In the proudly independent Texas-country scene, it’s not easy to separate yourself – or to evolve once you have. But for almost 15 years, William Clark Green has done both with a nod to his home state itself, both rooted in the past and barreling toward the future.
Boasting sandpaper vocals and country-rock sound at the crossroads of back-alley grit and gravel-road grace, the Flint, Texas, native emerged like many others before – sauntering out from Lubbock’s live music loving college-bar scene. But he has since carved a space that is uniquely his own. Pairing singer-songwriter tradition with a progressive musical mindset, he’s both a troubadour of troubled souls and maestro to lyrical mischief, renowned for underdog anthems filled with sardonic wit, vivid characters and even historical curiosity.
Over five previous albums, multiple Number Ones on Texas Regional Radio have joined iTunes Country Album chart toppers, the respect of critics and peers and a vibrant touring profile anchored on Texas’ biggest stages. But even after so much success, two years of treading water left Green looking to get beyond his comfort zone.
“My whole mentality is that if my voice went out tomorrow, or I lost my arm and my career ended, I’ve got nothing but gratefulness,” Green explains, flashing his signature sense of dark humor. “But in some ways, we wanted to reach and see what else is out there. I think the band is ready, I think I’m ready, and it’s not really about money or anything. It’s about feeling that high again, feeling that new-ness.”
Returning with Baker Hotel, his sixth studio album and first in almost four years, Green goes after that new-ness with an open mind, and the thoughtful approach of roots-rock poet. Just as each album before it, he continues mixing Lone-Star mythos into his storytelling, this time occupying an abandoned monument to the past in Mineral Wells, Texas. But as he hinted above, Baker Hotel takes his craft to new heights. Even for an artist who’s fans expect the unexpected, it finds Green raising his game to the proverbial penthouse suite.
Featuring 13 tracks and the return of producer Rachel Loy (Rose Queen, Ringing Road), the set taps everything from lush ‘80s pop to classic highway rock and traditional Western balladry, as Green seeks out new sonic connections – and probes deeper into his soul than ever. The set arrives after a grueling 2019 tour which featured more than 170 shows, then the isolation of a pandemic shutdown, and it’s that push and pull of burnout, creative detox and almost-meditative rejuvenation that drives the project – all captured through the eyes of a deadpanning interstate philosopher.
Originally from LaFayette, GA, Ben Chapman is a Nashville-based artist/songwriter who has garnered early attention for his soulful voice and country-blues guitar playing. He is heavily influenced by the sounds of the 70’s, pairing groove-driven music of bands like the Allman Brothers with compelling, pithy lyrics akin to those of Guy Clark and Roger Miller, cooking up a tasty serving of country jam band ear candy. Playing bars across North Georgia since he was 17, Ben has always considered himself to be an old soul in a new age of country music. Since moving to Nashville, he has attracted a crowd of supporters from seasoned songwriters/artists to industry executives to promising up-and-comers alike, now finding himself at the center of the wheel that seems to be defining the next wave of “cool kid” coming out of Music City. Writing with highly revered songwriters and artists like Brent Cobb, Hillary Lindsey, Hailey Whitters, Jaren Johnston (The Cadillac Three), Lainey Wilson, and Marcus King, Chapman recently signed his first publishing deal with hit songwriter Hillary Lindsey (Dierks Bentley, Little Big Town, Miranda Lambert) under her new publishing company Hang Your Hat Music, a co-venture between Lindsey and Concord Music.
Produced by Jake Gear (Hailey Whitters, Flatland Calvary) expect Ben’s first release “Hippie Speedball” in August 2021.