The Shootouts’ music shows a deep love of traditional country music. This forms the bedrock of their signature sound. The roots of these band members have since grown into the solid blend of vintage Nashville, Texas swing and Bakersfield bravado. Just a number of influences that are part of the band’s DNA.
This is obvious from the release of their debut album Quick Draw from 2019. It gained a nomination for Honky-Tonk Group of The Year at the 2020 Ameripolitan Awards. They have just released their equally impressive second album Bullseye. Having been highly impressed with these two albums, we caught up with founder and lead vocalist Ryan Humbert to ask him some questions about the band’s history and all that being a real country combo entails these days.
As a band you seem to be invested in the culture of traditional country music. When and where did it enter into your consciousness and then become the music of choice?
For me, it goes back to my childhood. My dad’s record collection and my mom’s love of country radio in the 90s is really what sparked my interest in the genre as a whole. I picked up a guitar my junior year of high school and that was it. When I was first learning how to play, I’d sit with my grandpa in his basement and play old country, bluegrass and gospel tunes while he sang.
All that being said, The Shootouts wouldn’t exist had I not met Brian Poston (The Shootouts guitarist) in 2013. We were introduced by a friend and ended up bonding over our mutual love of traditional, classic country and talked about the idea of performing it on our own terms. We finally decided to give it a shot, just as a fun passion project – a side project, even. We recruited our drummer Dylan Gomez and played our first show in October of 2015 in Cleveland. From the downbeat of the first song, I knew there was no looking back. I finally felt like I was doing what I was meant to be doing.
It’s pretty inevitable that a myriad of other influences are there before or after the conversion to that centre. How do they affect the way you approach your particular blend of country?
Our sound has always been a big melting pot of the various forms of country music that we love – countrypolitan, honky tonk, Americana, Western swing, Bakersfield and more. And there’s no doubt it’s all filtered through our Ohio “Rustbelt” roots. It’s been really rewarding for us to play this music and put our own mark on these classic sounds.
It would seem the notion of fun is pretty important in the overall approach. Was that always the objective?
Absolutely. I love ballads just as much as I do novelty tunes – but I’ve always been drawn to the artists that can blow you away with a tongue-in-cheek barnburner. Many of the bands that we love have that same thread running through their catalog. There’s a long standing tradition of humour in country music, which I think is a really unique characteristic of the genre and one we like exploring from time to time. I think country music is at its best when it’s fun for the listener and the musicians.
Tell me about your current line-up?
The band consists of myself on guitar and vocals, Brian Poston on lead guitar, Emily Bates on background vocals, Dylan Gomez on Drums and Ryan McDermott on bass. We’ve had the same lineup since before our debut album Quick Draw.
In your choice of Chuck Mead for producer you have made what would seem a fairly obvious choice of someone steeped in the music but also a man who knows how to get the best out of the band and the songs?
Working with Chuck was a real honour for us. We’ve been fans for a long time, so we were obviously excited when he was interested in working with us. When we started The Shootouts, BR5-49 was a major influence on us. He was definitely a perfect fit for us. He just instantly understood what we stand for. He brought a lot of knowledge of the country music genre to the table. He was honest yet encouraging. His enthusiasm was contagious and that’s so helpful in a studio setting.
Chuck’s longtime friend “Cowboy” Keith Thompson engineered, and we cut live in his studio. I think you can hear that energy in the recordings. It’s a real band playing real instruments together. You just can’t convincingly replicate that feeling any other way.
We started the album on March 8, 2020 and by the time we were done eight days later, the pandemic had set in and the world was drastically changing for everyone. We were watching it play out on our cell phone screens during the whole making of the record. It was very surreal. When we started the album had someone told us things would be so different eight days later, I don’t know if I would have believed it. Who knew?
The overall all-encompassing nature of the Americana tag would seem to have left the door open to such a wide selection of musical genres and blends that there is a feeling that hard core country is getting lost. How would you feel about that?
Part of what I really love about the Americana genre is the diversity. Sure, it can be hard to describe what “Americana” means sometimes, but to me—you know it when you hear it. The traditional country genre, and all the subgenres of it, have long been a part of Americana, and I don’t think it’s going anywhere anytime soon. Of course, styles change, things come and go – but I think the bedrock of the genre will continue to be traditional roots music for many years to come.
When it comes to songwriting and choices, what do you want from a song that fits The Shootouts brief?
In one sense or another, the song has to be incredibly sturdy. Country music is deceptive. It may seem simple but it needs to be able to tell a story, make you cry, make you laugh – sometimes all at the same time. The sad songs better be really sad, and the fun songs really blow you away.
Do you also, on that subject, feel that the heartbreak, hangovers and hang-ups are the essential make-up of a good country song. Can you describe a perfect country song from the past and one for the future?
To me, heartaches, hangovers and hang-ups is what country music is all about. One of my all-time favourite country songs is “The Green, Green Grass of Home.” The Shootouts perform it often. Talk about a song that covers a lot of bases: beautifully written, with a simple story that ends up throwing you a curveball in the last verse. To me, that’s about as perfect as it gets. That would be my choice for the past and future. If someone asked me to present them with just a few songs that define country music, that would be at the top of my list. That song will hold up long after we’re all gone.
Do you feel that the reaction to your live shows and recorded music indicates that there is a younger audience who appreciate the music?
Absolutely. One of our favourite compliments we receive after folks see us live is this: “I don’t like country music, but I really like you guys.” That really means a lot to us, because it really confirms that we’re on the right track by following our hearts and carrying the torch for the genre and music we love. Ideally, we’re able to help people of all ages understand there’s more to country than just what you hear on corporate country radio. So far, we’ve had a really positive experience with that.
Do you therefore need to have a day-job in order to survive on something different than gig money and CD/Vinyl sales?
I think a lot of independent musicians have side-hustles these days. Especially when you’re still getting your footing in the music world. All of us definitely have other forms of income to help pay the bills. But we’re working towards transitioning to a full-time working, touring band.
Which format works best for you?
I’m a vinyl fanatic, so seeing our albums on vinyl is exciting to me. And it definitely seems to be selling well these days for a lot of folks. We’ve seen a lot of success with it as well. I’m still a big fan of physical media. About two years ago I really got into coloured vinyl. I went to school for graphic design, so everything about it appeals to me—the oversized artwork, the individuality of each coloured pressing, listening to music differently than you would an MP3—it’s all a part of the vinyl listening experience.
Can you talk a little about that part of the graphic aesthetic and heritage?
As a designer, I’ve always been drawn towards retro and vintage artwork – especially pop and comic art. It seemed like a natural fit to me – graphics that are reminiscent of vintage pulp comics with a band that takes a vintage, retro approach to their music. I think they go hand in hand.
Somewhat in tandem and aside from the obvious importance of the music, how does such aspects the style and heritage of the associated style of dressing play a part in how you present yourselves?
I was always told that you should dress for the job you want. Putting on the vintage style clothing not only helps us present the music in a more formal way – honouring those that came before and the bright, unique stage clothing that they wear – but it also helps us “get in character,” if you will. There’s just something about playing this music in jeans and a t-shirt that wouldn’t feel appropriate at all.
Does Europe feature in your long-term goals?
We’d certainly love to play Europe if the opportunity arose.
In that light BR5-49 used to be regular visitors to the UK and Ireland but haven’t made it back in a good while. Is that simply down now to the costs and logistics of travel for an independent act without label support?
I know it’s definitely a tricky prospect, and sometimes the finances just don’t make sense. It can certainly be hard to do something that far-reaching without support – but that doesn’t mean it isn’t doable. There’s so much that goes into putting something like that together and also having it make sense from a business standpoint.
It seems strange that Music Row and mainstream radio commentators often herald the death of country music in favour of a pop/dance mutation of the form, yet it survives and thrives. Can you offer an opinion on that?
There’s a lot of heart in traditional country music and those who are still presenting those types of songs to the world. That heart and soul will always shine through and connect with people. It will always have a home. As I said earlier, times change. Things come and go and come back again. Country music helped birth rock music and has helped people through some difficult times. It’s truly the music of the common man. It connects people and tells stories that are relatable to so many people. That type of music will always survive—and thrive.
What does the future hold for the Shootouts and what would be your ambitions?
We plan on continuing to carry the torch for traditional country music, in all its forms, for as long as we can. We’d love to continue to make records and play shows that support that mission, and spread the word to all of those who are interested in hearing it – and hopefully converting a few folks along the way.
Interview by Stephen Rapid Band photo by Jamie Escola