Tag: women

I’ve been waiting for a while to say these seven perfect words and since it’s been about four years since any of us got to say them, permit me to bust out in all caps:

KATIE HERZIG HAS A NEW RECORD OUT!!!!

And trust me when I say it’s been worth the wait.

Say hello to “Moment Bliss!”

So how good is this record?

EXHIBIT A:

Oh and then there’s “Feel Alive.” The single was released toward the end of 2017 and I love it so much it made it onto my Best of 2017 list.

Oh and let’s not forget “Beat of Your Own.”

Point being, Herzig’s made an extraordinarily album with “Moment of Bliss” and along with its release came the glorious news of a tour which includes a date in Boston in July.

I’ve only seen Herzig twice before, both at venues here in Portland, Maine. The first time was at Empire in 2012. In fact, I interviewed Herzig for the Portland Press Herald in advance of that show.

The second time was when she came to Port City Music Hall  during the tour for her 2014 album “Walk Through Walls.”  {Sidebar, go buy this album if you don’t already have it.} On the day of that show Herzig was kind enough to swing by my office at the Portland Press Herald for a Newsroom Session and as long as you promise to picture me with better hair, fashion  and about 30 pounds trimmer you can see that session HERE. and I strongly encourage you to do so because during the session Herzig performs two acoustic songs which thankfully is the focus of it rather than the dopey interviewer. (yours truly.)

Want to know if Herzig is coming to your city? OF COURSE YOU DO! Find that HERE.

Herzig is originally from Fort Collins, Colorado and has been in Nashville for the past several years. Her  solo discography dates back to 2004’s “Watch Them Fall” and several have followed. Make it a point to go deep down the rabbit hole of her music because her stuff is really different.

I reached out to Herzig and asked if she’d be up for a conversation about “Moment of Bliss” and other stuff she’s been working on these past couple of years.  With fingers crossed I waited and indeed she responded and a week later we were on the phone chatting up  a storm. Here’s that conversation in which we covered not only “The Moment of Bliss” but also delved into the inner-workings of how Herzig makes a living with music.

AP: Congrats. Your record’s been out a little over a month. How are you feeling about it?

 KH: It has been such a long time coming that mostly there’s only relief. This record took a long time to get out; my records take a long time to get out anyway so for some reason this felt longer. Just a lot of life happened in there so it just kind of drew out the process. And now in this day and age with releasing singles upon singles leading up to the album it just really stretches it out so by the time the album was here I was just like ‘thank god, let’s just do this.’ So yeah, I felt much relief.

AP: Can you walk me through the chronology of singles? What was the first one?

KH: “Strangers” then it was “Feel Alive” then I think we did “Me Without You,” that was around the holidays and then we started off January with “Beat of Your Own” and then we totally threw in “Weightlifting” on a whim two weeks before the record came out.

 AP: You must be getting some decent radio play? Is that a safe assumption?

KH:  I had a lot of support at AAA and different singles along the way at different stations There was no AAA-sounding obvious radio song so I didn’t put money into it. A lot of that turns out to be trying to get on playlists.  There are stores playing it.

 AP: I would imagine every little bit helps like if you’re added to one of those Spotify fresh tracks playlists.

KH: To be honest there’s always this huge decision and it happens with all my friends who are independent, who are putting out music and trying to make smart moves about how to spend money and how to promote it. Do you put money into the playlist thing? Into the radio thing? In the last album I did, we put a lot of money into a lot of things and this time I’m gonna try to not do that again. It’s all kind of random.

 AP: How much difference does radio airplay make with getting people in the door on a tour?

KH: I think if a radio station is playing you a significant amount and at good times it does make a difference. I think the difference is, and I feel like I got a taste of this, in certain towns where -and this was back when “Free My Mind” was happening because that got to Top 20 or something like that so there were certain markets that were getting a lot of spins and I would show up and more people would come. But it was a much more fickle crowd, it was a ‘people there to hear one song’ kind of feeling. So you feel the difference between what radio does. There’s always gonna be people who dig in further and listen to your whole catalog but it feels a little more seasonal, the radio thing.

 AP: Have you worked with Cason Cooley before as a producer and what did he bring to the table? How would you described his contribution to “Moment of Bliss?

KH: This will be the third full length record we’ve done together and then he did half of “Apple Tree” with me. We’ve also been co-producing some other stuff together.  I’m a  very hands-on in production artist so a lot of times, an example would be, I would pretty much have a pretty fully-formed song and I just need help getting across the finish line. So a lot of times that’s where he steps in. And then at other times he’ll have a musical idea and I’ll take it and run with it, write lyrics and then we’ll come back to it and he’ll help me finish it. So it can be from the beginning we’re writing and recording together and then other times it’s kind of more fully-formed and I bring it to him.

 AP: Did I see that you posted that “Feel Alive” was on “American Idol” or something like that?

KH: I think so. I work with a licensing company, Secret Road, and those things, a lot of times they tell you the day of. Then I turned it on but I never heard it so I don’t know for sure.

 AP: You’ve had a robust history of TV placements. It’s a bit of a mystery how that all works behind the scenes. You hire somebody who specifically does that right? Licensing to TV and film?

KH: Yeah. That’s been a huge part of my career; working with a licensing company that is essentially representing me and pitching me to TV, film and commercials and some of that stuff means me writing for those things.  Some of it is just them using music that I’ve already created. Some of my music has started as writing something for them and then it became my own thing.

 AP: As a fan my process is -when I’m watching a show -like the recent reboot of “Twin Peaks,” I hear a song I like, rewind it, open the SoundHound app and then I immediately follow the artist on every platform so that I don’t forget. My point is, it’s awesome and I’ve become fans of artists because of one little TV placement so I think it’s a very powerful tool.

KH: It is. That’s kind of what my career has been built on. That and me opening for other artists mixed with a little bit of radio. It’s kind of a hodgepodge and I think the licensing stuff can be a really powerful thing because especially if these are TV shows that people care about and songs become the backdrop in these emotional moments. It can form this instant connection.

AP: I can’t imagine “Me Without You” isn’t  going to get a placement. You’ll get off this call from me and will get another one telling you that- I’m manifesting it for you.

AP: So today, my favorite song  from the album is “All This Time.” What’s your favorite right now?

 KH:  Right now I would say. Wait did you say “All This Time?”

AP: Yeah.

KH: That’s the one I would say because it took on a whole new meaning for me recently.

AP: How long have you lived in Nashville for?

KH: I moved here in 2006 so 12 years.

AP: What do you like about Nashville and what’s hard?

KH: The music community here is super supportive and collaborative. It’s such an easy and inviting town to make music in from writing to recording to putting music out. And because the talent and quality level is so high, it just ups your game at every level. I find it to be an energy like nowhere else, where music is a part of the fabric of this town. It’s so normal to be a musician here and to have  a career in it. If I moved from here I would greatly miss that. What’s challenging for me is that I miss the West and I miss being  closer to my family and I miss bike lanes.

AP: I know this record was a long time coming but you’re also someone who gets involved with a lot of other projects so what else has been going on?

KH: I have been collaborating with Ingrid Michaelson on her new project. Cason and I are co-producing that project with her. Now that the record’s out I’m starting to prepare for a tour. There’s so much work in getting this thing out now I’m getting back to music. It becomes so much about content and deadlines and artwork and all that stuff. I’m just kind of in the process of figuring it all out.

 AP: It seems like a new album has about a two-year trajectory as you release singles and videos and such so “Moment of Bliss” is still kind of a newborn.

KH: It’s just a weird thing too because to me these songs and this thing, it doesn’t feel that way and so I have to keep reminding myself of that. Especially with the little I put out, this doesn’t happen very often for me.

 AP: Speaking of things you put out, I’ve never really been much of a Cold Play fan but I sure love your take on “Viva La Vida.” I had forgotten you had done it and it’s gorgeous.

KH: Have you ever heard their song “Midnight?”

AP: I only know the radio hits so if you tell me listen to “Midnight” I totally will. I liked them when they first came out, I don’t know what happened. I’m just a terrible person. {note, 3 days after this interview with Katie I did indeed listen to “Midnight” with an open heard and mind. What can I say? It’s a goddamn beautiful song. Like REALLY beautiful.)

AP: As I think about “Moment of Bliss” as a whole, there’s just so much going on and I extract a lot of hope and positivity and also acknowledging  things that are kind of a struggle. But say you’ve just gotten on  an elevator with some random person and are asked to describe your record to someone who hasn’t heard it. What would you say?

KH:  As I was making this album it felt like a completion of an idea. It felt like the completion of this season of making the last three albums and somebody even pointed it out to me saying this feels like the third in a trilogy.  This is the third I’ve done with Cason and just kind of the evolution of where this vision and these influences and these seasons of life back to back kind of have gone where they’ve ended up. I do feel like this is a reflection of…there was kind of like this acknowledgment of a beginning and this world of possibility and it started with “The Waking Sleep” and these new sounds also this way of me taking in life and then this second “Walk Through Walls”  was  very much me working through this very difficult reason and then this one kind of feels a little bit like the aftermath of that and the arrival of some reflective maturity and some experiences and the resignation. It feels like resignation to these things I do as an artist. This is a very natural progression of what I’ve done and I am kind of indulging in these things that I have done in music in these landscapes and these tendencies and layers of sound, themes. And that doesn’t mean I’m gonna necessarily never do any of that again but it did feel like getting it out of my system in  a way. Whatever comes next is gonna feel really different but who knows?

 AP: I’m looking out this super cool cover. Buttefly (Boucher) did all the art and layout right?

KH: Yes she did.

AP: The yellow squares over your eyes. Are those symbolic of something? The whole thing looks amazing I’m just wondering if there’s any symbolism in there? What went into the decision with that?

KH: There’s a really interesting story behind this album of that almost like art and life getting so tied up, talk about manifesting stuff. You write these songs and you explore these ideas and then the album is done and you’re doing the artwork and you’re realizing some of these themes are coming to life in your own life. For me, “Moment of Bliss,” what was like, that, you know, and even coming up with an album title, that whole journey can be very difficult and once “Moment of “Bliss” revealed itself it like really revealed itself. If I talk too much you’re gonna have to ask me more questions.

 AP: Dream collaboration. With anyone? Dead or alive. Who comes to mind?

KH: One that comes to mind is the composer Gustavo Santaolalla.

AP: (after lightning fast Googling) Wow, he did “Brokeback Mountain” and “Babel.”

KH:  I first heard him on “Friday Night Lights” and there’s one song in “Babel” what was in “Friday Night Lights” and it was like ‘oh my god what is this?” so I tracked him down. Artists like him or like Bon Iver, there’s something I identify with in how I make music that is almost like it doesn’t have to be the most put together, clean thing. There’s just those layers of things happening that move in a certain way that just gets you. So I want to do something where we put this guy, Justin Vernon and me in a room and see what happens.

AP: I don’t think that that’s that unrealistic of a request.

KH: Dreamboard?

AP: That’s amazing.

PONTI OUT

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