T. Hardy Morris

Pretoria Fields Presents Live at The Creek Stage at The Rookery

T. Hardy Morris

Parker Gispert of The Whigs

Fri, August 3, 2018

Doors: 9:00 pm / Show: 9:30 pm

The Creek Stage at The Rookery

Macon, GA

$10.00

This event is 18 and over

T. Hardy Morris
T. Hardy Morris
Fresh outta high school, T. Hardy Morris caught his first show at the historic Georgia Theater in Athens. Up on stage, the late Vic Chesnutt (backed by members of Widespread Panic) played a benefit concert in the memory of Lee Lawrence, a locally renowned sound engineer from Morris’s hometown who had died in a tragic tour van crash.
The sonic energy and raw emotion that night solidified in Morris the same call to adventure that had launched other Athens-born bands (R.E.M, B-52's, The Drive-By Truckers, The Elephant 6 Collective, and more) and put the artsy college town on the map.
“A lot of southern artists who might not feel quite right in their hometowns migrate to Athens. Drawn here by the sound of a weird Southern heart, I guess,” Morris said. “I knew I had to live there.”
At its heart, Morris’ third solo-record, “Dude, The Obscure,” released via the New West Records imprint Normaltown Records, captures the Athens songwriter contemplating the paradox of everyday life. In captivating songs, Morris sheds the traps of ambition and nostalgia and uncovers the strange satisfaction of living in the moment.
Morris beautifully warns us not to succumb to the fear of missing out that stands in the way of contentment on the album’s defining moment, “Cheating Life, Living Death.” Every dream is an invitation/ To leave your love up on the shelf/ When you walk out every evening/ Cheating life and living death.
On Dude, The Obscure, Morris deftly side-steps the nostalgic, storytelling perspective in his adored solo-debut, Audition Tapes, a collection of songs inspired by defining moments growing up on the edge as America’s modern opioid epidemic struck the rural South.
Audition Tapes started as a handful of “back-pocket songs” Morris wrote while touring with Dead Confederate, the psychedelic southern rock project conceived with friends
he grew up with in Augusta, Georgia.
Dead Confederate’s first single, “The Rat” anchored their debut record and introduced Morris to life on the road. They played 200-plus shows a year, opened for R.E.M., toured Europe with Dinosaur Jr. and made their national television debut on “Late Night with Conan O’Brien.”
“We did everything, played the big festivals, toured half the world, but after our original drummer left the band, it kind of changed,” Morris said. “We still consider ourselves a band, somewhat, but we just needed to slow down after a while.”
Out on tour, Morris met Deer Tick’s John McCauley, a kindred creative spirit who invited him to join an impromptu Nashville jam session where, somehow, the indie-rock
supergroup Diamond Rugs was born.
“I didn’t know most of the guys. We just hung out and recorded whatever song came up. We didn’t have a name, and weren’t even a band until the first album was almost done,” Morris said. “It was the purest way to start a band or make a record.” Diamond Rugs — Morris, McCauley, Bryan Dufresne (Six Finger Satellite), Robbie Crowell (Deer Tick), Ian Saint Pe (Black Lips) and Steve Berlin (Los Lobos)— produced two records at the converted garage studio tucked in indie-rock producer Adam Landry’s overgrown backyard. “Adam works like a maniac, gets invested in every song and doesn’t let anything slide until we feel good about it,” Morris said. “Right away, I knew I wanted to make records there with him.”
Since then, Landry and his partner Justin Collins produced and engineered Morris’ first two solo records, including Drownin’ On A Mountaintop, a loud country-grunge affair recorded in a mad rush before his first child was born. Landry agreed, and his along-for-the-ride vibe, and so many for-the-sake-of-the-song moments cemented their personal and professional connection.
“My first impression of Hardy? Musically, this guy is out there, like, Jimi Hendrix meets the Sex Pistols,” Landry said. “And personally, we value the same things outside of music. That’s the stuff that makes creative partnerships last.”
Morris made the familiar pilgrimage to Landry’s studio to record Dude, The Obscure in a series of almost secretive recording sessions that were different from the others thanks to his journey.
Even the album title, Dude, The Obscure, hints at the songwriter’s self-discovery. In the homage to English author Thomas Hardy’s novel, Jude, The Obscure, Morris reveals his deep love for literature, philosophy and poetry — along with a secret about his stage name.
“Thomas Hardy is my given name, and 'Dude, The Obscure' is a moniker I considered using as an artist,” Morris said. “The hat tip to the novel seemed appropriate for the album because it deals with doubts, joys, regrets and spirituality, a lifelong journey and such. Thankfully, my life hasn’t endured even a fraction of the tragedy the novel holds, but life is certainly complicated and unique, an individual experience for everyone, no matter how obscure.”
Morris and Landry took their time in the studio and gave each song the opportunity to grow unaffected by outside influence except the magic that happens when two friends lock themselves in a smoky shed to make music, and a few pals stop by.
“We tried to stay present in the recording process. We weren’t concerned with genre or style to take songs in any direction other than where they seemed to take us. If it was creepy, we followed the creepy,” Morris said.
“The record has a darkness but it’s held in harmony with a light that acknowledges the other side of our personalities. It’s not as important to drive out the shadows as it is to acknowledge their existence and keep them where they belong.”
In a lot of ways, Dude, The Obscure flows from a conflicting creative space Morris found at the intersection of dreams and reality. Each song on the album seems compelled by Morris’ desire to help himself— and others— conquer the void of everyday meaninglessness. It’s an effort philosopher Maurice Blanchot described as the anguish of writing: “You have to cross an abyss, and if you do not jump, you do not comprehend.”
Morris takes that leap to find universal truth by navigating sometimes opposing perspectives within moments that change lives.
On “Homemade Bliss,” Morris’s haunting vibrato (backed up by McCauley) perfectly frames a fatalist view on our uncertain future with poetic precision: “Wherever it is that you are standing/ That is the center of the earth / Wherever it is that we are going / We have been going there since birth.”
“NY” is the familiar story of how the big city, for better or worse, changes people who search for better lives in different ZIP Codes only to discover you “Can’t fight the everyday / No matter where you are.”
“The Night Everything Changed” (featuring Vanessa Carlton) examines the dramatic cumulative effect of nights of debauchery from the perspective of a man confronted by the consequences. “Chaos, brought on the spot / Got what we needed / Wanted it or not.”
Lyrically, Morris doubles down on the theme of living through the aftermath of one’s choices on, “When The Record Skips”: Where will you hide when I cave in / When the party is over, and the record skips.”
With Dude, The Obscure, T. Hardy Morris has stepped into the sun and shed himself of the genre-bending labels critics used to define his earlier works.
Within 11 powerful songs, the Athens rocker reveals scars and shares lessons from an indie-rock odyssey that has taken him around the world and back home to find himsel a little older and closer to something like enlightenment.
And just in time for a new journey to begin.
Parker Gispert of The Whigs
Parker Gispert of The Whigs
Parker Gispert was still in college when he helped form the Whigs in the early 2000s. But after five critically-acclaimed albums, hundreds of tour dates all over the world with the likes of Kings of Leon, Drive-By Truckers, the Black Keys and many others, and television appearances everywhere from the Late Show with David Letterman to Jimmy Kimmel Live!, the Athens, Georgia-bred rockers decided to pull back on activity in 2017. Which left Gispert, who had spent the majority of his adult life either in the studio or on the road with the band, at a crossroads. “It occurred to me that if I wanted to record and tour that I was going to need to do it solo,” the singer, songwriter and guitarist says. “I'd always thought about it in the back of my mind as something that I wanted to do one day, but ‘one day’ had never really come.” Now, ‘one day’ is here in the form of Sunlight Tonight, Gispert’s debut solo album (produced and mixed by Emery Dobyns). The eight-song effort finds Gispert, known for leading the Whigs through raw and jangly southern-garage rave-ups, taking a decidedly different musical approach—biting electric guitar riffs are cast out in favor of gentle acoustic picking and strumming, and his band mates’ raucous rhythms are traded in for minimal accompaniment that includes light bass and drums, orchestral strings and even trumpet. Gispert’s lyrics, meanwhile, are his most introspective and personal to date (albeit with a bit of humor thrown in here and there) and they’re delivered in a vocal style that finds him pushing out on his range. “I didn't need to project over a band, so I was able to sing in registers I hadn’t really used before, like a lot of high falsetto,” he explains. The end result showcases a different side of the artist, to be sure. But it’s one that Gispert felt compelled to explore. “A lot of guys from rock bands that go solo, they just hire another bassist and drummer and go make another album,” he says. “I didn’t want to go that route.” Ultimately, his change in musical direction was helped along by a change in geography. A longtime resident of Nashville (by way of Atlanta, and then Athens), Gispert last year accepted an invitation from a friend to visit his 100-acre hemp farm, located roughly an hour outside Music City. “It was like out of a total time warp,” Gispert recalls of the property. “No heat or AC. No animals. No active crops. Water from a well. It was just, like, a house and a plot of land. I ended up staying there for a year.” That plot of land was where Sunlight Tonight came into being. “I would wake up early and get my guitar and walk outside and come up with all these songs,” Gispert says. “And without a band to turn to as the deciding factor on, say, a melody or a lyric, I ended up turning to the scenery and the landscape I was dealing with instead. The farm was like my collaborator—it kind of answered everything for me, as weird as that sounds. And the songs started coming pretty quickly.” The first one that came is also the one that opens Sunlight Tonight—a psychedelia-laced meditation titled “Through the Canvas.” Built on a bed of acoustic guitar and cello, the song finds Gispert laying out what is essentially a statement of purpose: “Suddenly I got up / Suddenly I could move / shook off all the bullshit that was weighing down my shoes.” Explains Gispert, “With the Whigs, I had been in that band since I was a teenager. So when that slowed, I found myself in a place where I was almost paralyzed, like, What do I do next? It was just confusing. But that song sums up what happened when I got to the farm. It was like, suddenly I got up, grabbed a guitar, walked down to this big field and...” Shook off all the bullshit? Gispert laughs. “Yeah. And bullshit was exactly the word to describe it. It was all the worries. All the fear. All the drama. All the stuff you can’t even articulate. After I put all of that behind me I was able to set out on this journey of making a solo record.” That journey ended up being very unlike any Gispert had embarked upon previously. For starters, he says, “I wrote all of the songs for the record while outside, and that’s something I’d never done before. Usually I’d be in a cramped apartment or a studio space—not, like, walking around outside in a big open field at 1:00 AM, just singing and playing.” He laughs. “And the good thing is, I was on this secluded property, so nobody could see me—it didn't matter if I looked like a total goofball just wandering around in my jean shorts strumming an acoustic guitar.” The material that Gispert came up at the farm with was primarily acoustic-based, but at the same time still incredibly diverse, from the dark folk of “Magnolia Sunrise” to the ambient tones of “Life in the Goldilocks Zone”; the T. Rex-y groove-glam of “Volcano,” to the lo-fi garage-fuzz of “Is It Nine”; the exuberant mariachi-horn-rock of “Too Dumb to Love Anyone” (the one composition Gispert says was originally written with the Whigs in mind) to the oddball genre exercise “Do Some Country.” That last one also features some witty wordplay (“I am a rock artist,” Gispert sings, before adding, “I paint pictures on limestone”), as well as a unique origin story regarding its title. “I was at a Nikki Lane show,” Gispert recalls, “and in between songs this woman in the audience kept yelling [in heavy southern accent] “C’mon Nikki! Do some country!” And my friend and I were just like, ‘Man…that would be such a sweet song title!’ ” There are other lighthearted moments on Sunlight Tonight, such as the nursery-rhyme-like “Is It Nine,” on which Gispert attempts to determine which number would fit best into the alphabet. The genesis of that riddle? “It was just a ridiculous question I asked myself, and I had never heard a song about that particular question before,” he explains. “So I thought for my first solo album it would be a good idea to have one track that was uniquely ‘Parker.’ Because there are so many love songs or political songs or whatever out there already.” Which is not to say that Gispert shies away from those topics on Sunlight Tonight. “Too Dumb to Love Anyone,” for one, addresses his present station in life as an unwedded man. “I'm 36, and most of my friends are at that point where they’re getting married and having kids,” he says. “And my friends' wives will say things to me like, ‘Parker, when are you gonna meet somebody and join the club?’ So I always say, the only thing standing in between me and a great relationship is that the idea has never occurred to me.” Then there’s “Magnolia Sunrise,” which unfolds somewhat uneventfully, with Gispert grabbing breakfast at a local diner (“Coffee, Tennessee / grits made to order”) before an anxious waitress shatters his mundane tranquility: “There’s still a lot that could go wrong,” she tells him. As the guitar accompaniment builds and the orchestral strings turn frantic, Gispert intones, ominously, “One Saturday morning / there will be no warning.” The narrative, Gispert says, “is based on a real interaction I had, at a diner right down the road that I’d go to all the time in the mornings. I ended up talking to this waitress who was having irrational fears of, like, a hurricane coming, or a nuclear threat. It brings up this idea of, you could be chilling out, enjoying your day, and when you least expect it, that's when something happens—tragedy could be right around the corner.” Clearly, Gispert’s environment and experiences at the farm factored heavily into the words and music he wrote for Sunlight Tonight. But when it came time to record the material, he left his rural surroundings behind and headed back into Nashville, cutting tracks at Blackbird Studios and Hacienda Studios, with producer Emery Dobyns (Patti Smith, Antony and the Johnsons) at the helm. Dobyns also added various instrumentation to the tracks, alongside contributions from Black Keys drummer Patrick Carney, former Sparklehorse vocalist Sol Seppy and Adele bassist Samuel Dixon, among other musicians. “It was like there was one phase of the record, which was me alone writing everything,” Gispert says. “And then there was the second phase, the studio phase, which was very much a team effort, with Emery shaping the record sonically and production-wise.” When it comes to playing this material live, however, Gispert has been going it alone—an atypical arrangement for him onstage, but one that he’s been finding incredibly satisfying. “I love it a lot,” he says about being out on his own. “I feel really comfortable up there by myself, and in some respects I'm able to connect with the crowd in a way that I never was able to do with a band.” That said, Gispert still gets plenty of opportunities to play with his band, as the Whigs continue to reconvene for sporadic live shows, including a recent spate of dates celebrating the tenth anniversary of their 2008 record, Mission Control. But far from his solo endeavors having a negative impact on the group, he’s found the opposite to be true. “I'd always been afraid of doing something solo because I thought it might mess up the band vibe, but now I'm able to see that it actually helps,” Gispert says. “When we do get back together to play, it's fun and it's fresh and it has new life.” As for what the future holds, Gispert is open to any and all possibilities that might follow in the wake of Sunlight Tonight. “Because I didn't even see any of this happening, you know?” he says. “So I can’t really say what comes next. But it’s almost like a weight off my shoulders to not really know where I'm going from here.” One thing he can say for sure: the farm that served as both inspiration and companion to Gispert throughout the writing process for Sunlight Tonight is now a thing of the past. “I’ve moved away,” he reports. “I’m living over by a lake now.” Gispert laughs. “I’m trying to switch it up.”
Venue Information:
The Creek Stage at The Rookery
543 Cherry Street
Macon, GA, 31201