Hello, Nathan. “Drunk Dial Baby” turns a late-night text into a groove—what sparked the idea for that concept?
It came from a real place that morphed into this other character’s story completely. The lyrics started with songwriting partner Candace Crockett after one of those moments most people have had… texting somebody you’re getting mixed signals from and immediately wishing you could take it back. She joked about having a “Moscow Mule mouth,” and later that turned into line “moonshine mouth” which planted the seed of the song. It takes those moments everyone knows and turns it into something cheeky and fun. It’s really a situationship story that’s relatable…somebody kind of wants you but not enough to fully choose you. You know, typical modern dating…maybe it’s about settling and making the best of it. It took a couple months before the original situation expressed itself as this song.
How did you balance the humor and heartbreak in the lyrics without losing either side?
It came kind of naturally as the lyrics evolved but it also just reflects a real moment people hit, where you’re in something that kind of hurts, and instead of falling apart, you catch yourself almost laughing at it. Not because it’s funny, but because there’s a level of self-awareness that creeps in. You realize you’re not just a victim of the situation…you’re also choosing it on some level. And that’s where the tension comes from. It’s like, “this kind of sucks… but I’m also still here, so what does that say about me?” That’s where humor and heartbreak meet. The humor keeps it from turning into a pity party, and the heartbreak keeps it real. It’s that in-between space where you’re aware enough to see the irony, but not enough to walk away.
This track leans more funk and soul than your usual blues rock sound—what led to that shift?
The lyrics came first, but they already had a certain swagger to them. When Candace brought the song, the idea was always that it should feel upbeat, fun, and a little cheeky. I really like the fact that the groove is confident and moving, but underneath it the character knows he’s not really being chosen. We also knew we wanted at least one fun bar song on the album, so we leaned into that. Sonically we were thinking somewhere between Gary Clark Jr.’s groove and Marcus King’s bluesy funk. Once we got into the studio the band really ran with that idea, and bringing D’Vibes in on keys really took it farther into blues funk.
What did Jerry Paswaters’ bass and Dylan Halacy’s drums bring to the feel of the song in the studio?
After touring together for years, we have become tight as a live band. It’s great working with them in the studio because we are so familiar with each other. The rhythm track was cut live, and I think they brought the tightness and spontaneity that we bring in our live performances.
After touring with Taj Farrant for three years, how has that experience shaped this new chapter for the band?
I have always been most passionate about my own music. Backing someone is a great experience. It adds another perspective and creates opportunities to learn and grow. It’s exciting to take those things I learned and be able to apply them and push my music further.
Photo Credit: Nathan Bryce and Loaded Dice.