A Conversation with Phillip Phillips – HuffPost 5.20.14
Mike Ragogna: Phillip, the songs on Behind The Light–not exactly a light album–seem deeper or a little more introspective than those of your previous album, The World From The Side Of The Moon. What was the creative process like for this new one?
Phillip Phillips: The title itself, as you said, it’s not as light as the first album, but that’s what makes it special; it’s different and it has its own character to it. In this process, I had a little more time to play with the songs and really learn how they wanted to build themselves up, instead of me just forcing them together. It was a lot of fun because I brought my band in for a couple weeks. I wanted it to feel like a band record instead of just me. The first album feels a little like a band record, but not quite like I wanted it to. I grew up playing with bands because I don’t like being the center of attention. And all the guys who played live with me imbued their character and emotions in the songs instead of me telling them, “Play it like this.” That’s what’s beautiful about music to me, and how this whole album came out was very organic. We did it in about six or seven weeks, and the first one in three weeks, so this one had a little bit more time, but I’d been writing these songs since last summer and I was excited to get them all recorded. It was so much fun. It was still stressful, though, because you want to make everyone happy but also do your own thing. I learned a lot about writing, and writing singles in particular. “Thicket” and “Trigger” have really cool meanings and a cool music sound. But when it came down to focusing on, “What can a single sound like?” it had to be right, and I feel like we did that on this album.
MR: And Greg Wattenberg really helped you hunker down on this project overall?
PP: Absolutely. By the first album, he knew what I wanted, but with this one we had more time to sit with the songs and talk about what to change or tweak. It was just me and him, and we were basically producing and writing it at the same time we were recording it. I’d be writing it in one room, cutting drums in the next room, and singing in another. We had a cool process going, and he knew I wanted it to be more like a band record, and I feel like that’s how portrays itself when you listen to it.
MR: From “Searchlight” through “Open Your Eyes,” it feels like there’s a progression or journey or storyline threading these songs.
PP: Definitely, yeah, and that’s cool you said that. That’s how I want people to hear it. It’s more about the meaning and the emotions of the song. It takes you through all the different emotions of somebody’s life, some of it my own, some of it not. There’s a lot of heartbreak, a lot of personal experiences and sadness, but there’s also a lot of light at the end of the tunnel.
MR: When you were growing up and writing songs, who were your biggest influences?
PP: As I was growing up, it changed so much. When you’re young and pick up a guitar, you’re excited and innocent; you don’t know anything but you want to learn as much as you can. I would listen to AC/DC, Led Zeppelin, Stevie Ray Vaughan, Eric Clapton, Joe Satriani. Then when I really started to write songs, I listened to Damien Rice, Dave Matthews, etc. Then I would go back to a lot of those older acts like Vaughan and Jimi Hendrix, and kind of listen to more of the songs instead of just the guitar. That’s how I’ve learned a lot about writing. No matter how many albums you put out, you still learn a little about writing, every time you write a song. But those are some of the influences, and when I was writing this album I was listening to a lot of Radiohead and Peter Gabriel. You want to listen to different musicians and artists to get inspiration.
MR: Were to evaluate or describe your musical self, would the term, “singer-songwriter” cover it?
PP: I definitely try to sing and I definitely try to write, yes, but again, it’s more about the band in the live shows instead of about me. I have a kind of “jam-oriented” style; I don’t like all the attention, but music itself is such a beautiful thing. The voice is an amazing instrument to listen to, but it’s also nice to hear a cello, guitar or organ solo. Whenever we do a live show we really represent that. Sometimes it’s free jams, off the top of my head, and sometimes it’s something we practice and make it challenging and keep it tight. So I guess I’m a “Jam-oriented singer/songwriter” who’s weird and doesn’t really know what he is.
MR: [laughs] You’ve had a great run so far from your pre-American Idol days to now. What advice can you give new artists?
PP: When I go back home, there’ll be people playing at some of the places I used to play. Before Idol, I would play shows non-stop because that was my income and that was what I loved to do. I loved to travel, too. I say you’ve got to get out there and be who you are, and people will like it. You want a record deal or whatever, but it’s got to be right. You don’t want to get it and then not know what’s going to happen. Know what you want out of your career and out of your own music. You want to represent yourself. You start learning more about yourself every time you play a show. I had a couple years, even before Idol, and I knew; basically it’s the same thing I do now, it’s just a little bit of a bigger scale.
MR: Are you a little shocked at how big a hit “Home”became and how huge your last album was?
PP: Oh yeah. I just got the plaque not too long ago, “Over One Million Albums Sold.” It’s a huge blessing, and I’m so thankful for everybody who’s out there supporting me, especially with the album. I’m more proud of that because it’s a whole piece. I’m not trying to brag or anything, but it’s like an unreal moment, you know? A million albums, dang. I’m so thankful for that.
MR: What would you tell Phillip Phillips right before he went on American Idol? Any advice you’d give that guy?
PP: Just keep doing what you’re doing, but do it a little bit harder.
Transcribed by Emily Fotis