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      December 8, 2018

      Saturday   9:00 PM

      185 Clingman Avenue
      Asheville, North Carolina

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      JD McPherson

      with Eddie Angels Guitar Party
      I was having nightmares every night, thinking, Wow, theyre going to hate this, says JD McPherson.When he talks about his new album, Undivided Heart & Soul, theres no glimmer of self-adulation, or even the confidence one might expect of a veteran artist. Instead, theres a snapshot of McPhersons creative process bringing the record to life, a journey filled with fear and change, then boldness, and, eventually, catharsis.The best rock music has a story to tell. This record chronicles a series of upheavals, frustrations, roadblocks, and kismeta cross-country move, failed creative relationships, a once-in-a-lifetime career opportunity, and learning to love making music again by letting go.McPherson calls moving his family from Broken Arrow, Oklahoma, to East Nashville a decision based on opportunity and one he was reluctant to make but notes the profound influence the city has had on his new crop of songs.Up to this point, I thought I knew what I was doing with songwriting, that I dont do this or that, McPherson says. Writing with people who co-write for a livingmaybe I saw myself as John Henry, and them as the steel-driving machine.Along with collaborations with fellow Oklahoman Parker Millsap, Butch Walker, and Aaron Lee Tasjan, McPhersons selections for Undivided Heart & Soul include many deeply personal themes: Lets Get Out of Here While Were Young shares writing credits with longtime bandmate Ray Jacildo and McPhersons wife Mandy. He also delved into character profiles, both fictional and based on real-life experiences, stories McPherson has held onto but never thought of as fodder for songwriting, such as the Las Vegas bus station interlude detailed in Style (Is a Losing Game).That seems like a pretty normal thing for a singer-songwriter to do, to write about personal experience, but I really have never done that, McPherson says. It felt great but it also was tough at the same time. The thing is, John Henry is trying to beat the machine because hes in awe of it. It was a lot of me saying, Youre really good at this, and I have a hard time doing it.With a group of soul-baring tracks taking shape, McPherson and crew scheduled studio time to help force the issue. It quickly became apparent that these sessions were not going to work, bringing McPhersons momentum to a halt.To clear his head, he flew to Los Angeles at the invitation of friend and longtime supporter Josh Homme of Queens of the Stone Age, who was also recording at the time. McPherson, Homme, and his Queens bandmate Dean Fertita played around with some songs, with Homme pushing McPherson outside of his comfort zone in a no-stakes environment.His thing was, Im going to throw all kinds of crap onto your songs that youre not going to want to hear, and youre going to play ridiculous stuff you wouldnt normally do, and Dean was kind of the calming presence, McPherson says.McPherson calls the getaway the most fun Ive had since I was 15 years old and returned to Nashville with a clear head, internal filters successfully stifled, ready to move forward.That fresh perspective in tow, McPherson learned that the long-shot backup studio, the legendary RCA Studio B in Nashville, was willing to host his band for the making of the record. RCA Studio B was fundamental to the creation of the Nashville Sound, and the ghosts of some of the greatest songs in history live within its walls: Dolly Partons I Will Always Love You, and Elvis Presleys Are You Lonesome Tonight? among them.Artists who choose to record at Studio B are met with a rigorous list of requirements, including using a recording method appropriate during the studios heyday. Since the studio is a working museum by day, the entirety of McPhersons workspace had to be reset at night: Load in all equipment in the late afternoon, work until 3:00 or 4:00 a.m., and leave no trace nightly. Repeat. Repeat. Repeat.Those rules would probably turn a lot of bands off, but they turned us on, 100 percent, McPherson says. I really love walking into a classic studio as much as I love getting my hands on a really old guitar. I like knowing that something was used for a long time and has good things in it.But this isnt an old Nashville record, by any measurement, nor is it the record McPherson set out to make, with credit due to co-producer Dan Molad (also the drummer for Lucius).Theres a pretty broad gap in our tastes, what we do and what were into, McPherson says. Where hes as likely to lean on The Cramps as he is Irma Thomas for inspiration, Molads left-field production suggestions included a Casio synthesizer and running a Fender Rhodes through a tape delay. (McPherson nixed the former; the latter became the signature sound of one of the records tracks.) We ended up learning a lot from each other, and he did a lot of stuff Id have never thought to do.During the song Lets Get Out of Here While Were Young, JD sputters the line Weve worn out all the songs weve sung. This is not a statement McPherson takes lightly.This record was difficult for me to make, difficult to write, difficult to record. It took a lot for me to say that I cant force these songs to be the way people are expecting, McPherson says.Undivided Heart & Soul is a statement record, one that asserts McPherson as he is now, battle-weary but stronger than ever.

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