When you're stuck on the side of the road, you might make the best of it. That's precisely what passionate folk singer-songwriter Heather Thomas does in her latest single,
"Stuck On The Side Of The Road." It's a tune that hits you like a breath of fresh air, a wild and thrilling journey that doesn't just make you tap your foot but invites you to dance through life's curveballs.
If you're curious about Heather Thomas, well, she's not your average musician; she's the kind of drummer who can learn an entire set in a day, play like she's been part of the band for years, and then switch gears to rip a killer funk tune or lay down the perfect groove for a singer-songwriter.
Her musical journey took her across the country, touring with the likes of Mary Lambert (yes, the Grammy-nominated artist from "Same Love" fame) and opening for big shots like Gavin DeGraw, Train, Pharrell, and Ariana Grande.
But Heather wasn't content just sitting behind the drum kit. She delved into songwriting with an intensity that's hard to match. The result? Heartfelt folk tunes and intricate rock numbers have an uncanny ability to stick in your head for days.
In "Stuck On The Side Of The Road," passion oozes from every note. The song explodes with intricate storytelling details that paint a larger-than-life picture. Heather's smooth vocals cascade over a backdrop of country and folk-inspired instrumentation, bringing the essence of the track to life. You can hear the soul she pours into it, and the emotions in her timbres are nothing short of evocative and profound.
Now, let's talk about the guitars and drums. The guitars in this track are like a thunderstorm on the horizon, brewing with energy and raw power. They add a mid-tempo sense of urgency and anticipation to the song as you feel each strum in your core. On the other hand, the drums are the track's heartbeat, keeping the rhythm steady and propelling the song forward with an infectious groove. Together, they create a sonic landscape that's not just catchy; it's downright irresistible.
So, when life leaves you stranded, don't fret. Just hit play on "Stuck On The Side Of The Road," and let Heather Thomas' musical prowess take you on a wild, edgy, and fun journey. It's a musical escape you won't want to end.
Welcome to BuzzMusic, Heather Thomas! "Stuck On The Side Of The Road" is a captivating single with intricate storytelling, and we're here for it. Please tell us more about the inspiration behind this song and what you hope listeners take away from it.
Thank you! I started writing this song in the back of a broken-down van in the parking lot of a Value Village thrift store in Seattle. As a drummer, you pretty much have to have a van, and as a full-time musician, there's a good chance you're not going to be able to get one of those fancy new ones, so I've had a long line of old vans break down on me over the years. My current van is my 8th or maybe even 9th! Before I rewrote the song with my friend Nick Foster, I used to say, "This is the most pathetic song I ever wrote," because it used to end with, "But I have been here before, and there's no one left to help." I wanted a more uplifting ending for both the song and myself.
We worked it around until the bridge encouraged us to "put on your jacket, call up a friend, figure out why this keeps happening." I feel like the message of the song and the lesson I've been learning through these near-constant car troubles is that you don't want to wait until you're broken down to do something about it; you want to look at why the patterns in your life are occurring: what are the ways you invite specific scenarios in, and what is the actual issue beneath it all that needs to be addressed? For me, it meant I had to commit to fixing the problems before they got too bad and be proactive about care and maintenance (I'm not just talking about vehicles here)! I hope listeners remove the feeling that they have everything they need to face your problems and that you have people who can help when needed.
You bring a unique perspective to your music as a talented drummer and singer-songwriter. How do your experiences as a drummer influence your songwriting and the way you approach rhythm and groove in your songs?
My melodies tend to have a powerful rhythmic cadence, and the groove to my singing comes from my foundation as someone whose job is to "keep the beat." Drummers make great songwriters, and I would love to see more drummers pursue using their voices in music.
A lot of my melodies start to feel like "hooks" because I'll sing something over and over until I like the flow of the whole thing, even if that means adjusting lyrics to fit the rhythm of the melody or changing the rhythm so that the words have an emphasis to them that makes them feel like natural speech patterns.
When in doubt, I say the lyrics out loud, pay attention to where my voice naturally emphasizes, and use that to guide where my lyrics land on strong beats versus weak beats.
What can you tell us about the creative process? How did this song come to life, and were there any key members in making this song come to fruition?
A song idea will usually start with a short lyric that already has the start of a melody to it. This song was probably as simple as singing "stuck on the side of the road" when you set up the first lyric. Naturally, something wants to follow or answer it, like "nowhere to go but home, no way to get there."
The best songs usually come out of something emotional that's happening in my life at that moment, so feeling despair over a vehicle that I can't get to start and don't know how I'll pay for the repair, that's the feeling you can't just get out of, you have to sit with it for a while before it resolves. Some of the best songs come out of feelings you wish would pass but that you can't get out of without some pain and discomfort. Songs can help you process what you're feeling, what's got you sad, happy, crazy, or whatever you're feeling.
I mentioned my friend Nick Foster helped me rewrite the song. He had been a roommate of mine when I first moved to Seattle and was very influential in inspiring me to write my music. I loved how it felt when we'd sit in the living room and go around singing each others' songs, adding harmonies, and singing the choruses together. I wanted to give other people that same feeling of being connected to someone else's story through their vulnerability. So when I felt like I wanted the song to have more of an uplifting ending to it, I brought it to him, and we turned the old chorus into the pre-chorus, added a new chorus, and the bridge, which has the most encouraging lyrics of the whole song.
Another person who helped the song come to life was producer Sheldon Gomberg, who took on the project at Carriage House Studios in Silver Lake, Los Angeles. I didn't think he'd take me on; he was working with Ben Harper, Charlie Musselwhite, and other high-caliber artists, but I caught him during the pandemic when fewer people were trying to record at studios. We somehow lined up with that little pocket of time between variants after folks had been vaccinated, but before they locked everything back down for who knows how long.
Sheldon brought in an incredible team, from engineer (or wizard, I'm not sure which) Kevin Smith, guitarist Fred Tackett (of Little Feat), Gabe Witcher (Punch Brothers) on violin, Scott Gates on mandolins, Chris Rolontz on upright bass, Will Gramling on keys. I played drums, ukulele, percussion, and vocals. They are all incredible session players, and I was thrilled with the sounds we were getting. We tracked drums, bass, and guitar together and overdubbed the rest, so the main tracks have a real settled-in feel from playing in the room together.
The Seattle music scene is known for its diversity and vibrancy. How has being a part of this scene influenced your musical journey and how you approach your craft?
One thing I love about Seattle is the total focus on original music. You only see people playing in cover bands; sometimes, all songwriters and groups of friends write together. Plus, there's great music in many genres, from funk, jazz, Latin, blues, and country to psych rock, indie rock, pop, and electronic music. And when you're part of a scene like that, you get to play a lot of different styles with folks of all different backgrounds. From my earliest days in the scene, I was able to make music my main focus and was fully supporting myself as a musician within a few years.
I feel like bands in Seattle don't sound like each other; every band has such a unique sound, even as players from one band may play in 4-5 other groups. The vibe is very collaborative, and musicians incredibly support each other. When I think of the Seattle scene, I think of an endless array of excellent friends and inspiring people. It's an extraordinary place to be and to be from, and I'm so grateful to be a part of the Seattle story.
I live in Nashville now, which is another incredible scene for music. I love all the artists I play with out here and the opportunities I have access to, and it's so exciting to see so many friends and colleagues making great strides at the local and international levels.
What's next for Heather Thomas? Are there any upcoming projects or collaborations we should look forward to after "Stuck On The Side Of The Road"?
After I release Stuck on the Side of the Road on November 17th, I will continue releasing songs from the upcoming album Dig On Down, which I hope to release in 2024. I aim to press the 12-song album to vinyl and work on traveling with the Heather Thomas Band. I've also got plenty of projects and tours with other acts coming up, plus you never know what other things are forming in the background!
I'm excited to have new music out; it felt like it had been a long time since I had something ready to share, and the new album has so many different sounds and vibes that will be brand new to people's ears. I'm grateful that I'm at a place where I can start sharing it!
From the album Dig On Down by Heather Thomas, Stuck on the Side of the Road will be available on all streaming platforms on November 17th.