But I want to continue to elevate what we’re doing. I don’t want to lose the sort of family feel we have, which makes us feel really genuine.
I work a lot with the engineer, also our lighting director. “I try not to let my insecurities get the best of me but, you know, it’s hard sometimes to focus on writing when I’m on the road, I really just switch into focusing on how the show is perceived. “It kind of makes me get my head about what our audience is wanting or not wanting,” he says. Moving back into Night Sweats mode was not just about an itch that he wanted to scratch – he also attempted to put himself in the shoes of his fans. Prior to The Future his most recent outing was last year’s solo record And It’s Still Alright, a collection that dialled down the bombast in the wake of a divorce and the death of a central collaborator in producer Richard Swift. Rateliff, whether he likes it or not, tends to ruminate on things. “I’m like, am I actually just talking to myself, or am I trying to project onto the listener?” “I mean, I feel like the narrative on that song in particular changes from time to time when I listen to it,” he says. “I’m afraid to admit that it’s catching up to me too.” Fittingly, he’s still not sure exactly where he stands on this knife-edge. “I’m afraid that the weight of the world is catching up with you,” Rateliff sings at one point. On Survivor Rateliff finds the common ground between the two states, kicking things up a gear with a percussive, rafter-shaking hook that’s more Imagine Dragons than Crosby, Stills and Nash. The Future, his new record alongside his band the Night Sweats, is a pandemic piece that, from its title on down, funnels the uncertainty of the time into songs that try really hard to convince us that things will probably be fine in the end.ĭriven on by a grandstand vocal performance – all deadpan melody, riffs on Bob Dylan and Nina Simone, and gruff emotion dredged up from way down inside – the album is at turns very slick and reassuringly down home. By October, the upstairs rooms at the house were habitable, and at that point the wheels were turning out in the studio, too. “I was only gone for 10 shows and came home and I had to move into my garage,” the Americana star says with a rueful laugh. READ MORE: “It would be weird if you had no self-doubt about what you do” Courtney Barnett on putting self-criticism aside and leaning into the mystery….When he closed up the house he’d bought a couple of autumns earlier, just outside Denver, Colorado, he left it in the hands of workers who’d spend the following months remodelling it, bringing the living quarters in line with another area of the property that had received more of its care and attention up front: his home studio. How he was livin it up in a run.As Nathaniel Rateliff pulled away from his place to head out on tour in February of last year, he knew that there were changes coming in his life. I must be our ruin I must dead iron Don't short-sight it's worth It comes to steal mine It comes as it always has And in keeping me hid There must be Peaceĭo you think your a man to talk? Do you think I mind at all? Dont say. I can't raise my hand, so I'm raising my voice Now lean and use your weight, that's what a shoulder's made forĬarry all the dead and children from hereĬurses on the men and the greed that seems to plague them Not questioning your faith, far be it from meīut you would speak of love while tying one's hands Now you're pouring out your hate at every difference you found Time stands in a duel and I stand for you Laziness of mind and simplest of thoughtsĪre you just too old, or too young to carry? I can take the pain, but I can't take all the hatred Or do you feast upon the weak and weary of heart? What's that you used to say? Find a love that you can wait for
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