As a lead singer, it is intimidating? Is it a different mindset from being the guitar player?

I would say intimidating. First off, there are people who have really worked at the craft for a million years. When you jump out of doing what you’ve been known for doing, it becomes something else, and people are going to question it. You’ve got to take that as inspiration. Making the record, I was in a contained environment. I could try all these things. Live, you are out there. And, it’s a physical thing, too. If you are not feeling well, or can’t hear yourself well, you can totally fall flat, literally.

What’s that been like, singing live?

It’s been really exciting. I hear myself getting better, performance-wise. I learn new stuff on guitar, but I know my guitar now. I don’t know my voice yet, all the way.

Do you think maybe you were looking for a new challenge, subconsciously? That guitar wasn’t providing you the same motivation as it had in times past?

That could be true. It’s kind of igniting this thing inside of me that hasn’t been there in a while. I don’t know if that was my initial intent, but it’s there. Everyday I’m practicing again. It brings me back to college. It’s fun.

How have you managed to avoid the star trap of such a successful career as yours?

I don’t love attention in that way. Sure, I love the respect, when people say nice things about the music. That makes me feel awesome. I would never want to be the guy that can’t go to the coffee shop. Also, my blessing and my curse is that I love so many different styles of music. I’ve never been able to say, “This is what I do.” I’m switching it up constantly. That’s why I love being a producer. It excites me and it allows me to be in the shadows. The people that do know me are pretty informed about music. I enjoy that.

It sounds more organic than by design.

I think that it’s meant to be.

Will your singing aspirations cross into bands like Soulive or Lettuce?

I doubt it, but I can’t say for sure. We have a Soulive album that’s mostly done, that we did with Pretty Lights. That’s going to be mostly instrumental. I don’t know how things will collide. That’s a good question. I’m really fortunate that I’m in bands with my friends, and we communicate. We have this open door. Soulive is never going to end. Same with Lettuce. We’re family. I may not do this upcoming tour with Lettuce, but they’re cool about it. It’s all hugs. I’m lucky to have people that I play with that are all so understanding.

Speaking of instrumentals, the lone track on the album without a vocal is the phenomenal “Curse Lifter,” on which you play with Derek Trucks. What I love about it is how ‘lived in’ the song sounds. There isn’t that, “here’s the guest guitar spot.” It’s got this quality that makes it feel as though you two have been playing it together for years.

That’s my favorite comment I’ve gotten so far about the album. That is really what I wanted. I always knew I wanted to do something with Derek, but not, here’s my song, and there’s him playing a solo that he overdubbed from Florida and sent by email. I don’t know if it fits my album, but I just want people to hear this.

If not for the fact that it’s an instrumental on an album of otherwise vocal tracks, I could see “Curse Lifter” as a valid album title.

The title track isn’t on the album. I was calling it Blood From A Stone for a year because of that (title) track. I was so used to the name. We tried the song “Blood From A Stone” in every possible spot, but it never worked. I’m just going to put it out as its own track.

You worked with Aaron Neville on his record, and now will join him on August 4 at the Apollo Theatre to celebrate his 75th birthday. Tell me what that experience has been like.

That’s one of those gigs I’ll never, ever forget. It is one of the most incredible things I’ve done, or will ever do. It’s one of those dream gigs. I’ve been a fan of his forever. He actually heard the demos of Blood From A Stone, and brought me in the studio. When I met with him, he said, Here is what I want to do. He hands me all these poems. He said, I want you to turn these into songs. We went to Vermont, didn’t really sleep, and wrote 17 songs out of those poems. The greatest thing about it is that before this he has never really been a part of the entire process of making a record. In this case, he co-wrote all of the songs and was there for the mixing and mastering. He’d never done that in fifty-some years. He was excited, having a blast. By the end it was high fives and hugs. It was pretty surreal.

Both you and Aaron have found the benefit of challenging yourself, of trying new things, at the same time.

It’s pretty cool. The timing couldn’t have been better. All the elements came together perfectly.

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