I almost reviewed this album before seeing Canadian singer-songwriter Del Barber play live in Sydney recently. Now I'm glad I didn't, because his live performance just confirmed what I thought I was hearing on the album: an artist who is able to marry tradition and modern interpretations of country in a way that honours his musical lineage, lacks cliche, and entertains, amuses and moves the listener. Live, Barber gives full expression to the stories behind the songs - and, in some of them, weaves that story into the song itself - but these songs stand up on their own on the album.
On stage, Barber said that most of his songs are not about him - he is telling stories and taking on characters. Barber is from the prairies and the album's title, Prairieography, suggests that it's a chronicle of prairie life. And there is quite an assortment of tales in that chronicle, from stolen, ahem, romantic moments in a motel room ('Peter and Jenny Lee') to a hard life on the prairies ('Big Smoke') to trying to get out of marrying a 'country girl', with a range of experiences in between. Barber's voice adapts to its message - he can carry heavy emotion and in another song sound like he's singing everything with a wink and a smile. In some ways he's reminiscent of one of Shakespeare's fools: travelling around to entertain people, seeing everything, understanding all, judging not a once. And all of his within the context of true respect and understanding of country music traditions, both Canadian and American.
Prairieography is an album that may sound like a good ol' boy's effort on first listening but it has lyrical and musical complexity that really deserves repeated, long-term listening. Barber wasn't in Australia for many shows - may he come back soon.
Prairieography (True North Records) is out now.
www.delbarber.com
Showing posts with label del barber. Show all posts
Showing posts with label del barber. Show all posts
Sunday, November 23, 2014
Sunday, November 16, 2014
Interview: Del Barber
Canadian singer-songwriter Del Barber's latest album, Prairieography, is a glorious collection of stories told in music and song, and Del is bringing those stories to Australia. Ahead of his short tour (and may he come back soon), Del kindly answered some questions via email.
I grew up
listening to Johnny Cash, Ian Tyson, Merle Haggard, Buck Owens and Loretta Lynn,
Pasty Cline and Hoyt Axton. I don't think I realized how much I loved them,
and how much they influenced me until my adult life. Throughout my
teen years I was obsessed with songwriters from the 60's like Dylan and Van
Ronk, and somehow through them I became introduced to Texas songwriting,
which brought me back into country music with a fever.
Your music honours the lineage of country music
- both American and Canadian. Who were the first country music artists
you loved?
Your voice sounds like it was made for country
music, but did you ever flirt with other genres?
Thanks! I have always fancied myself a country
singer; others have designated what
I do as folk or as indie - whatever that means! When I was young I played
in punk bands. It's all music and
I do love it all, but country just
seems to fit me better than everything else.
Unlike a lot of traditional country music, most
of your songs are upbeat - does making music make you happy?
I really want
to give people a sense of hope in my songs. I'm a pretty positive person
overall and I want my songs to reflect that positivity.
You hail from the prairies and, of course,
there's another well-known prairies artist who got her start in country music:
kd lang. How much of a country music culture is there in the prairie
provinces? And in Canada in general?
The music
culture in the Canadian Prairies is rich!
Country music especially. Most of the prairies are relatively
unpopulated. Cultures of farming and
work seem to bring out songwriters and songs that want to tell those
stories.
Your music has a real sense of place - almost
like you're standing on a street corner telling stories to passers-by. Are
you in a particular kind of mindset when you record, to evoke that sense of
place?
I work hard at
writing good narrative. It truly
is difficult for me to get the story to
come out right in the studio. I
have to try and imagine people are listening;
I have to try and convince them to keep listening. I try and keep the studio
lighting dim and I try to take over the studio with things that make me
comfortable. I always try and have family around, good food and a team that
want to make a good record as much as I do.
There's always a balance to be struck between
being on the road, playing for your audience, and then writing new songs for
that audience. Are you able to write on the road or do you need time on
your own for that?
I do write
while I'm on the road, but I don't know that I get anything good out. I see
writing as a practice. Something I have to try and do it every day regardless
of how I feel about it. So yeah,
I'm always writing, but my best songs are
writing while at home when I have the space to digest and reflect on
everything. When things slow down it seems easier to get my ideas on paper.
You work with Bill Western as your steel player,
and both of you produced Prairieography - how did that relationship come
about?
I've been
friends with Bill for at least 6 years now. He was the only pedal steel player I
had heard of living in Winnipeg, where I used to live, so I sought him out
to play some shows with me here and there. Since that first show, I've
grown to respect him as a person and I've fallen in love with his playing. I
think he really knows how to serve the song.
|
Subscribe to:
Posts (Atom)