Upcoming Events at 3TEN Austin City Limits Live
Wed Nov 23, 8:00 PM - Thu Nov 24, 2:00 AM
3TEN Austin City Limits Live
310 W Willie Nelson Blvd, Ste 1A, Austin, TX 78701
Community: Warehouse District
Description
With Sinclair! It began as an experiment. Music had always been the focus of my short, 17 year old, guitar-playing life in Austin, Texas. I was obsessed with The Beatles, Hendrix, Sinatra, and Sam Cooke. The Blues were my foundation. I hung with a cr
Event Details
With Sinclair!
It began as an experiment.
Music had always been the focus of my short, 17 year old, guitar-playing life in Austin, Texas. I was obsessed with The Beatles, Hendrix, Sinatra, and Sam Cooke. The Blues were my foundation. I hung with a crowd of young musicians who shared my love of the classics. We listened to vinyl. We played in bands.
My safe, little vintage rock world was turned on its head when underground hip hop came knocking at my door. Rappers wanted me to sing hooks on their songs. I never in a million years thought what I did made sense in hip hop. Eminem and Outkast had blown my mind as a kid, but it was still an alien world to me.
As uncomfortable as it was, I jumped in. At first, my bluesy singing made the hooks come across as a sort of "blue-eyed soul" thing. I didn't identify with that. The hooks I loved most had been sampled from old records. They contrasted the beat in a cool way. They felt distorted and fuzzy and their juxtaposition with modern music had an accidental magic.
The experiment was to see if I could convince people that my hook was a sample. I sang more laid back, more like a crooner than a hard-attacking soul singer. I distorted my voice with guitar amps and heavy reverb that created a huge space. The summer I turned 19 I made this slow beat and wrote a hook over it called "Nice and Slow." I used my sampled vocal approach and started sending the song around and playing it for people. The response was always, "Whoa! Where did you sample this from?" At that moment, my sound was born.
By the spring, my songs were gaining some attention. "Nice and Slow" and "White Lies" charted on Hype Machine and a few months later I signed with Atlantic Records. A major-label deal marked a serious second chapter in my creative life. Songs were no longer practice swings. They counted. There were real stakes now. But with a new opportunity in front of me, I dove in head first.
I now had access to collaborators and studios that enabled me to indulge in new sounds. Though I
It began as an experiment.
Music had always been the focus of my short, 17 year old, guitar-playing life in Austin, Texas. I was obsessed with The Beatles, Hendrix, Sinatra, and Sam Cooke. The Blues were my foundation. I hung with a crowd of young musicians who shared my love of the classics. We listened to vinyl. We played in bands.
My safe, little vintage rock world was turned on its head when underground hip hop came knocking at my door. Rappers wanted me to sing hooks on their songs. I never in a million years thought what I did made sense in hip hop. Eminem and Outkast had blown my mind as a kid, but it was still an alien world to me.
As uncomfortable as it was, I jumped in. At first, my bluesy singing made the hooks come across as a sort of "blue-eyed soul" thing. I didn't identify with that. The hooks I loved most had been sampled from old records. They contrasted the beat in a cool way. They felt distorted and fuzzy and their juxtaposition with modern music had an accidental magic.
The experiment was to see if I could convince people that my hook was a sample. I sang more laid back, more like a crooner than a hard-attacking soul singer. I distorted my voice with guitar amps and heavy reverb that created a huge space. The summer I turned 19 I made this slow beat and wrote a hook over it called "Nice and Slow." I used my sampled vocal approach and started sending the song around and playing it for people. The response was always, "Whoa! Where did you sample this from?" At that moment, my sound was born.
By the spring, my songs were gaining some attention. "Nice and Slow" and "White Lies" charted on Hype Machine and a few months later I signed with Atlantic Records. A major-label deal marked a serious second chapter in my creative life. Songs were no longer practice swings. They counted. There were real stakes now. But with a new opportunity in front of me, I dove in head first.
I now had access to collaborators and studios that enabled me to indulge in new sounds. Though I
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