝗶𝘁𝗵𝗼𝘂𝘁 𝗽𝗿𝗲𝗮𝗰𝗵𝗶𝗻𝗴. 𝗗𝗼 𝘆𝗼𝘂 𝘁𝗵𝗶𝗻𝗸 𝗺𝗼𝗰𝗸𝗶𝗻𝗴 𝗽𝗼𝘄𝗲𝗿 𝗶𝘀 𝗺𝗼𝗿𝗲 𝗲𝗳𝗳𝗲𝗰𝘁𝗶𝘃𝗲 𝘁𝗵𝗮𝗻 𝗽𝗼𝗶𝗻𝘁𝗶𝗻𝗴 𝗮 𝗳𝗶𝗻𝗴𝗲𝗿 𝗮𝘁 𝗶𝘁?

I’m expressing my worldview in my music. Nobody loves being preached at. I love people and connecting with them at shows— but in the U.S. I’ve had a lot of experience standing onstage playing guitar in a room full of people who are throwing bottles at each other. I’ve played Europe several times and love the folks there. Our old friend and producer Jim Dickinson had a name for universal rock ‘n’ roll - he called it world boogie.

We think it’s time for a Dash European goodwill tour to mend some fences after we finish these Belize and Honduras dates. So call 1-800-DASHKICKSASS if you need a high octane Louisiana band ready to blow minds.

𝟳. 𝗬𝗼𝘂 𝘁𝗲𝗮𝗿 𝘁𝗵𝗿𝗼𝘂𝗴𝗵 “𝗠𝗲𝗮𝗻 𝗠𝗿 𝗠𝘂𝘀𝘁𝗮𝗿𝗱” 𝗮𝘀 𝗶𝗳 𝘁𝗵𝗲 𝗕𝗲𝗮𝘁𝗹𝗲𝘀 𝗵𝗮𝗱 𝗴𝗿𝗼𝘄𝗻 𝘂𝗽 𝗽𝗹𝗮𝘆𝗶𝗻𝗴 𝗵𝗼𝗻𝗸𝘆-𝘁𝗼𝗻𝗸𝘀 𝗼𝗻 𝗰𝗼𝘂𝗻𝘁𝗿𝘆 𝗿𝗼𝗮𝗱𝘀. 𝗪𝗵𝗮𝘁 𝗱𝗿𝗮𝘄𝘀 𝘆𝗼𝘂 𝘁𝗼 𝗽𝘂𝗹𝗹𝗶𝗻𝗴 𝗼𝘁𝗵𝗲𝗿 𝗽𝗲𝗼𝗽𝗹𝗲’𝘀 𝘀𝗼𝗻𝗴𝘀 𝗶𝗻𝘁𝗼 𝘆𝗼𝘂𝗿 𝗼𝘄𝗻 𝘄𝗼𝗿𝗹𝗱?

The Beatles loved New Orleans music. They were huge fans of Fats Domino, Frogman Henry and Allen Toussaint. We started doing Mean Mr. Mustard as if Huey P. Smith & the Clowns got a hold of it. It's a '60s juke joint style boogie, and it always brings out the dancers. The Beatles original on the Abbey Road album was just a snippet, a quick pass buried in the Side Two medley. I grew to like Lennon's demo on Anthology which included a chorus. So we added the chorus back and I did a ripping solo. It's a trippy gulf coast party banger. We like experimenting with other people’s songs.

𝟴. “𝗦𝗵𝗮𝗸𝗶𝗻’ 𝗢𝘂𝘁 𝗧𝗵𝗲 𝗗𝗮𝘆𝘀” 𝗶𝘀 𝗮𝗹𝗿𝗲𝗮𝗱𝘆 𝗯𝗲𝗶𝗻𝗴 𝘀𝗶𝗻𝗴𝗹𝗲𝗱 𝗼𝘂𝘁. 𝗪𝗵𝗮𝘁 𝗱𝗼𝗲𝘀 𝘁𝗵𝗮𝘁 𝘁𝗿𝗮𝗰𝗸 𝗵𝗮𝘃𝗲 𝘁𝗵𝗮𝘁 𝗺𝗮𝗸𝗲𝘀 𝗶𝘁 𝘀𝘁𝗮𝗻𝗱 𝗼𝘂𝘁 𝗲𝘃𝗲𝗻 𝗳𝗼𝗿 𝘆𝗼𝘂?

A couple of DJs on Sirius XM Little Stephen’s Underground Garage started playing that song– Palmyra Delran and Manfred are both garage musicians, so I'm really glad that they took a liking to it. It's got fun melodies and harmonies, and the guitars are super crunchy. Plus Izzy Grisoli’s crazy melodic bassline.

𝟵. 𝗧𝗵𝗲 𝗮𝗹𝗯𝘂𝗺 𝗿𝗲𝗮𝗹𝗹𝘆 𝗰𝗮𝗽𝘁𝘂𝗿𝗲𝘀 𝘁𝗵𝗲 𝗿𝗮𝘄 𝗲𝗻𝗲𝗿𝗴𝘆 𝗼𝗳 𝘆𝗼𝘂𝗿 𝗹𝗶𝘃𝗲 𝘀𝗵𝗼𝘄𝘀. 𝗗𝗼 𝘆𝗼𝘂 𝗿𝗲𝗰𝗼𝗿𝗱 𝘄𝗶𝘁𝗵 𝘁𝗵𝗲 𝘀𝘁𝗮𝗴𝗲 𝗶𝗻 𝗺𝗶𝗻𝗱, 𝗼𝗿 𝗶𝘀 𝘁𝗵𝗲 𝗹𝗶𝘃𝗲 𝗶𝗺𝗽𝗮𝗰𝘁 𝗷𝘂𝘀𝘁 𝗮 𝗻𝗮𝘁𝘂𝗿𝗮𝗹 𝗿𝗲𝘀𝘂𝗹𝘁 𝗼𝗳 𝗵𝗼𝘄 𝘆𝗼𝘂 𝘄𝗿𝗶𝘁𝗲?

We have learned to record live in the same room at studios. We squeeze in and talk things out face to face. It's the most natural way. We don't respond well to old studio techniques of separation and sterility. It's rare to capture the power and glory of live Dash in a studio. A lot of the raw energy on A Song In Everyone is the walls and the microphones, plus the guys twisting the k***s.

I definitely write songs to be performed live with an audience. But sometimes even our live records don't transfer the huge room aura of the power trio. The Dial Back room was as close as we will get to an aesthetically perfect environment– old wood paneling, record covers, bare bulbs, folk art, T-Model Ford’s chair.

𝟭𝟬. 𝗔𝗳𝘁𝗲𝗿 𝗮𝗹𝗹 𝘁𝗵𝗲𝘀𝗲 𝘆𝗲𝗮𝗿𝘀, 𝘄𝗵𝗮𝘁 𝘀𝘁𝗶𝗹𝗹 𝗽𝘂𝘀𝗵𝗲𝘀 𝘆𝗼𝘂 𝘁𝗼 𝗸𝗲𝗲𝗽 𝘄𝗿𝗶𝘁𝗶𝗻𝗴 𝘀𝗼𝗻𝗴𝘀 𝗮𝗻𝗱 𝗵𝗶𝘁𝘁𝗶𝗻𝗴 𝘁𝗵𝗲 𝗿𝗼𝗮𝗱 𝗮𝘀 𝗶𝗳 𝘁𝗵𝗲𝗿𝗲 𝘄𝗲𝗿𝗲 𝘀𝘁𝗶𝗹𝗹 𝘀𝗼𝗺𝗲𝘁𝗵𝗶𝗻𝗴 𝘁𝗼 𝗽𝗿𝗼𝘃𝗲?

I record and tour because of my love for music. Our time onstage is a gift and it's a tiny time bubble of love and energy. And I write because the ideas keep popping into my head. It feeds the live beast. There are a billion songwriters out there these days spit-balling, work-shopping, pitching and plugging. Songs have lost their poetry, meaning and power as more and more people flood the ears of the world. I'm inspired to keep making music because Dash gives me an awesome platform to deliver songs to happy crowds.

𝟭𝟭. 𝗗𝗮𝘀𝗵 𝗥𝗶𝗽 𝗥𝗼𝗰𝗸 𝗵𝗮𝘀 𝗮𝗹𝘄𝗮𝘆𝘀 𝗯𝗲𝗲𝗻 𝗮 𝘁𝗿𝗶𝗼, 𝗮𝗹𝗺𝗼𝘀𝘁 𝗮 𝗯𝗮𝗻𝗱 𝗯𝘂𝗶𝗹𝘁 𝗼𝗻 𝗿𝗲𝘀𝗶𝘀𝘁𝗮𝗻𝗰𝗲. 𝗪𝗵𝗮𝘁 𝗱𝗼𝗲𝘀 𝘁𝗵𝗮𝘁 𝗳𝗼𝗿𝗺𝗮𝘁 𝗴𝗶𝘃𝗲 𝘆𝗼𝘂 𝘁𝗵𝗮𝘁 𝗮 𝗯𝗶𝗴𝗴𝗲𝗿, 𝗺𝗼𝗿𝗲 “𝗰𝗼𝗺𝗳𝗼𝗿𝘁𝗮𝗯𝗹𝗲” 𝗯𝗮𝗻𝗱 𝘄𝗼𝘂𝗹𝗱𝗻’𝘁?

We can achieve a tightness where we read each other's minds. It's a lean rocking machine without any extra weight to cloud things. Drums-bass-guitar is the perfect rock formula no matter what anyone says. It's mathematically sound. With the right players a trio will do anything an 8-piece band can do with stripped down perfection. I have never been tempted to expand our line-up. It's always been just right. We resist being cleaned up, processed and stuck in a box.

𝟏𝟐. 𝐓𝐡𝐞 𝐭𝐢𝐭𝐥𝐞 "𝐀 𝐒𝐨𝐧𝐠 𝐈𝐧 𝐄𝐯𝐞𝐫𝐲𝐨𝐧𝐞" 𝐬𝐨𝐮𝐧𝐝𝐬 𝐚𝐥𝐦𝐨𝐬𝐭 𝐨𝐩𝐭𝐢𝐦𝐢𝐬𝐭𝐢𝐜. 𝐃𝐨 𝐲𝐨𝐮 𝐭𝐫𝐮𝐥𝐲 𝐛𝐞𝐥𝐢𝐞𝐯𝐞 𝐞𝐯𝐞𝐫𝐲𝐨𝐧𝐞 𝐡𝐚𝐬 𝐚 𝐬𝐨𝐧𝐠 𝐢𝐧𝐬𝐢𝐝𝐞 𝐭𝐡𝐞𝐦, 𝐨𝐫 𝐢𝐬 𝐢𝐭 𝐦𝐨𝐫𝐞 𝐨𝐟 𝐚 𝐫𝐨𝐜𝐤’𝐧’𝐫𝐨𝐥𝐥 𝐬𝐭𝐚𝐭𝐞𝐦𝐞𝐧𝐭 𝐨𝐟 𝐢𝐧𝐭𝐞𝐧𝐭?

The title is optimistic– there's good in everyone and there is a song in everyone. But in the context of “Taking You On,” the song that title comes from, the music industry is a backstabbing business and songs are weaponized. My belief is that music is spiritual – it occurs in nature, in the ether. There's music and a song in the wind and rain. Humans can act horribly or beautifully – either way, music is always there as an accompaniment. So yeah, I think everyone writes their own song and keeps it in their head. It's innocent at first, then once you release a song, the business side of it is brutal. It's human nature to create and hum a melody. At that creation point, it's truly yours.

👀 Look what is continuing! Join us next Saturday to hear Frank McLallen play as our continued collaboration with Dial Back Sound

Birmingham!

Excited to have Louisiana Music Hall of Fame trio and pioneers of alt-country and cowpunk in the shop Thursday, June 25th at 5PM playing some classics songs from their newest 18th LP, A SONG IN EVERYONE!

The New York Times has lauded the group for their “fluency in American roots music with a robust dose of punk rock spirit” and SPIN called them “undeniably the South’s greatest rock band.” A SONG IN EVERYONE was produced by Matt Patton of Drive By Truckers.

Taylor Hollingsworth is headed to Newport Folk Festival this year!!!