Calling singer/songwriter Brad Mackeson an old soul might sound strange considering he’s a mere 23-years-old, but between a record collection that boasts every title from The Beatles, Bob Dylan and Johnny Cash (all on actual vinyl no less) to the Polaroid camera that swings around his neck to document everything from the studio to the road, it’s certainly a fitting description. Add in the fact that his lyrical chops are well beyond their years, coupled with an alternative folk/Americana flavoring that’s truly timeless, and the troubadour stands in stark contrast to today’s commercial climate.
“Yes, I definitely feel like I have that old soul quality,” he lets out with a laugh. “But it’s not as much in an attraction to the past as it is committing myself to studying older work and discovering what qualities made it resonate back then through today and beyond. I don’t wish I was born the ’60s- I’m glad I’m living now- but I feel outnumbered in the sense that not as many contemporary artists have the same goals I have. First and foremost, I want to make undeniably great work. I’m still growing, but those are the people that I study. I really appreciate full albums and I can’t just think about writing some single. A lot of new music and even movies are obsessed with special effects, but older albums and films didn’t have as many special effects and you had to rely on the story to entertain people. For whatever reason, I’m very compelled to go for things that really matter and have depth, rather than just manipulating a bunch of special effects to make something sound current.”
Instead of writing for radio or industry gatekeepers, the Portland-bred/Nashville-transplanted Mackeson takes a completely DIY approach throughout 1945, though that isn’t to say the self-produced and performed project lacks connectivity. On the contrary, the eleven track collection (split into two sides for optimal sequencing chemistry) makes for an alluring body of work that’s most memorable for its unexpected musical curveballs, coupled with conceptual lyrics that can just as easily be applied to listeners’ lives.
“The title of the album came from the year that World War II ended in Europe, along with a personal tie in to my grandparents,” he explains. “My grandma is English, my grandpa was an American in the air force and they met in London after the war was over. My grandma has always told really interesting stories, like being dive bombed by a German fighter pilot and having her house blown up. As far as my grandpa goes, I didn’t know him. We only met once and he only lived until I was 14. They actually got divorced in the ’60s, so there’s always this mystery surrounding my grandpa that I’m starting to consider. I wrote the song ’1945’ as their story, and as I wrote the rest of the album, some of those themes of romance and mystery started popping up, which I added my own experience to.”
It’s impossible not to be moved by the tender-hearted tale and sense Mackeson’s authenticity at every turn. In fact, 1945 could best be likened to a relationship’s journey that starts with infatuation, takes a turn towards heartbreak and uncertainly, but eventually makes everyone involved stronger than when they started thanks to plenty of
personal soul searching along the way.
“We have a limited amount of time we’re here, and even if your spouse is with you until the day you die, it’s still going to be over at some point,” observes Mackeson. “People write about love so much in music because it’s such a big part of all our lives. And depending on what you’re going through in your relationship, you might end up more like side A or side B.”
Regardless of the thematic centerpieces that are conjured up on the collection, 1945 is tied together through Mackeson’s vintage musical influences like Dylan or John Lennon/Plastic Ono Band, crossed with today’s top retro revivalists like Wilco, Ryan Adams and Beck circa his stripped down Sea Change era.
“I see myself carrying on the tradition of timeless and authentic music into the next generation,” he verifies. “I think guys like Jeff Tweedy, Ryan Adams and even Jack White have done this. All those guys a few years on me, so I see myself as more or less the torch bearer for my generation.”
Need proof as to the relative newcomer’s sincerity? Two years ago Mackeson released his freshman effort Nostalgia, a coming of age affair that was certainly stocked with his songwriting smarts, but because the final product wasn’t up to his ultra-genuine standards, the then 21-year-old pulled the single from radio and allowed the CD to quickly go out of print. Not only is it practically unheard of for an artist to shelve their very own record (a task usually reserved for corporate labels to dictate), but the entire experience made him raise the bar even higher for 1945.
“When I set out to make this album, I committed to making the greatest album I’m capable of and to really go for it,” confirms Mackeson. “I probably wrote about 45 complete songs and lots of bits and pieces in a little more than a year. Not all of them were great songs as it takes a deeper kind of inspiration to write what I would consider a great song, but I was just writing to get better at my craft, which also helped me become a better guitar player…I also had a chance to work with some really well known producers in town. Everybody who heard the demos that I talked to said ’let’s do it,’ but that’s when I realized that I didn’t want to do that. I wanted to live and die by my own thing. Obviously there should be a certain quality to the recording, but you can go on for days about what players, producers and engineers will make an album perfect. I was more concerned about the song saying something emotionally, and even though I’m not the best drummer or piano player in the world, the songs make you feel something and that’s all you can really ask for.”
Several cases in point include the self-assurance anthem “Gonna Be Fine,” the rootsy reflection about changing seasons “Feeling Like America” and a look at conflicted humanity throughout “Late Nights & Gunfights.” “Seein’ Ghosts” is perhaps the project’s best example of taking fans on an emotive voyage, beginning with rumblings of failure and self-doubt that eventually develop into confidence and healing.
“I’m definitely a thinker and I love picking other people’s brains,” relates Mackeson of the qualities that certainly seep into his songwriting. “My ideal day would be to have a beer and chat about whatever, take some Polaroids, go find some records and see a show. If I have it my way, I’ll play 400 shows over the next two years to promote it- that’s how hard I worked at these songs. But hopefully I’ll be making music that people who are looking for something on a deeper level can relate to, and if so, then and everything else will take care of itself.”
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Artist info obtained from public profile, artist website or social media
Calling singer/songwriter Brad Mackeson an old soul might sound strange considering he’s a mere 23-years-old, but between a record collection that boasts every title from The Beatles, Bob Dylan and Johnny Cash (all on actual vinyl no less) to the Polaroid camera that swings around his neck to document everything from the studio to the road, it’s certainly a fitting description. Add in the fact that his lyrical chops are well beyond their years, coupled with an alternative folk/Americana flavoring that’s truly timeless, and the troubadour stands in stark contrast to today’s commercial climate.
“Yes, I definitely feel like I have that old soul quality,” he lets out with a laugh. “But it’s not as much in an attraction to the past as it is committing myself to studying older work and discovering what qualities made it resonate back then through today and beyond. I don’t wish I was born the ’60s- I’m glad I’m living now- but I feel outnumbered in the sense that not as many contemporary artists have the same goals I have. First and foremost, I want to make undeniably great work. I’m still growing, but those are the people that I study. I really appreciate full albums and I can’t just think about writing some single. A lot of new music and even movies are obsessed with special effects, but older albums and films didn’t have as many special effects and you had to rely on the story to entertain people. For whatever reason, I’m very compelled to go for things that really matter and have depth, rather than just manipulating a bunch of special effects to make something sound current.”
Instead of writing for radio or industry gatekeepers, the Portland-bred/Nashville-transplanted Mackeson takes a completely DIY approach throughout 1945, though that isn’t to say the self-produced and performed project lacks connectivity. On the contrary, the eleven track collection (split into two sides for optimal sequencing chemistry) makes for an alluring body of work that’s most memorable for its unexpected musical curveballs, coupled with conceptual lyrics that can just as easily be applied to listeners’ lives.
“The title of the album came from the year that World War II ended in Europe, along with a personal tie in to my grandparents,” he explains. “My grandma is English, my grandpa was an American in the air force and they met in London after the war was over. My grandma has always told really interesting stories, like being dive bombed by a German fighter pilot and having her house blown up. As far as my grandpa goes, I didn’t know him. We only met once and he only lived until I was 14. They actually got divorced in the ’60s, so there’s always this mystery surrounding my grandpa that I’m starting to consider. I wrote the song ’1945’ as their story, and as I wrote the rest of the album, some of those themes of romance and mystery started popping up, which I added my own experience to.”
It’s impossible not to be moved by the tender-hearted tale and sense Mackeson’s authenticity at every turn. In fact, 1945 could best be likened to a relationship’s journey that starts with infatuation, takes a turn towards heartbreak and uncertainly, but eventually makes everyone involved stronger than when they started thanks to plenty of
personal soul searching along the way.
“We have a limited amount of time we’re here, and even if your spouse is with you until the day you die, it’s still going to be over at some point,” observes Mackeson. “People write about love so much in music because it’s such a big part of all our lives. And depending on what you’re going through in your relationship, you might end up more like side A or side B.”
Regardless of the thematic centerpieces that are conjured up on the collection, 1945 is tied together through Mackeson’s vintage musical influences like Dylan or John Lennon/Plastic Ono Band, crossed with today’s top retro revivalists like Wilco, Ryan Adams and Beck circa his stripped down Sea Change era.
“I see myself carrying on the tradition of timeless and authentic music into the next generation,” he verifies. “I think guys like Jeff Tweedy, Ryan Adams and even Jack White have done this. All those guys a few years on me, so I see myself as more or less the torch bearer for my generation.”
Need proof as to the relative newcomer’s sincerity? Two years ago Mackeson released his freshman effort Nostalgia, a coming of age affair that was certainly stocked with his songwriting smarts, but because the final product wasn’t up to his ultra-genuine standards, the then 21-year-old pulled the single from radio and allowed the CD to quickly go out of print. Not only is it practically unheard of for an artist to shelve their very own record (a task usually reserved for corporate labels to dictate), but the entire experience made him raise the bar even higher for 1945.
“When I set out to make this album, I committed to making the greatest album I’m capable of and to really go for it,” confirms Mackeson. “I probably wrote about 45 complete songs and lots of bits and pieces in a little more than a year. Not all of them were great songs as it takes a deeper kind of inspiration to write what I would consider a great song, but I was just writing to get better at my craft, which also helped me become a better guitar player…I also had a chance to work with some really well known producers in town. Everybody who heard the demos that I talked to said ’let’s do it,’ but that’s when I realized that I didn’t want to do that. I wanted to live and die by my own thing. Obviously there should be a certain quality to the recording, but you can go on for days about what players, producers and engineers will make an album perfect. I was more concerned about the song saying something emotionally, and even though I’m not the best drummer or piano player in the world, the songs make you feel something and that’s all you can really ask for.”
Several cases in point include the self-assurance anthem “Gonna Be Fine,” the rootsy reflection about changing seasons “Feeling Like America” and a look at conflicted humanity throughout “Late Nights & Gunfights.” “Seein’ Ghosts” is perhaps the project’s best example of taking fans on an emotive voyage, beginning with rumblings of failure and self-doubt that eventually develop into confidence and healing.
“I’m definitely a thinker and I love picking other people’s brains,” relates Mackeson of the qualities that certainly seep into his songwriting. “My ideal day would be to have a beer and chat about whatever, take some Polaroids, go find some records and see a show. If I have it my way, I’ll play 400 shows over the next two years to promote it- that’s how hard I worked at these songs. But hopefully I’ll be making music that people who are looking for something on a deeper level can relate to, and if so, then and everything else will take care of itself.”
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Artist info obtained from public profile, artist website or social media
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