It’s all too easy to apply the cliché ‘modern day classic’ when enthusing about an album that brings to mind a definitive sound or artist of yesteryear. It’s an assertion that is frequently over used, over stated and often wide of the mark. When tempted to use the description while reviewing an album, I check myself and apply a simple logic. Will I still be drawn to the album over the next few years and will my opinion remain?
THIS HIGHWAY, the debut album released in 2017 by New York resident Zephaniah OHora, is a case in point. The album was much more than a recreation of the Bakersfield and Nashville sound of the 1960s. I was impressed by the song writing, vocals and playing, with OHora composing all but one track. This very much suggested that he had more than a classic voice and was capable of creating material to match his musical role models’ output. Three years on and my opinion has not altered. I’m enjoying the album as much as ever and returning to it regularly. It does, therefore, justify the accolade of ‘modern-day classic’ and it’s set to be joined in that file by his second album, LISTENING TO THE MUSIC that came out in August.
This album is further proof that classic country music is alive and kicking and not confined to Music Row, Nashville. OHora joins a host of artists such as Jesse Daniel, Charley Crockett, Victoria Bailey, Jaime Wyatt and Brennen Leigh, who have recorded stunning country albums this year.
Your surname suggests some Irish blood in your veins. Is this the case or have you researched your family tree?
It’s an Irish last name but I haven’t done any major research. On my mother’s side is Croatian heritage, which there is more documentation and photographs of in my family’s archive.
LISTENING TO THE MUSIC has been attracting rave reviews since its release in August of this year. Many of those reviews, including our own at Lonesome Highway, are by writers that were drawn to you from your debut album THIS HIGHWAY. Do you sense that you’re reaching a much wider audience this time around?
I think so. It’s much appreciated.
You decided to launch the album during the pandemic rather than wait until touring opportunities presented themselves once more. What were the factors that most influenced this?
I had already been sitting on the album for a long time. It was time to release it. Plans were in order before the pandemic, and I’ve been saying since April that the pandemic will last much longer than most people I knew were saying. No sense in waiting around for the pandemic to be over.
How different was the recording dynamic when compared to your debut recording THIS HIGHWAY?
The dynamic was different this time around. It was recorded largely with a totally different group of players alongside Roy Williams and Jon Graboff, who were in my band the 18 Wheelers. All of us had spent many hours playing music together. So, it was a breeze.
The selection of Neal Casal to produce was inspired. He did not let the instrumentation get in the way of your vocal, yet every note on every instrument is crystal clear. How different was it working with him and how did you hook up with him in the first place?
I met Neal at the album release show for THIS HIGHWAY. We became friends after hanging and talking for a while after the show. We kept in touch and when I wasn’t sure who should produce the record, Neal’s name came up and I realized it was likely a very good musical match. Neal was a very special guy who lived for music, so It was hard not to have fun in the studio with someone like that. We had so much fun and we talked about working together on another record in the future.
Your sound is unconditionally traditional country. What drew you in that musical direction and which artists and era particularly influenced you?
I’ve listened to it all. I’ve been a long-time student of country music. First and foremost because I genuinely love it. It’s only natural if you’re seeking out great music, you are bound to stumble on country music.
When recording both albums did you consider them, notwithstanding their individual qualities, as a pathway for a younger generation of listener to explore the classic artists of yesteryear such as Merle Haggard, Buck Owens and George Jones?
Honestly, I never considered that during the process. I’ve just tried to make great sounding and well written albums that I would want to listen to many times over, if they weren’t my own records.
Brooklyn is not necessarily renowned for music involving fiddles or steel pedal. Is there a growing underground Country music scene there?
There was a moment in time from around 2013 to 2018, when it appeared that way. A lot of people have relocated to Nashville, Los Angeles, and elsewhere. New York can be a hard place to survive as a musician. And all of the great musicians are constantly growing and evolving, so New York is just one stop on their journey.
Did you get sufficient opportunities to gig locally before the lockdown or was it essential for you to tour in order to get shows?
There were plenty of local gigs. Touring is an investment for artists at my level. It’s not a big money maker. Not if you’re touring with a band anyway.
A lot of musicians favouring Americana and Country music have relocated to East Nashville looking to breakthrough to the next level. Has this been a consideration for you?
I love Nashville. So sure, I hope to wind up there someday.
A number of artists in recent years have released traditional country albums but moved more towards country soul and mainstream for future recordings. Do you consider yourself locked into the classic country genre going forward?
Time will tell. I’m not sure what’s next for me.
There is quite a healthy following in Europe for what you are doing. Scandinavia, Germany, The Netherlands, UK and Ireland spring to mind. Are you intending bringing your live show to Europe when the world returns to normality?
That’s possible. Again, it’s an investment and huge undertaking to hit the road across the pond with a band. Things appear so uncertain at the moment. It’s not even something I’m seriously considering to be honest.
I’m aware that you also worked as a booking agent at the Brooklyn bar Skinny Dennis, which reads as the ultimate role for a musician like yourself to sustain a living. Is that bar still functioning as a music venue?
No. It’s been closed since New York went into lockdown.
Where do you foresee a full-time sustainable career in music going forward for artists like yourself? Given what we are living through at present or do you think the whole career model will change?
I have no idea. A lot of things need to change. It’s about time venue promoters started doing what independent artists have been doing long before Covid-19. If you want to survive and keep your festival or venue going post Covid 19, you need to offer artists enough money to cover expenses to play that one show. So many artists at my level have been booking tours knowing that we may lose money or break even, if we’re lucky. We’re told it’s what we have to do to invest in our careers. Festival promoters need to invest in independent artists, if they actually care about that corner of the industry. People need to buy music again. You can’t exclusively stream all your music and expect this shit to keep going.
Have you a career master plan going forward and if so, where do you see Zephaniah OHora in ten years’ time?
Hopefully I’m still alive and releasing music professionally.
Many thanks for taking the time to talk to us and congratulations on what is for me one of the best albums I’ve had the pleasure to hear and review in 2020.
I appreciate you taking the time to review the album and telling other people about it. Thank you.
Interview by Declan Culliton