Q: The episode of CMT "Campfire Sessions" that you filmed earlier this year reminded me of the old "MTV Unplugged" show. I enjoyed hearing the background to the songs.
A: Yeah, same. It was in a setting at a level that we haven’t got to be a part of. They really do it right. It’s a big production. If down the road, we’re blessed to have enough music to do another one, I'm all in.
Q: Over the years, you’ve served as a tour opener for such heavy hitters as Brad Paisley, Keith Urban, and Luke Bryan. Have you taken away anything from the way they work audiences and applied it to your own stage delivery?
A: Without a doubt. I’m always trying to pick up on what the guys that have come before me and are on the bigger stages do that maybe we could bring to our shows. I try to get out and watch pretty much every show I can, whenever we’re collaborating with somebody on tour. I think a lot of it is the flow of the show. Also, the design is something that I don’t think I realized that I was going to get to be a part of early on in my years of designing setlists – that’s all I was worried about in the honky tonks.
Q: There's a lot more to it.
A: Getting to design video content. Really, the visual side of the show is just as important these days as what people are hearing.
Q: Just over five years ago you were inducted into the Grand Ole Opry by Reba McEntire. How was that experience?
A: Getting to design video content. Really, the visual side of the show is just as important these days as what people are hearing.
A: That’s still a ‘pinch me; is this real life?’ moment. It's hard to believe it has already happened for us. She’s been one of the ladies I’ve looked up to my whole life and has dominated pretty much everything you can in the entertainment world. It’s great to be a part of [the Opry] organization. The amount of good that they provide and do for the community [sometimes] goes unnoticed.
Q: Early in your career, you contributed a song to the ABC-TV series “Nashville” starring Connie Britton and Charles Esten. Much of that show took place at the Bluebird Cafe, which was also integral to your early career. What was it like contributing the song and hearing it on TV?
A: Probably the coolest moment was when my sister realized that I was a part of that as a [‘Nashville’] fan watching the show. If I get a song cut, it’s not like I'm [always] calling my sister up letting her know. She found out on her own as she was watching and saw the credits.
That show was a big part of the rise of country music [over the past decade]. It was obviously the rise and boom that Nashville has had as a city. Really, their eyes have been open to country music, the drama, and the fun that surrounds [people]. When you throw a bunch of creative people into a town together, it’s not hard to have a lot of fun stuff happening on screen. I think they did a great job with representing the town and country music in general.
Q: If I ever travel to Nashville, I’ll definitely try to check out The Bluebird.
A: It’s a great setting. Thank goodness, it’s had opportunities to expand and has always had the loyal [people] that pushed back and said, ‘No, let’s not ruin the magic here for the sake of fitting some more bodies in the building.’ They've kept it the same. I went there for a charity event last year and it’s just like I remember the first night I went in there back in 2003.
Dustn Lynch photo by Alysse Gafkjen, courtesy of Red Light Management.
For the entire interview, see elsewhere on this blog or go to dailybulletin.com.
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