To say that last week was heavy is probably the biggest understatement of all time. Last week was one of the most emotional times I can remember in my adult life, I can’t even remember the last time I cried so much. When I first heard the news of the passing of my dear friend, Mike Chapman, I was deeply saddened, but I didn’t really grasp the full meaning of this for a couple more days. It wasn’t until me and Kelly arrived at Mike’s “Celebration of Life” ceremony on Friday that it fully hit me, Mike really is gone.
But he’s not really gone. His physical being may have left this world, but all the goodness he embodied and the huge impact that had on his family and friends remain. A part of his spirit is still here and lives within all that knew him.
I met Chap about 10 years ago, while working for country artist, Rhett Akins. We were in between bass players and our drummer at that time, Cliff Thompson said Mike would be great, if he was available. It turns out he was available, and our friendship and musical adventures began on a tour bus bound for Virginia. I had no idea on that day that he would eventually become my favorite bass player to play music with, but also one of my favorite people to be around.
Those that knew Mike knew the depths of his amazing talent on the bass guitar. Millions of people who have no idea who he is have unknowingly enjoyed his playing on countless recordings. Being a world-class studio musician and playing bass on all the Garth Brooks records (and countless others) were just one part of his amazing contributions to the world. He was also a phenomenal live musician; for he could hold down the fort like no other! My good friend, Patrick Weickenand, owner of a bar in which me and Mike performed many times, the Fillin’ Station, once said “Mike’s unreal, he never misses!”. Solid, dependable, never missing a beat – these words describe not just Mike’s bass playing, but his approach to life.
So many beautiful words were said of Mike at his celebration last week by some of his closest friends and his daughter Allison. Mike’s love for his family, friends, music, and life were as deep as the deepest ocean, his life had such meaning and purpose, and he lived it to the fullest. He was also the humblest guy you could ever meet, if he heard me (and everyone else) talking about him like this, he would have probably said something like “thanks, that’s really nice, but you don’t really have to say all that”.
I played a lot of “big gigs” with Mike, most of the gigs with Rhett Akins and The Peach Pickers were in front of thousands of people. Some of my most memorable musical experiences were with Mike on bass backing up The Peach Pickers on the Luke Bryan Farm Tour in recent years. But hanging out with Mike on the bus, or sharing a meal or a walk, these moments were just as special.
Over the years we also played a lot of small gigs, you know the kind, 30 or 40 people in a cozy neighborhood bar (or sometimes even five or six, three of which were 2 band wives and the bartender). My wife and I were always amazed that on many occasions he would drive an hour to do these gigs with me, for nothing other than tips and a good time. I remember him saying after one of these gigs “thanks for inviting me to the party! “, And after another “music is like ice cream!”. We really did have some magical musical moments in these little bars and I am grateful for the experiences and memories I made with him. He treated every show, no matter how big or small, with the same level of importance. He really loved to play music!
What Mike has left behind for us, aside from his musical legacy, is his legacy of love, and this was so evident at his service. One of the things I loved most about Mike was the way he would greet you with a big hug and a smile, every time! And it wasn’t just a little hug; he hugged you like he really meant it, as I believe he really did. And even if he didn’t physically hug you, he hugged you with his smile; there was so much love in his eyes. And this went on at the service, everybody was hugging everybody, it was like a great big, teary-eyed hug-athon!
In the days since that service my wife and I have talked a lot about Mike and some of the things that were said of him on that day – things like his honesty, integrity, compassion and selflessness. He never had a bad thing to say about anyone and went out of his way to help others, ideals the world can never have too much of. He generously shared his love with everyone and that might be the greatest gift anyone can give.
Over these last few days we’ve stumbled across a new mantra – “Be like Mike!”. If you’re having a bad day and life gets a little hard, hold your head up high and be like Mike. Be like Mike in all the ways that he shared his goodness in the world. Be like Mike and smile a little more, hug often, and love always. I can think of no better way to honor our friend.
Mike once said in an interview about attaining success in the music business “you’ve got to be a nice guy”. If there’s one thing I learned through my years of knowing him, being a nice guy came very naturally to Mike Chapman. I wish I could hug him one more time and play one more gig with him, but I guess that will have to wait. So if you’re listening my good friend, thanks for all the friendship, the music, and the love. And thanks for inviting us to the party!
Back in 2009, I began putting together a list of people to interview for my book, The Nashville Musician’s Survival Guide, and my friend, Mike was at the top of this list. Those of you who knew Mike know that he was a very caring, giving, and humble human being. The interview he gave was not only insightful for aspiring musicians, but also a wonderful insight into his musical journey. Although he has now gone on to a better place, his music can still be heard, and his magical essence still shines through the words on these pages. It is with that spirit that I’d like to share his words with you all. Mike touched so many lives, and we are all the better for it. I miss my friend.
Click here to view the entire interview: https://nashvillemusicianssurvivalmanual.com/Blog/mike-chapman/
This past Thanksgiving marks the second year anniversary of my yoga journey. It’s been an exciting year, lots of milestones and lots to be thankful for. At the one year mark, I decided to write a blog about my first year of yoga, so now that another year has come and gone I’d like to share how this transformational journey continues to evolve. For those of you who don’t know me, or didn’t read my first blog, I’ll start with a condensed version of how and why I got into yoga and then I’ll get into some of what I’ve learned during the second year (halfway through the writing of this blog I realized that it really wanted to be two blogs, one about the physical practice of yoga, and one about the mental and emotional benefits, so let’s start with the physical journey).
Throughout my adult life I’ve gone back and forth between two professions; music and construction. In 2011 I decided to go back into construction after many years of working as a touring musician. I was 43 years old and hadn’t worked in construction for about 15 years. Ouch, I was quickly reminded of how hard this work can be! Within a year I was having chronic shoulder and neck pain as well as relapses of tendinitis in my right arm from an old injury. Sometimes, after a few hours of work, my left shoulder would begin to hurt, the pain and stiffness spreading into my neck, ultimately limiting my range of mobility and causing intense pain. Once my shoulder and neck were “tweaked”, it might take several days to a week to subside. It was getting so bad that the condition could even be brought on by simply coughing or sneezing. I tried stretching, ibuprofen, lifting weights, but nothing worked, the condition was worsening.
Then one day a friend told me how he had used yoga to self heal an injury. I was intrigued. I began practicing with a yoga DVD (P90X Yoga) as well as putting together a few of my own short routines. I wasn’t consistent at first, but the ball was in motion. Then one day my wife, Kelly sent me a couple of YouTube video links. One was a 30 Minute Morning Yoga Class by Ali Kamenova (if you’re interested in exploring some great yoga videos, check out Ali’s YouTube channel). Almost instantly, this routine, and Ali’s style clicked with me, and soon this YouTube video had become my new best friend.
By one year into this commitment to self healing I was practicing Ali’s yoga routines almost daily, and the neck/shoulder pain and tendinitis were, for the most part, gone! Although they occasionally did show their face, the problems were minimal, and usually gone by the next day. There were a lot of other changes over that first year – a whole new sense of body awareness, breath, connectivity, improved attitude – I was stronger both physically and mentally, and had a growing sense of inner peace – all this from a 30 to 60 minute daily yoga practice at home. My first year of yoga was very exciting; self-healing my own injuries was very empowering. One of the biggest things I learned was the connection between the body, mind and breath, and I definitely felt an increased awareness of my physical and emotional state.
Figuring out what the body needs
When I first started practicing yoga, I was typically hitting the mat three times a week, occasionally four. By the end of that first year it was almost daily, and I often found myself struggling to figure out what my body needed on a daily basis, which class to choose, what type of flow, how to alternate routines to target different parts of the body, etc. Maybe a certain area of my body was holding extra tension and required specific attention. I was also exploring how to build my day around my practice (to ensure it happened daily) and what clothing was most comfortable. Over the second year of practice, I gradually found answers to many of these questions.
Creating a space for yoga
In order to practice yoga every day I believe you have to build it into your daily routine in a way that is sustainable, and this is different for everyone. I’ve learned that I don’t have the energy or focus for a challenging yoga sequence by the time I get home from work, so it’s pretty much a morning practice or nothing. For a while, I tried hitting the mat shortly after getting out of bed, and this was a struggle as my body was too stiff and I seemed to lack energy. Gradually, my schedule evolved into waking up around 5:00 AM, eating breakfast, doing a few other things around the house to kind of wake things up a bit, and then starting my practice at the last minute possible before leaving for work (allowing maximum time for digestion). On the weekends I find myself practicing much later in the morning and my body seems to like that a little better, but the compromise during the work week is essential. I think the key is to make a commitment to a daily practice, and then build the practice into your daily routine.
Types of routines:
I love a strong, moderate paced power yoga class, 50 to 60 minutes in length, with lots of warriors, backbends, twists, hip openers, and core work, and I do these as often as possible. However, sometimes my body wants something different. On some mornings I feel a little beat up from the workday before, so I might do a less intense routine that focuses on flexibility. I use these classes to take the edge off of whatever pains and tweaks I might wake up with and to prepare my body for another day of life’s abuses. Do you ever wake up feeling really tight, achy, and just really beat up from head to toe? Well even with all this yoga I still have days like that, too. On those mornings I try to do very easy, therapeutic routines, maybe 20 to 30 minutes in length with mostly seated poses. And then some days the body just wants a complete rest! Our physical state seems to fluctuate, going from higher to lower points of energy and stability, so it’s important to listen to your body; it is speaking to you and will tell you what it needs.
Loosening up, tightening up, loosening up, tightening up…this seems to be a pattern in my life. I get all stretched out with a wonderful morning yoga class, and then sit in my car for an hour drive to work. Sitting in traffic sucks, and boy, will that tighten you up! Then there’s the repetitive motion of the job itself. Throughout the day, I’ll throw in a few poses, almost always right before lunch, and then again at the end of the day right before the afternoon commute. Even just a couple of forward folds and a standing side stretch can work wonders.
My job as a painter and drywall repairman is very physically demanding and requires a lot of sustained, awkward body positions. Working over head, crouching, kneeling, climbing up and down ladders, painting with a brush or roller for hours…did I mention sitting in traffic? No matter what you do for work; it will take its toll on the body. This is where yoga comes in. For every task that stresses the body, there’s a pose or group of poses that will counter it.
Painting and/or repairing ceilings place more stress on the neck and shoulders than almost anything else I do. Over the last two years I have greatly increased my flexibility in that region with backbends, twists, and shoulder openers. This work still takes its toll, but much less so because of my increased range of motion. Work that is low to the ground, like painting baseboards, is also quite taxing. You’ve either got to sit, kneel, crouch, or lie on your side. I find myself sitting crosslegged to do a lot of this work, kneeling (with knee pads), or even squatting, and this requires open hips and loose hamstrings. Hip openers and hamstring stretches improve the ability to sit or kneel for extended periods of time. I’m constantly going from standing, to crouching, to climbing ladders, and this is where all the core work really pays off. Working over head or standing on a ladder requires the ability to balance and an awareness of my body in space. Balancing poses greatly help (if you want to get a sense of where you’re really at, try closing your eyes during tree pose!). When I perform music, I might be playing guitar and singing continuously for an hour or more, and this can be just as demanding as painting a house. All the muscles that get used and abused by performing music are stretched and strengthened by my yoga routines.
Breathing is the only way to deepen our practice
Anyone who has delved into yoga, even just a little bit, knows the emphasis placed on breathing. When we breathe deeply, with complete inhalations and exhalations, our body receives this as a signal to relax and to let go of tension. Sometimes I become aware of growing tension, and a few focused deep breaths almost always help to relieve it. If I do something that aggravates or tweaks a muscle, breathing can help to minimize, or even reverse what might otherwise become a runaway problem. As a chronic sufferer of migraines, I’ve learned that deep breathing can be a very powerful tool. And deep breathing can be especially helpful in dealing with the simple stresses of everyday life, arguments, traffic jams, etc.
I’ve learned so much in these last two years about how my body works, what it needs, how to use yoga to become less prone to injury, self heal injuries, and to optimize my physical and emotional well-being. My yoga practice, along with healthy eating is my own personal healthcare system. I believe it can have a powerful effect on anyone, and the best part is, it’s never too late to start. The transformational effects of my practice go way beyond increased strength and flexibility, and part two of this blog will delve into the positive effect it can have on mental and emotional wellness. As my initial exploration of yoga was centered on fitness, as it seems for many, I wanted this blog to partly serve as an inspiration or catalyst to those who are curious about it, or just getting started with their own practice.
Yoga practice seems to be dominated by women, and I think a lot of men don’t get into it because they don’t really understand what it can be. A big misconception among many who have never practiced yoga is that it’s all about meditation, or just for “stretching”. While it does include those things, the right kind of yoga routine can be as ass-kicking as any workout you’ll ever do. At its core, yoga is really about self exploration, and the breath, but it can also be an amazing physical fitness program. And with that, I’ve got to get going. It’s almost time for work and I’ve got to go hit the mat!
Here’s some photos my wife took during one of my recent yoga sessions (click or swipe the arrows to see all the photos): the before and after shots show my progress from one year ago.
By Eric Normand
Sunny days, dusty hayfields, huge crowds, great music, great people, light beer, diesel fumes, gator balls – these were the sights, sounds and aromas of the 2014 Luke Bryan Farm Tour. I can’t believe it’s over, it seems like I just hopped on the bus yesterday. The 8 shows spanning two weeks whirled across the Deep South with the speed of a jet plane and the intensity of a freight train.
My role in this mega-tour as lead guitarist and bandleader for Nashville’s most successful songwriting team of all time, The Peach Pickers, began with our pre-tour warm-up show at a sold out Third and Linsley in downtown Nashville on September 26. The show, which benefited The Wounded Warrior Project was a huge success, and a couple of days after this electric night we hopped aboard a bus bound for Knoxville, TN.
Even though it was October 1, it still felt like summer when I hopped off the bus around 8 AM, the temperature already approaching 80°. This day began for me like every day that would follow on this tour, a trip to catering! After some eggs, home fries and coffee I got ready for my daily trip to the gym with members of Luke’s band and one of the other opening bands, Cole Swindell. While I was doing my thing at the gym, other members of our entourage walked the hayfields, while others took advantage of another luxury provided to the touring musician, sleeping late.
By mid-afternoon it was time for our load-in and sound check. The level of production on this tour was top notch, sporting state-of-the-art lighting, some really cool video walls, and a PA system that would rival that of any mega-rock tour. They even had a remote-controlled flying camera that captured video footage of the audience and performances, otherwise referred to as “the drone”.
Luke’s crew, along with the other crews (which included the world-class sound company, Claire Brothers) not only knew how to make us sound and look great, they were a pleasure to work with. After sound check it was time for a little rest, a quick shower and some dinner before taking the stage at 6:40 PM. Our 40 minute set began just a few minutes after the tour’s first opener, Louisiana native and singer-songwriter, Chancie Neal. The sun was just beginning to set as the DJ introduced our show with something like:
“These three guys are the most successful songwriting team in the history of Nashville. They have 60 number one hits…230 million downloads… please welcome to the stage – Rhett Akins, Ben Hayslip, Dallas Davidson…The Peach Pickers!”
The crowd went wild and we began our onslaught of 13 number one songs with “The Only Way I Know”, a Peach Pickers cut by Jason Aldean. In rapid-fire succession we played down our list, each song greeted with, and followed by the sound of 15,000 people going absolutely berserk! After a few rockers we slowed things down with the heartfelt ballad “I Don’t Dance”. A few of the songs towards the end of our set really seemed to hit home with themes that everybody in this crowd could relate to – “Small Town Throwdown”, “Parking Lot Party”, “All about Tonight”, and the epic hip-shaker, “Boys Round Here”. The set went by like a blur, seeming to end as quickly as it began, and the three stars of our show left the stage to a deafening applause. The crew and stagehands helped us tear down and pack up our gear with lightning speed, and by quarter of eight it was all loaded on the bus and we were done working for the night. Only six more hours until bedtime!
Our show was followed by the fast rising, Cole Swindell, another Georgia native currently enjoying his second number one song, and his four-piece band kept the party going full force. By 9 PM it was time for the Tour-D-Force of this event, Luke and gang to take the stage, his show beginning with the modern day phenomenon of thousands of cell phones being raised into the air to capture an endless barrage of digital photos.
Luke’s show is an exciting ball of kinetic energy, his top notch band providing an AC/DC like “foot stompability” that kept the audience pulsating for his 90 minute set. The phrase “sing along” doesn’t even begin to paint the sonic picture of the sound of 15,000 people singing at the top of their lungs at a Luke Bryan concert. After Luke’s show ended, the crowd quickly dispersed the field, only to be trapped in a massive traffic jam as thousands of cars began their slow motion journeys down the one lane road that led out of this little piece of rural America.
This first day and night of the tour was a huge success, and with each following show, the tour seemed to gain momentum. The only snag of this first week was some torrential rain during Friday afternoon in Tallahassee Florida, and despite what seemed like an impending disaster, the rain subsided right before showtime and the night went off without a hitch. The following night we ended the first leg of this tour to a crowd of 17,000 in Gainesville Florida, and this was, in my opinion, The Peach Pickers strongest performance yet.
A few days off and we were back at it for round two. The week started out smoothly, but late Thursday afternoon in Columbia, South Carolina it began to sprinkle, with the sounds of thunder and the view of lightning in the distance. Oh no, it was happening again! We pushed back the start of the performances by 20 minutes, and midway through Chancie’s set a downpour began. With a handheld wireless microphone, this brave girl stood out in the pouring rain on the middle of the runway and kept everybody’s spirits high. By the end of her show she was soaked head to toe, as was her acoustic guitar player and percussionist, Austin Marshall (who also just happens to be the Peach Pickers tour manager). The rain stopped as she exited the stage, which was now soaked, and a dozen stagehands began to dry the stage using push brooms, towels, and high-powered electric fans. We began our show with a strange hue lurking behind us in the form of some ominous storm clouds and lightning in the distance.
By the second to last show in Columbia, South Carolina our band was really beginning to hit its stride, and by the final night of the tour, Saturday in Macon Georgia, we were on fire. On the bus shortly before our set, we all talked about our agenda for the night, which basically consisted of kicking some serious ass. And that’s exactly what we did! At one point of the show, me and Dallas even did a couple of moves that might have almost seemed choreographed. The show ended with our usual closer “Boys Round Here” during which Dallas, Rhett, and Ben walked the runway with their wireless microphones, slapping hands with the audience in a climactic sing along.
There’s a really unique aspect to a Peach Pickers show. We play songs that are the most successful chart-toppers of modern-day country radio, songs written by these three guys, yet made famous by others. So the crowd knows our tunes, yet most have never heard them performed by the original writers. A Peach Pickers performance is very organic, powerful, sometimes rough around the edges, and performed by what many in Nashville would consider a “stripped down band”. Most of the radio versions of our songs feature multi-tracked guitars, layers of fiddle, steel, keyboards, background vocals, etc, and most touring bands that play behind country artists consist of this instrumentation. Our group is basically like a traditional rock band – drums, bass, and two electric guitars. Nothing against modern day radio production, but I find that this stripped down approach allows us to rock a little harder while allowing the essence of the song to shine through without obstruction.
While Rhett has had success and experience on the big stage, Ben and Dallas are newer to this forum, yet they rise to the occasion every time, perhaps with an excitement and enthusiasm that would be impossible to have in any other scenario. Together, the three of them make a formidable team. It probably doesn’t hurt that the rest of our band is made up of some extremely talented folks – Nick Forchione on drums and former G-men, Mike Chapman on bass and Chris Leuzinger on electric guitar. I’m extremely proud of this band, were all friends, we love playing music together, and we make it happen every time.
The farm tour might be over, but the memories are forever. Luke’s entire crew, band, and management treated us with great care and respect, which speaks volumes of the man himself. We all made some new friends and strengthened the bonds between old ones, and I sure hope we get to do it again next year! In the meantime, The Peach Pickers might just have a few more surprises for you, stay tuned!
By Eric Normand
I recently read an article on Huffington Post, “Art and Music Are Professions Worth Fighting for, and while I agree with some points of this article I think the author does a major disservice in presenting the pursuit of music as a profession in a kind of “all or nothing” approach. He talks about a presentation he made at a high school career day where he suggests music as a possible career choice for young people. He says that those interested should “go for it, with abandon and furious joy, and that you do so without a plan B”. This is where I disagree. I also disagree with the distinction this makes between “career musicians” and nonprofessional musicians. Just because you don’t play professionally doesn’t mean your music isn’t valid. I agree, if you love music and want to pursue it, why not pursue it wholeheartedly, but what’s the matter with pursuing music while earning a living from something else? What’s the matter with pursuing music for the mere enjoyment of it? I believe you can pursue music as a career and for fun, but you need to keep your eyes open and realize that you will need a steady income stream along the way. To decide how music or a music career might fit into your life, perhaps the questions you really need to ask yourself are; why are you pursuing music, what do you want to get out of it, and what will it take to be successful? What is your definition of success?
When I was a senior in high school, if you had asked me what I wanted to be when I grew up I would have said, “a professional musician”. Immediately after high school I got a job as an apprentice drywall carpenter before enrolling in the Berklee College of Music two years later. After Berklee I played professionally in nightclub bands for the next 14 years, eventually also becoming a guitar teacher. In 2002 I relocated to Nashville Tennessee where I’ve had the good fortune to work as a hired gun on several major tours. My first gig was as a guitar tech for Toby Keith, and I went on to play lead guitar with several country artists – Daryle Singletary, Vern Gosdin, Rhett Akins, and the hit songwriting team known as “The Peach Pickers”, among others. I also wrote a book about how to navigate the Nashville music industry, “The Nashville Musician’s Survival Guide”.
Looking back, if you had told that starry-eyed high school kid that one day he would be a musician, painter, drywall carpenter, teacher, author, and website designer, he would’ve said “Naw, I’m not interested in any of that other stuff”. But as they say “life is what happens while you’re busy making other plans”, and one of the things I’ve learned along the way is that you have to wear a lot of hats to survive in this world. The truth is, my original goal of being a professional musician was based on the glamorization of the musical era that I fell in love with, and I had no idea about the reality of any of it.
We starve! Just kidding (well, not entirely). The options for musicians trying to earn a living from their craft are somewhat limited. The way I see it you can pursue one or more of the following avenues; nightclub musician, music teacher, touring musician, or session musician. Sure, there are other gigs (orchestra musicians, jingle writing, etc.) but these four are the most practical, and out of these, the first two are the only ones that ever become reality for most. If you want to be a touring or session musician, you will need to live in a music metropolis such as Nashville, New York, or LA, and these are extremely hard (but not impossible) gigs to land.
Regarding paying gigs, I’m talking about work you can get on a regular basis that pays real money for your services. Therefore, I’m leaving out songwriters and aspiring artists because these do not pay any real money unless you become extremely successful. TV shows like “American Idol” and “The Voice” have propelled the myth that anybody that learns how to sing a good cover song can become a national recording artist and superstar. Out of the tens of thousands who audition for these shows and the hundreds that perform on them annually, how many are ever heard from again?
While I cherish many of my experiences as a professional musician, I’ve learned the hard way that it doesn’t always pay the bills. Night club gigs still pay what they paid 25 years ago when I first got into this ($100 a night is still considered good pay) and most club gigs in Nashville don’t even pay that. As far as touring musicians, most tours only pay during the part of the year that the tour is active and, unless you are on a very high profile tour, you’ll have to find another income stream during the winter.
Two years ago, I went back to full-time construction work, and put my music career on part-time status. I began approaching music as simply one component of my life, and for first time since I’ve been in Nashville I’m actually earning a steady living year-round. I still play music, sometimes for pay, always for fun, and I get just as much reward, if not more, out of a local club gig playing for tips as I do when I perform with The Peach Pickers on the Luke Bryan farm tour in front of 15,000 people.
Don’t get me wrong, I’m not here to talk people out of their dreams; after all, I did write a book about surviving the Nashville music industry. But if this is your dream, you need to arm yourself with knowledge and know what you’re up against. If you’re thinking about pursuing music or arts as a profession you must first “define your success”. What is your definition of success in music? Then ask yourself why you want to do this. If it’s because you think it’s an easy and fun way to make a living you might want to do a little more research. It can be fun, but it’s definitely not easy. If it’s because you absolutely can’t see yourself doing anything else, then go for it, but have a plan B, and have a way of earning a living while you pursue it.
There’s nothing wrong with pursuing music as a career, and there’s also nothing wrong with being a musician or artist that never becomes “professional”. Music is one of the oldest forms of communication, music has the power to heal and unite people, and playing music makes you smarter. So go ahead and work at becoming a great musician, it’s a noble thing to do and the world always needs good music and art. Approach your music with abandon and joy, but don’t be afraid to have a plan B.
By Eric Normand
You might think that the life of a touring musician is easy – performing for thousands of screaming fans, sleeping late, eating at catering, free booze, lounging around all day on a million-dollar tour bus. While some, or all of this might be true depending on what tour you’re on, there are many other factors at play that can make the life of a traveling musician somewhat less than glamorous. Being away from your family, lack of privacy (rarely is there a moment on the road that you are not in the company of others), less than ideal sleeping conditions, and, believe it or not, too much free time, just to name a few. These factors can lead to a slew of problems – fatigue, depression, over eating, and overindulgence.
My recent outing with the Peach Pickers as an opening act on the Luke Bryan Farm Tour turned out to be a great experience and (thanks to a few forward thinking folks in Luke’s camp) a successful experiment in healthy living on the road. It turns out that several members from Luke’s band have built a daily gym run into their touring schedule, an activity that is open to the musicians and the opening bands, as well. Every day around 10:30 AM, anywhere between six and ten of us would pile into a runner van for a short ride to a local gym. Once at the gym many of us did our own thing, activities ranging from treadmill to circuit training to stretching and yoga.
Luke’s guitarist and bandleader, Michael Carter explained that “the one thing we do have out here is time” and that working out every day can be more difficult for people who work an eight hour workday with a commute. For many touring musicians, the first requirement of their work day is a sound check, usually sometime in the afternoon, and then the nightly show. Believe it or not, just lying around all day on a bus and watching TV can be tiring (not to mention boring) and this can be very draining. Not only does the morning workout speed up your metabolism and give you added energy for the day, it also temporarily removes you from “diesel city”, giving individuals a chance to have some privacy and clear the head.
Even on a tour of this level, working out at a gym can’t happen every single day, sometimes the closest gym is just too far away, a runner isn’t available at the necessary time, etc. When the gym run didn’t happen, we all got creative. On one day we all went for a run. On another day, when running wasn’t practical due to our location, we all found creative ways to get in a workout. Michael did a modified version of “Insanity” in the back of a semi trailer, a few members of Cole Swindell’s band (one of the other openers) played power frisbee, a few did some circuit training, and I did some yoga in a quiet corner of the field.
While the issue of what is, and what is not healthy food is still a mystery to many in Western culture, and it can be a touchy topic yielding much debate for some, I am going to go out on a limb here – healthy food is food that allows me to feel good after I eat it, unhealthy food is food that makes me feel crappy after I eat it! That being said, my diet typically consists of fresh fruits and vegetables, whole grains, nuts, healthy oils, and protein derived from poultry and fish (preferably raised in a healthy and sustainable environment) – and as you might guess, this kind of food isn’t always easy to find on the road. So you can imagine how pleased I was to find that the catering on this year’s Farm Tour featured a pretty happenin’ salad bar. Every day my lunch and dinner consisted of a big plate of mixed greens, carrots, mushrooms, cherry tomatoes, hard-boiled egg, grilled chicken, and topped with olive oil and balsamic vinegar. I noticed that several of the other musicians on this tour made similar meals. On days when the main entrée was chicken and/or fish, and I would have this in addition to my salad for dinner. For breakfast, I was typically having a couple of eggs, some whole wheat toast, and a bowl of fruit.
To me, healthy eating on the road is all about choices and discipline. On this tour, there were many healthy options, and there were also unhealthy options. I’ve been on other tours that didn’t have catering with this many options, in those situations I often brought more of my own food. I generally steered clear of the “after show” food, which typically consisted of pizza, fried chicken, sandwiches on white bread, etc; and chose to eat almonds, corn chips and salsa, and of course, the occasional indulgence (it’s all about balance).
Taking advantage of my free time, I worked out every single day on this eight-show run across the Deep South. In addition to taking care of my body and helping me feel good, working out with members of Luke’s and Cole’s bands also helped create a sense of community. The more and more I get into healthy living, the more I want to align myself with others who are on the same path, and I instantly felt some common ground with the “2013 Farm Tour Gym Crew”. It was inspiring to be on a tour that gives musicians the option to have a daily workout, and a relatively healthy meal.
Healthy living isn’t just for a few oddball touring musicians.
So what if you work a day gig and don’t have as many idle hours during your day? Funny you should ask. In recent years my life as a touring musician has greatly diminished, and much of the time I’ve been holding down a steady day gig as a painter and drywall carpenter (something I’ve done on and off since high school). This job is very physically demanding, and if I don’t take care of myself, I am susceptible to shoulder aches, back pain, tendinitis flareups, and a whole host of other problems. Working out and healthy eating combats these problems. As far as daily workouts, I find that if I don’t do something first thing in the morning I might not get in any workout on that day. Knowing this, I make it a priority to do at least 30 minutes of exercise before leaving for work in the morning. I prepare my lunch the night before, usually consisting of leftovers from a healthy dinner, almonds, fruit, green tea and water.
I look at all of this as a choice. In addition to advanced planning, healthy eating simply requires a conscious decision to buy, prepare and eat healthy foods. The same is true for exercise, as I age, things hurt more, and the recovery time from injuries is longer. Rather than looking for answers within Western medicine, I choose a steady regiment of cardio, strength, and flexibility exercises (in addition to my healthy diet). I believe there is a healthy way to prepare all your favorite foods. And I believe that each individual has to find an exercise program that is right for them.
For more information about wellness through exercise and healthy eating, please visit http://www.doitthehardway.com/
It’s the first week of this brand-new year of 2013 and, not that I believe in New Year’s resolutions, one of the things I’m going to try to do differently in this new year is to get back to blogging more regularly. In that spirit, I also want to learn how to write shorter blogs. Let’s see how I do at my first attempt.
2012 was an interesting year, a lot happened in our world. A long-winded, and divisive election season came and went, it was one of the most extreme years of extreme weather since record-keeping began; our military is still in the midst of several conflicts around the globe; the tragic Sandy Hook shooting in Connecticut terrified us all, gun control is now a national conversation, and Facebook is still here after a disastrous stock market ploy.
I also had a few big moments. I played a handful of shows with The Peach Pickers (Rhett Akins and Dallas Davidson) on the sold-out Luke Bryan Farm Tour (you can read more about that adventure here), I hosted a monthly Berklee Alumni Jam, got to play music with Jack Pearson (read “Jack Pearson at the Nashville Berklee Jam) and Reese Wynans (read “Stevie Ray Vaughan keyboardist, Reese Wynans talks at Nashville Berklee Jam”), I ran in my first-ever 5K road race, met a lot of cool people, listened to a lot of great records, and cooked and ate a lot of good food!
I’m not sure what lies ahead in 2013, I’ve got a lot of big ideas and plans – we’ll see what happens. One thing that’s on my 2013 to-do list is to get out on the town little more often. After 23 years of being a professional musician I found that it’s still easy to get myself off the couch for a gig, but much harder to just go out and hang. I’m going to try to change that. I plan to still host the Berklee Alumni Jam (we are now going to be doing it quarterly). Thanks to my wife, Kelly, I’ve learned to enjoy running, and we are both training for our first half marathon in April. I’m trying to reassert myself into my musical craft, to take another step, and therefore practicing the guitar and vocals daily and learning new material is a top priority. Basically, I’m trying to stay healthy, inspired, and viable, while trying to help a few folks along the way.
So that’s about it for now. Let me know what you’ve got going on and don’t be afraid to drop me a line. I hope this New Year brings much happiness and success to you and your family. Thanks for reading!
Peach Pickers’ Rhett Akins and Dallas Davidson take some “Back Roads” on the Luke Bryan Farm Tour 2012
By Eric Normand
What an amazing run of shows we had with Rhett Akins and Dallas Davidson on the forth installment of the Luke Bryan Farm Tour! The sold out tour embarked on eight shows across the Deep South, with Rhett and Dallas performing acoustically on the first four, and me and the boys joining in for full band performances on the second leg. The weather for these events was picture perfect, the crowds were huge, and the shows an amazing encapsulation of kinetic energy!
Me and the rest of the band (Nick Forchione on drums and Tom Good on bass) converged at a bus yard in Nashville on Tuesday night and hopped on Luke’s band bus. You never know what to expect in these situations, (as the two bands began this run as total strangers) and we were pleased to learn that Luke’s band and crew are some of the nicest people you could ever hope to work with. Gracious hosts, they made us feel instantly at home.
After a good night of sleep on a smooth riding Prevost I awoke in Villa Rica, Georgia. This first show was on a football field, and by the time I wandered over to catering around 10 AM the mobile stage was already up, the field buzzing with activity. Luke went all out on the production for this tour, and there were no less than eight buses accompanying the five semi’s full of staging, audio, lighting, video, and pyro it took to put on these mega-shows.
I was thrilled to find out that there were some other health-conscious folks in Luke’s entourage, and me and Nick joined several of Luke’s band-mates on a trip to the fitness facilities at the University of West Georgia. By 4 PM the stage crew was ready for our sound check, quickly dialing in our in-ear monitor mixes and a bigger than life sound through the mains of the million-dollar Claire Brothers sound system. As a guitar player, I’ve always struggled with in-ear mixes, lack of warmth and ambience being my main gripes, but on this lucky day I learned a new trick. Upon the suggestion of the Claire Brothers monitor engineer, we put a little reverb on my guitar in my ear mix, and this created some extra depth.
Later that night and after the first two openers, Chancie Neal, and Cole Swindell, we took the stage for the first full-band show with Rhett and Dallas. As members of the red-hot songwriting team known as “The Peach Pickers”, Rhett and Dallas have 13 number one songs and countless top 20 hits between them, including a few of Luke’s recent hits “Rain Is a Good Thing”, “Country Girl Shake It for Me”, and “I Don’t Want This Night to End”. This fact makes it pretty easy to create a blockbuster 45 minute set which included Blake Shelton’s “All about Tonight“ and “Honeybee”, Rodney Atkins’ “Farmer’s Daughter” and “Take a Back Road”, and the Trace Adkins chart topper “Honky Tonk Badonkadonk”, among others. At times the crowd was singing along at a volume that was as loud, if not louder than the band! The action-packed set went by at warp speed, and it seemed like no sooner than we had started we were walking off the stage.
The stagehands helped us get our gear off the stage and by 9 PM our workday was done. A short workday is characteristic for an opening act on a major tour – you’re the last to sound check and the first to play. Now it was Miller time, or in this case “Coors time”, or for a few of us “Crown Royal time”! After a quick cocktail and a little chill time on the bus we went out to check out Luke’s show. The level of musicianship in Luke’s band is nothing short of exceptional, and their 90 minute set was a rocking good time with some stunning visual aspects as this night was a dress rehearsal for the following show which was being taped for a television special.
The following day I awoke and looked out the bus window to the view of an open, grassy field in Athens Georgia – this concert was actually taking place on a real farm! After a little morning chow I decided to take a jog down some of the surrounding roads of this picturesque farming community, Rhett’s song, “Take a Back Road” having some real relevance on this warm autumn day. The day evolved similarly to the previous and the ultra-professional crew did an outstanding job erecting this mega-production in less than ideal circumstances. I later learned that the stagehands on this particular tour traveled from show to show (unlike many touring situations where stagehands are local to each venue) and this creates a continuity that helps the production run smoothly. The performances on this night went off without a hitch, with all of the bands delivering outstanding performances. Luke’s show was filled with special visual effects for the filming of the television production – including a laser show, pyro, and a massive finale of fireworks to end the night.
The next day would find us in Tallahassee, Florida and I joined up with some of the guys to go work out at the fitness facilities of Florida State University. After a great workout at a great facility we were ready to get back for some lunch, but not before winding up in a “runner altercation”. The runner informed us that he needed to stop at Lowe’s to get some stage pins for the production crew. Of course they didn’t have what he was looking for and sent us to another store that didn’t have it either. An hour and a half later we caught a lucky break at a John Deere tractor store and were finally heading back to the venue with the necessary part, and some growling stomachs. Another sold out show, another night of great performances and we were off to the tour’s grand finale in Macon, Georgia.
As Luke’s buses were returning to Nashville after this final show and we were going on to play one more show with Dallas and Rhett at the Georgia Throwdown in Dallas’ hometown of Albany, Georgia (a festival that Dallas helped organize), we had another bus arriving in Macon late morning. After the bus arrived we loaded our stuff onto it and continued about our day. As Macon is home of the final resting place of Duane Allman and Berry Oakley, a couple of us took the mile and a half walk to the Rose Hill Cemetery, a place from another world where a young Allman Brothers Band once played guitars, wrote songs, and partied into the hot Georgia nights.
Later on we took the stage in front of 16,000 fans for a final, climactic performance on this epic tour. I’ve played countless big shows over my decade in Nashville, but on this particular night a special energy was present. The songs just seemed to play themselves and the crowd was singing every chorus (and many verses) at a near deafening volume. At one point I pulled out one of my in-ear monitors to really internalize the feeling of the moment. As a musician it’s almost otherworldly to hear and feel your guitar coming out of 100,000 watts or so of PA speakers, and to feel the interaction between artists, band and audience on a show at this level is truly amazing! Our band was really on and Rhett and Dallas were at the top of their game, putting on a dazzling show for what looked like a sea of humanity that stretched to the horizon.
A little while later Luke and his boys played their final show of the Farm Tour, and their epic performances received over-the-top responses after each song. When the show ended all of the artists, musicians, and crew members gathered on the stage for a group photo of the entire entourage. I was sad to see this run end, but we left for Albany with the knowledge that we made a lot of people happy over the course of this week, and we had also made some great new friends! See you next year, Farm Tour!
Guitarist, singer, songwriter, producer and session-musician, Jack Pearson shared some unique perspective about his musical journey with a room full of Berklee alumni and others from the Nashville music community last Tuesday. The Nashville Berklee Jam, held monthly at the Fillin’ Station in Kingston Springs, saw some new faces and old friends on this special night, and Jack’s decades of experience as a world-class musician provided a rare peek behind the curtain for all those in attendance.
Jack’s musical career began in the mid 1970’s, when he played in multiple bands and logged his first recording session at age 16. In 1993 the Nashville native began his relationship with The Allman Brothers Band as a sub for Dickey Betts, eventually becoming a member of the ABB from 1997-1999 and also touring with Gregg Allman & Friends. Over the years he’s also worked with Vince Gill, Delbert McClinton, Jimmy Buffett, Earl Scruggs, Bobby “Blue” Bland, Amy Grant, Faith Hill, Gov’t Mule, Buddy DeFranco, and countless others.
Jack began his part of this night by playing some beautiful sketches of “I Can’t Get Started”, and for those who have never heard him play, his ability to transport an audience through time and space with nothing other than an unaccompanied electric guitar became quickly apparent. Following the spontaneous applause, Jack cut straight to some Q & A. One of the first questions asked was about his guitar, and I found it interesting that the deep, rich tone coming out of our backline Fender Deluxe originated from a Fender “Squire” Stratocaster, which he had recently bought for $100 at a pawn shop. Plugged into nothing other than a lone tube screamer, this drove home the point that great tone comes from within.
Learning from his oldest brother, Jack was exposed to rockabilly and blues as a teenager and explored the music of Chuck Berry, The Ventures, and Carl Perkins at a young age before eventually discovering jazz greats like, Wes Montgomery, Django Reinhardt, and Charlie Christian. Learning from friends, other musicians, and records, he slowly pieced together his musical vocabulary. He shared some thoughts on how to approach a II-V turnaround, demonstrating some different voicings and melodic approaches, underscoring the importance of putting song and melody above the technical understanding of modes and scales.
“It takes a lot of experimenting… a lot of guys come to me that get out of school and they say, “when I hear this chord I’m supposed to play this mode and scale”, and it locks them up. They can’t make any melodies because they’re told to play a mode or a scale.”
This simple, but prophetic thought resonated, and I had flashes to a time in my life when I over analyzed the music I played. Jack drove this point home with “…it comes down to the chord and the melody and where it’s going to…”
He went on to talk about the blending of styles and how he went through different periods of his life where he would be deeply immersed in a singular style for a few years – Delta blues, jazz, etc., and that after a while, all these different styles started coming together. Not afraid to take some chances musically, he demonstrated how he might go from a Howlin’ Wolf lick to a Charlie Parker lick within the same phrase, and that while some players will say this is wrong, he believes that “the main thing is to get the music out, and play with feeling.”
In response to a question about some of his best and worst gigs, Jack said that some of the worst gigs are when people don’t listen, and the music that you play with somebody is more important than the venue, or how famous somebody is.
He explained how learning all of the Allman Brothers songs as a kid helped put him in the position to sub for Dickey Betts on an early 90s Allman Brothers tour, which led to some recording with Gregg Allman and eventually to a phone call from Greg in which he was asked if he wanted to join the Allman Brothers band.
He candidly shared how this landmark gig damaged his hearing, causing an already existing case of Tinnitus to worsen, ultimately forcing him to leave the gig, perhaps sooner than he otherwise would have.
“There’s really no way to describe how loud it was on stage…Dickey Betts wasn’t in the PA…he was 135 dB side stage…”
As a fellow tinnitus sufferer I completely related to this portion of his talk and gained some new perspective as he explained that, despite wearing earplugs, extreme SPL’s (sound pressure levels) can still do damage, as the sound can affect your inner ear by entering your nose, mouth, and through your bones.
In response to a question about life lessons learned through music he answered, “Try not to take music for granted, it’s so special, and you can reach so many people…lyrics can encourage you, relate to your pain, but you can also do it with notes.” He demonstrated this by showing how the same group of notes can sound happy, or sad depending on where the emphasis is placed. He talked about the endless possibilities of how you can play even a single note, demonstrating this concept by playing a huge range of variances on a high “G” note.
After Jack’s talk concluded he played a short set with our Alumni House Band, the air becoming filled with the sounds of spontaneous applause after each inspired performance. Jack left shortly after his set, and the other alums in attendance continued jamming into the night. I, and everyone else in attendance would like to extend our appreciation and gratitude to Jack for sharing his music and journey on this special night!
Today I want to tell you all about an exciting monthly event I have been hosting – The Nashville Berklee Jam, and its new accessibility to everyone in the Nashville music community. The beginnings of this idea came to me a few years ago when I first attended the annual Nashville Berklee Alumni Reception. On my way home that night, I remember thinking how great it was to meet so many musicians in one night who were so passionate about their musical ambitions and so hungry for knowledge. These musical comrades were a mix of Berklee alumni residing in middle Tennessee and Berklee students who came down for the annual Nashville field trip. At this reception I made connections with other like-minded alums and students who came down on the field trip, the latter peppering me with questions about my experiences in Music City. This event was a very stimulating night as the energy of three hundred musical minds meeting and conversing seemed to create an air of camaraderie and untapped potential! Then I went home and another year passed before I got this fix again.
So this past winter I decided to create a monthly event to try to emulate this musical networking hoedown on a smaller scale, and The Nashville Berklee Jam was born. Held on the first or second Tuesday of the month from 7 PM to 11 PM at The Fillin’ Station in Kingston Springs, TN, these events start out with an informal meet and greet, followed by a Nashville music industry guest speaker, and end with an open jam. So far the reception has been very positive, here’s a recap (with links to their corresponding blogs):
February – A-list session bassist, Mike Chapman gave a great talk about being a session musician, outlining key concepts in what he calls, “the essential slices of the session player pizza”. He also jammed with several alums after the talk.
March – award-winning vocal coach, producer, and hit songwriter, Judy Rodman gave an insightful talk about career paths for vocalists. She also performed a couple of songs with the house band and then critiqued and coached several vocal performances, helping vocalists make instant improvements.
April – Stevie Ray Vaughan keyboardist, Reese Wynans shared his fascinating story about being a lifelong-career musician, the life-changing moment that came on his last night with Delbert McClinton that landed him the SRV gig, and the whirlwind years that followed. After his talk, he joined us for a few inspired performances.
May – fellow alum, musician, and author of “The Nashville Number System”, Chas Williams gave an introductory class on this subject. After the class, he charted one of alum, Sarah Tollerson’s originals and performed it with Sarah and the house band with everybody reading the chart off a dry erase board.
June – drummer, producer, and clinician, Rich Redmond gave an inspiring talk on “Navigating the Nashville Music Industry” speaking candidly about his early “lean years” in Music City and different approaches to finding success here. After his talk he sat in for a few tunes and stuck around to chat with others in attendance.
For our next event, to be held on Tuesday, July 10, I will be giving a talk that continues last month’s theme – “Navigating the Nashville Music Industry – Part Two”, during which I will explore some of the concepts I write about in my book “The Nashville Musician’s Survival Guide”. And, this just in, for our event in August we are proud to announce that the guest speaker/performer will be none other than Nashville guitar ace, Jack Pearson, formerly of the Allman Brothers, Vince Gill and many others.
All of the guest speakers have given great talks, sharing their knowledge and providing inspiration, and these talks have been interactive with many great questions and comments from alums. My band, Skinny Buddha (comprised of Berklee alumni and others from the Nashville music community) provides backline and a starting point for the laid back jams which have covered everything from originals to classic rock to blues tunes to two-chord jams. All of these events have been great friendship building and networking experiences for all involved, as well as educational. So far, the attendance has been mostly comprised of Berklee alumni, but as there seems to be a growing interest from others in Nashville, we are now officially making this event open to the Public. Nashville is a diverse and complex music community in which a Berklee alumni community also resides, and it is my goal to help these two worlds intersect and meld together.
So come on out to our next “Nashville Berklee Jam” On Tuesday, July 10. I hope to see you there!
P.S. if you have any comments, thoughts, or questions, please feel free to e-mail me at firstname.lastname@example.org.