Nashville-based Great Peacock’s latest and third recording FOREVER WORSE BETTER provides an insight into the unquestionable talent of the band. Whether they’re labelled as Southern Rock, Americana or Heartland Rock, this self-produced release – funded by the band – has been collecting positive reviews since its release in October. We tracked down frontman and guitarist Andrew Nelson to chat about the album and much more.
LH: Like many others, you were presented with the dilemma of having to decide whether to proceed with the release of your third album FOREVER WORSE BETTER, or to delay it. What were the overriding factors in the decision to go ahead with launching it in October 2020?
AN: We were honestly trying to release it at a time when we had hoped COVID numbers would be going down. Fail on our part, ha-ha. We were trying to get it out in just the right time before bigger artists start dropping albums as well. The real overriding factor though is that the songs are personal, and it didn't feel like it was doing them justice to just sit on some hard drive for no one else to hear.
LH: You’ve evolved as a band since recording MAKING GHOSTS in 2013. At what stage did you move from a more acoustic-driven outfit to your current status exploring a more Southern rock band sound?
AN: I wouldn't call us a "classic" Southern Rock band. I don't mind Southern Rock being applied to us, but we are definitely much more than that. And, we aren't as guitar solo or blues-driven to be that in my opinion. But I could be wrong. After Making Ghosts we were forced to pick up electric guitars more for our touring band. That naturally led to us become more interested in energetic music.
LH: Like so many other bands you’ve been placed in the ever-broadening Americana genre. Has this been helpful or does it in fact limit your market?
AN: I think it's very helpful from a radio standpoint. There aren't any stations that are just Rock and Roll anymore. But I hope it doesn't give people that are unfamiliar with our music a notion of our sound that isn't true.
LH: As a band that has toured relentlessly over the years and performed on large stages and small bars, have you a handle on what your core audience is?
AN: I honestly don't. I don't think enough people know about us yet for us to determine that.
LH: Similar to many artists, you’ve combined your art with other work between tours to survive.
AN: Yeah, I drive long distances around the Southeast delivering food to restaurants. It gives me time to really think and come up with ideas.
LH: Does that isolation on the road stimulate you as a writer?
AN: I think I'm naturally stimulated. The isolation gives me clarity and quiet, to find what is in my heart and mind, that needs to come out in song.
LH: Certain themes on the album suggest loneliness and detachment. Does your time spent away from home present difficulties in forming lasting relationships?
AN: Actually, I think being in a band and in Nashville did that to me for the longest time. I would never recommend anyone move to Nashville if that is what they are looking for.
LH: Issues of honesty are addressed on the album with some of the songs reading like an open wound, not yet healed but gradually becoming less painful?
AN: I think the way the album starts and finishes as a whole ends in the exact emotional space it needs to. For me, the final statement on the album (the song ‘’Learning To Say Goodbye’’) is one of existential peace and acceptance.
LH: The single High Wind craves freedom and an uncomplicated subsistence. Yet the album in conclusion suggests an acceptance to ‘work with the cards you’re dealt with’ as best as possible. Was this a reflection of different mindsets during the writing process?
AN: Not really. I think you can be ok with both. I want it all. But I'm ok if I don't get it. That's the idea. A detachment from the pain of desire, but acceptance and embracing of the desire as well.
LH: Were all the songs on FOREVER WORSE BETTER completed pre- COVID?
AN: The album was recorded and mixed before COVID really hit America.
LH: You purchased your own recording equipment and chose to self-produce the album with your colleague Blount Floyd giving you complete freedom. Was it difficult to settle on the final mix for the album?
AN: We spent so much time with the mixing engineers giving our opinions that once we knew those were the final mixes for each song, we weren’t far from the sound we wanted. We were and still are very excited about how the album sounds.
LH: You also invited some heavy hitters to guest on the album. I believe Duane Trucks (Hard Working Americans, Widespread Panic) was to play drums but couldn’t?
AN: Duane hurt his back really bad the week we were set to start recording. Nick Recio came in and knocked it out of the park. Nick is a long-time musical collaborator. He actually comes up with drum parts for my songs better than anyone else. It's like he can read my mind!
LH: The album also features Adam Kurtz on pedal steel, Leslie Jackson on saxophone, and Sadler Vaden of Jason Isbell & The 400 Unit on guitar. Did they join you in the studio or add their parts remotely?
AN: All of those were done in different locations. I hesitate to say remotely though. Blount and I were still there giving input, with Blount engineering. Also, a fantastic guitarist named Steve Daly played on a few songs as well. Some of his parts are integral to the songs they are on. Steve is a beast of a player.
LH: No doubt you’re itching to get back on the road. Had you dates booked for 2020 that will resurface next year?
AN: I have no idea what's going on with touring right now. I'm just staying as hopeful as I can.
Interview by Declan Culliton