And you decided to make a full covers album of a record that’s the favorite for many diehards. It seems like you’re either a diehard fan or snarky critic.
It’s difficult to have a lukewarm opinion of Dave Matthews Band. I loved them a lot as a 12-14 year old, before I was smitten by Drop D guitars and weed.
Kind of omnipresent in America for a good 13 years there. Ryley Walker: I think anyone else my age just heard them on the radio a shit-ton. Walker swings by NYC at Baby’s All Right on December 14.ĪdHoc: What was your introduction to Dave Matthews Band? What’s been the extent of your fandom? We talked with Walker over email while he was on tour in Europe to learn whether this latest record was yet another gag, or something closer to a loving tribute. So it should come as no surprise that just six months after dropping the intensely personal Deafman’s Glance, Walker has released The Lillywhite Sessions, a loving, song-by-song reimagining of a lost Dave Matthews Band record. After all, this is the same guy whose review of Leonard Cohen, upon listening to the critically adored songwriter for the first time, was “fuck this guy.” It’s “smart” music that sometimes delightfully clashes with Walker’s waggish, “I like what I like” persona. With each record, the Chicago artist expands the conventions of his songwriting, experimenting with free jazz, psychedelia, Americana, and fuzzed-out rock. Walker has made his name as a prolific, folk shapeshifter whose prowess on guitar has always been central to his appeal. The Chicago folk musician explains the concept behind his absurd-but-beautiful reworking of The Lillywhite Sessions.įor someone who seems to really relish in being a total goofball online, Ryley Walker approaches music with an endearing sincerity.
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