“Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” – Ferris Bueller
Ferris Bueller was a man of the people–an 80’s pop culture icon created in the era of John Hughes’ brilliance. Ferris’ words continue to find footing thirty years after audiences caught their first glimpse of the vested hero on the big screen. He was right–life does move pretty fast. In our current culture of instagramification it can require some serious effort to slow down, stop multitasking and take a break from all of the Facebook updates and Tweets.
Fortunately, there is a simple solution that often yields positive results–music. Music is that powerful catalyst that forces you to look up from the glow of your iPhone. When the sound of joyful voices melting together into a rich harmony hits your eardrum, you can no longer ignore the goosebumps on the back of your arms and the calming breath in your chest. Music pulls you away from all of the noise. It frees you.
On their third studio album, Old Time Reverie, Mipso serves up just that–freedom. Sitting down with this album transports the listener back to a simpler time, though not one without its own set of obstacles, as evidenced by the album opener “Marianne.” With a happy fiddle playing peek-a-boo throughout the song, one may mistaken “Marianne” for a jovial tune. Lyrics tell a different story, one of the forbidden love of an interracial couple in 1960s North Carolina. Mipso sets the storytelling bar high with “Marianne,” a familiar approach for the band’s album openers–hook the listener from the get go and hold ’em ’til the end.
“Down in the Water” follows with Rodenbough’s timeless, crisp vocals at the forefront. The simplicity and tone of the song feel hymnal, even baptismal at times. However, the beauty of the song emerges in its content and transcends church walls as Rodenbough pleads for a quiet and content mind–a very relatable request. “Eliza,” a lover’s plea laced with three-part harmonies, brings a little folky waltz to the album and is sure to be a live fan favorite.
On “Bad Penny,” Terrell hits the ground running, taking listeners on a wild lyrical goose chase with his ever evolving gift of storytelling. The song’s fiddle line elicits images of a Smoky Mountain family feud, even though the story unfolds in modern-day NYC. It is in playing with these lyrical and musical contradictions that Mipso continues to grow and evolve as a group.
With Sharp on lead vocals, “Momma” tugs at the heartstrings, combining a Simonesque melody with Mipso harmonies and honesty. “Father’s House” highlights the gospel influence that often accompanies Mipso’s bluegrass roots. Here the band uses religious imagery to tackle feelings of isolation and uncertainty in life and death.
“Captain’s Daughter” sets sail on the high seas, telling the story of a lonely seaman who yearns to reunite with his land-bound love, Annabelle. Rodenbough’s fiddle brings in Celtic tones, transporting the listener across the pond to a more rustic land where passion is fierce in both love and trade.
“Stranger,” a more modern love ballad for the group, pumps the brakes while breaking hearts. “Honeybee” picks up the pieces and brings in a bit of sweet springtime sunshine. Terrell convinces listeners that he’s singing from a very personal space, though in his songwriting prowess perhaps he’s just that good.
“Everyone Knows” slithers in with a desperado darkness, fit for a Tarantino flick. Though a bit of a departure for Mipso, it stands tall as the album’s best track. On “Everyone Knows,” Mipso stepped out boldly into the dusty town square, pulled their pistols and walked away unscathed. The only thing missing now is an accompanying video. Jon Kasbe get your camera ready.
The album closes with “4 Train,” a love song set to a steady locomotive cadence. Touching on familiar emotions that accompany love, “4 Train” shines a spotlight on each band member’s talents, book-ending the album perfectly.
Old Time Reverie offers listeners a solid collection of stories, steeped in traditional acoustic instrumentation and tight-knit harmonies at a steady rocking chair pace. With each listen, you may find it easier and easier to pull yourself away from the hustle and bustle and take a moment to really live inside the beauty of a carefully crafted song.
Ironically, the members of Mipso weren’t even born when Ferris first delighted downtown Chicago with his famous renditions of “Danke Schoen” and “Twist and Shout.” Yet, somehow they collectively possess his spirit, charm, and ability to captivate an audience. On Old Time Reverie, Terrell, Sharp, Robinson and Rodenbough further reveal the old souls that live in their youthful vessels–wise beyond their years, much like Mr. Bueller.
Mipso is a four-piece folk/bluegrass band out of Chapel Hill, NC consisting of Joseph Terrell (guitar), Wood Robinson (double bass), Jacob Sharp (mandolin) and Libby Rodenbough (fiddle).
In the 80s, video killed the radio star and music lovers became glued to MTV around the clock. Cable TV and the music video revolutionized how music reached people. Music fans were excited and satisfied, completely naïve to the impact that technology would have on the creation, delivery and live experience of music in the future.
More than three decades later, technology has exploded and changed the face of the music industry on all fronts. Musicians no longer need big record labels to reach the masses — they have social media and YouTube for that. Getting “discovered” can literally happen overnight with viral videos that spread like wildfire across the globe. As Dylan sang, “the times, they are a-changing’.”
Today, fans are bombarded by musical options — band status updates, tweets, live-streaming concerts, crowdfunding campaigns, Instagram concert photos, digital downloads, satellite radio, music apps, wireless headphones and more. The opportunities to connect to music seem endless and ever expanding, which allows fans to pick their poison, but also leaves plenty of room for overload and pitfalls.
The ability to record and mix an album no longer sits in the hands of big name studios as it once did. Home recording studios have popped up across the states as artists gain access to affordable digital audio workstation programs like Avid Pro Tools and Apple GarageBand or Logic Pro X. While engineering an album still requires a trained ear, these tools have opened doors to musicians who may have never dreamed of the chance to lay down tracks.
Ask independent touring musicians about income and they will likely tell you they are broke — this is no lie. After gas, hotels, meals, and bills, there is little left for recording costs. Without backing from a label, recording an album in today’s climate often requires the support of fans. This is where crowdfunding comes in handy. Online platforms like Kickstarter, Indiegogo, and PledgeMusic have changed the way musicians raise money to support their craft. Successful campaigns from artists like Langhorne Slim, Joe Fletcher and Holy Ghost Tent Revival have turned out solid albums that may have otherwise never been created. This virtual tip jar allows fans to be a part of the process, and in return receive “prizes” that are often handmade by the artists themselves.
For some, smartphone technology has ruined the live music experience. Watching an entire concert through the bright screen of someone’s iPhone or tablet is certainly not ideal and can create frustration among concert-goers. This frustration can also be felt by the musician, who can look out into a sea of phones, rather than faces, often creating a disconnect.
On the flip side, jam band Umphrey’s McGee has chosen a different approach to use technology to increase engagement and unity among its fans. At selective shows, including the band’s annual UMBowl, fans are asked to live tweet song requests and improv ideas to the band or vote for specific songs to guide the set list.
“It’s really fun and the fans just went nuts for it,” band member Joel Cummins said. “It’s a really great experience to be creative with the fan base and come up with new things … it turns improv on its head and treats it like composition. Over the course of three years, we’ve come up with nine to 10 new songs from it.”
Surprisingly, Cummins and the band have found that the live tweeting and voting have not distracted from the show itself.
“I don’t see (overuse of phones) as much of a problem at our shows,” Cummins said. “We aren’t big stars. (The fans) are there in the moment, for the music. People aren’t into us as people. They are more into us as a group, so if they want to take a picture that is fine with me. You really have to pay attention (at our shows). It’s not going to be the same thing every night.”
Umphrey’s McGee also offers a selective number of wireless headphone packs at most shows, allowing fans to experience the concert through the soundboard, just as the band does through ear monitors. Currently they have 40-50 packs that fans can rent for $40, which also includes a digital download of the evening’s performance. What started as an idea to bring fans a unique listening experience, has grown into more than the band could have ever expected — spawning new friendships and headphone sharing.
“Our biggest fear was that it would create a strange social stigma at shows, but the opposite has happened,” Cummins said. “It brings out people’s curiosity and most of our fans are nice, intelligent people. They want to accommodate and spread the word about the goodness of this. We’ve had about five to 10 negative comments and 500 positive comments — that it is a game changer.”
Social media has done wonders for the independent musician, not only through spreading information and new music, but also through networking and tour planning. Many smaller music venues now handle booking through Facebook, and keep patrons informed by creating event pages. Websites like Bandsintown and Artistdata can be linked to Facebook and Twitter by musicians, keeping fans informed of nearby shows.
However, the amount of accessible music may be nearing a threshold. Wood Robinson, bassist for the Chapel Hill-based group Mipso, has observed a shift in music accessibility on the internet and thinks that musicians need to use these resources wisely in order to be successful.
“The webs are all but saturated with music of all kinds and of all aesthetics and all abilities,” Robinson said. “It gives a little more of an even platform for everyone, but it also means that the listener has to plow through a lot to find that yet-to-be-discovered group that they’re going to fall in love with. It’s like taking all the fruit trees in the world and putting them in one grove. All those fruits are a lot more reachable, but so are the fruits that you don’t want to eat.
“I think that the biggest thing for artists is to figure out how to use that accessibility to their advantage. The constant connectivity is great but not if used poorly. Reverbnation has a lot of great tools for unsigned artists, but a ‘like’ doesn’t necessarily translate to a butt in a seat at a concert. It can be a good proxy for estimating growth, but it isn’t the end-all-be-all for measuring success.”
Music delivery through websites like Pandora and Spotify has also drastically increased mobile accessibility to music, while also somewhat stealing from the mouths of artists. This conundrum equates to the proverbial double-edged sword. While fans can listen to any type of music they want for free or a small monthly fee and it gives the artist exposure, in the end most artists literally earn pennies for the web-play their songs receive.
This drastic decrease in pay-out is also evident when fans choose to purchase a digital download over a physical copy of an album. Local musician Rebekah Todd has concerns about the impact technology has on not only the livelihood of the artist, but also how people are connecting to music today.
“Things have changed dramatically with the digital age and the introduction of things like Rhapsody, Spotify, iTunes, Amazon and so many more,” Todd said. “The act of obtaining music has been cheapened. Thirty years ago, you had to walk into a record store and thumb through physical copies of albums. You picked the album up and you examined its artwork. You might have even read about who played on the album and where it was recorded. Today, we don’t have to have any physical contact to have a song delivered to us immediately.
“Not only have digital sites stolen the personal act of buying music from us, it has stolen a large portion of how musicians make their living. What people don’t realize is that musicians make a fraction of a penny for every time that their song is listened to, digitally, as opposed to the days when people had to spend at least an entire dollar on a song that a musician poured their soul into for months on end.
“I believe that music is not something you hear. It is something that you feel. If you aren’t feeling music, you might as well stop listening. To fully experience music, you have to stand in a room with someone who has written a song about the highest and lowest points of their life and you have to meet that person in their song — in their experience. That is where the connection is made. It isn’t made on an iPod. It isn’t made on XM radio. It is made at the live performance. I fear that a large percentage of the kids being raised today have never even been to a live show. They have never felt the bass pumping so loudly that they can feel it in their chest. They’ve never seen someone pour out all of their emotion with every bead of sweat that lands on the stage.”
Over the past decade, vinyl has made a significant comeback, giving listeners a higher quality recording when compared to a digital MP3 file. According to Pitchfork, 2013 vinyl sales topped out at 6.1 million units in the US alone. While this still only accounts for two percent of all album sales, it represents a 33% increase in vinyl sales from 2012.
To stay up with the times, most newly-pressed vinyl comes with a digital download code for those who want the experience of spinning a record, while also being able to take the music on the go. For audiophiles this is the best of both worlds.
Independent record stores, like Greenville’s East Coast Music and Video, have had to adapt to the digital world in order to survive. Store owner, Jon Hughes’ has gladly embraced the new demand for vinyl by stocking his store with new and used records, in addition to CDs, offering music lovers a wide array of options while trying to stay current.
“I think the resurgence in vinyl interest is awesome,” Hughes said. “The fact that vinyl sales are up throughout the world’s retail markets is evidence that people are starting to come full circle when it comes to listening and buying music. A lot of people have become slaves to their gadgets over the years and they have lost touch with the pure enjoyment of owning and collecting physical pieces of music. Many folks in the younger generations do not know what it’s like to really want their favorite band’s new album and having to wait for it to come out. They’ve never experienced the genuine excitement of going to their local record store and finally getting their hands on it for the first time.
“Opening up the record, admiring the artwork and photographs, reading the liner notes and song lyrics while listening to a beautiful piece of vinyl can be a surreal experience on many levels. A band’s music should be more than just background noise to fill the room while you’re scanning the internet. Let’s face it, music is art and it should be enjoyed that way. MP3s are flat pieces of digital noise but, vinyl records have warmth, depth, texture and soul. Nothing sounds better than analog and I believe more people are reconnecting with that fact.”
The increase in demand for current bands to release vinyl versions of albums comes with a disclaimer — fans must be patient. Currently, there are only about a dozen pressing plants in the US, which means turnaround time has gone from about four weeks to three months. Perhaps vinyl’s comeback will offset the need for instant gratification that comes with immediate downloads or streaming, and bring music lovers back to a time when great music was worth the wait.
The Chapel Hill-based bluegrass band Mipso spent some quality time last Summer touring through Japan, getting immersed in the Japanese culture and growing bluegrass movement. University of North Carolina alum and award-winning film maker Jon Kasbe traveled to Japan with the trio to capture their experience and share it with the world. The result below is a strikingly beautiful documentary that highlights the unharnessed power of the universal language of music.
“On a journey that blurs the cultural divide between East and West, three young musicians travel across the world to discover that the twang of the banjo needs no translation. While performing at a bluegrass festival, jamming with fiddle virtuosos, and touring by bullet train, the band finds that the traditions rooted in their home state have far-reaching branches.”
On a beautiful day in May, band mates Wood Robinson, Jacob Sharp, and Joseph Terrell tossed their mortarboards up into the Carolina blue sky and rejoiced in the finality of their collegiate journeys. With degrees in hand, this Chapel Hill-based trio known as Mipso, threw all thoughts of conventional careers out the window and collectively vowed to make the band their top priority. It was time to put the music first and bring the sound of Mipso to the people of North Carolina and beyond. Their first stop—the recording studio.
On the band’s second LP, “Dark Holler Pop,” Robinson (double bass), Sharp (mandolin) and Terrell (guitar), adopted a more collaborative approach to songwriting. With producer Andrew Marlin, of Mandolin Orange fame, behind the soundboard, the band was able to sit back, learn, and let the songs evolve organically in the studio. The album’s folk-bluegrass sound was further rounded out by industry greats like Marlin, Emily Frantz, Phil Cook, Chandler Holt, John Teer, Bobby Britt, and Chris Roszell.
Released last month, the 11-track album debuted at #8 on Billboard’s Bluegrass Albums chart. Collectively, “Dark Holler Pop” is North Carolina through and through, featuring Mipso’s blended interpretation of Appalachian music with strong three-part harmonies and traditional instrumentation. While banjo rolls and a punchy mandolin lend the album a fuller bluegrass sound, the sweet whine of the fiddle really shines as it meanders seamlessly from track to track.
The album opens with “A Couple Acres Greener,” a rousing steam-engine paced tune filled with tales of right and wrong turns on life’s path. Terrell sings of jumping the church pews and celebrating his sins, all while wondering how he will leave the world behind when he’s gone. The fiddle intro and harmonies on “Tried Too Hard” lift the self-doubting lyrics, “Maybe I tried too hard/Maybe I was born to fail/Maybe all I’ve done is pave the path to hell.”
“Louise” stands out as one of the best tracks on the album. Lyrics tell a love story through car metaphors, an authentic approach by this group of young men. What better way to describe the bumpy road of love than by comparing it to an old beat up car? Another gem is “When I’m Gone,” a beautiful hymnal ballad laced with delicate guitar picking and a church-worthy chorus.
Mipso slows things down with “Rocking Chair Blues,” evoking images of an old man pondering his life on the front porch of a creek-side cabin. Songs like this reveal the old soul that is at the epicenter of Mipso. These musicians have somehow gained the perspective of a seasoned sage somewhere along the paths of their relatively short lives. Thus, it is not surprising that themes of mortality and decades of hardship find their way onto many of the album’s tracks.
Throughout “Dark Holler Pop” musical influences emerge, without feeling forged. On “Red Eye to Raleigh” hints of Paul Simon’s reveal themselves as Terrell sings of love lost, while “Border Tonight” feels almost like a trip down to Jimmy Buffet’s Margaritaville in Key West. The album’s first single, “Carolina Calling,” feels like an updated, upbeat version of James Taylor’s “Carolina on my Mind.”
The album closes with “Do You Want Me,” which is the first to feature a flirty piano arrangement. Supported by their trademark tight harmonies, Mipso sings of love’s most brutal insecurities, as the song transitions from a polished studio sound to what sounds like a raw live recording.
Overall, “Dark Holler Pop” further solidifies Mipso’s place in modern folk and bluegrass genres. Their decision to work with Marlin and elevate their songwriting makes this album a big success and one that will certainly get ample radio play. With lyrics heavily weighted towards the trials of love and life, it will be interesting to see how touring and life on the road will shape Mipso’s songwriting for their next installment. Until then, “Dark Holler Pop” will keep on spinning.
Sometimes first impressions are meant to be thrown out the window. This is because, in fact, impressions aren’t formed in a vacuum. Rather, they are often influenced by external and internal factors–weather, mood, people around you, time of year, personal conflicts, perceived reality–the list is endless.
The first time I saw Mipso (then Mipso Trio) perform was at their sold-out show at Cat’s Cradle last year–a Carrboro music staple on the outskirts of the pristine campus of UNC-Chapel Hill where band members, Jacob Sharp, Wood Robinson, and Joseph Terrell studied. Life was good, they were making music together, and they had sold-out one of the area’s most recognized venues. To top it off, Mipso was being supported by some of the state’s best songwriters that night, openers Jim Avett and The Overmountain Men. What more could these young, talented men ask for?
Onstage they appeared starstruck and in awe that so many people came out to see them–as they were still in their infancy as a band–but they proved to have some veteran tendencies. Their harmonies were tight, crisp, and clear. They smiled out into the bright lights beaming back at them, and had a natural stage presence. When David Childers joined them on stage, they appeared humbled and honored. Whatever kinks were worked out on stage were hardly, if at all, noticeable to the audience, because of well, the audience. Here is where first impressions get influenced if we aren’t careful. Drunk college co-eds who would rather be seen and heard than to listen to well-crafted music were wall to wall that night. They were successful in putting a blemish on my first impression of Mipso. It was sort of that ‘guilt by association’ rule. If this audience was made up mainly by friends of the band, well how serious were they about making a mark on the North Carolina music scene and beyond? I left disappointed, but thankfully not completely despaired.
You see, occasionally I forget that there was a time when I was not a polite concert-goer–when I, too, was a drunk co-ed. So, with that in the forefront of my mind, I set out to form a new first impression of Mipso, one based on the important elements of a band–the music and the people. I caught up with Sharp, Robinson, and Terrell last month at Peasant’s Pub in Greenville, NC for a little chat about the past year, growing as a band, songwriting, recording their upcoming second LP, and surprisingly, the bluegrass movement in Japan.
As we nestled into our seats on the patio, I quickly learned that these young men possess a depth and maturity that is rarely found in recent college graduates. Sharp, on vocals and mandolin, picked up the instrument in the eighth grade off a bet with his Dad. “I picked it up and hit it with various things, but don’t think I really started playing it until I was sixteen or seventeen,” Sharp recalled. Robinson, on stand-up bass, has been playing music in some capacity since he was three or four years old. With a strong foundation in jazz theory, he picked up the electric bass in 8th grade and transitioned to the stand-up by the time he was mid-way through high school (June 22nd to be exact–he joked). Terrell, on guitar and vocals, learned to pick from his grandmother while in middle school, and started playing in bands and taking his craft seriously by age sixteen.
Collectively, they each bring a different type of songwriting prowess to the table. On their first full album, Long, Long Gone, Terrell was the primary songwriter, but the responsibility has shifted on their upcoming untitled album as Sharp and Robinson throw a few songs into the mix.
“I think [the melody and lyrics] inform each other. I don’t often have lyrics sitting around. Often times I have a lyrical idea with a melody. They tend to come together. Some songs come quickly and then I’ve got a notebook that’s got some stuff that’s half-finished and they will be half-finished for six months. It’s a labor of love that you always have to pay attention to because you never know which idea will fit,” shared Terrell.
If songwriting for Mipso were to be compared to the Deadliest Catch, Robinson would be the eager greenhorn of the band. He casually admitted, “I’m learning how to song write. Being involved with [Sharp and Terrell], who are very much more accomplished and better songwriters than I am, they have taught me that the role of the songwriter is to communicate an emotion that would make the listener think that [he/she] already thought of that, or think, ‘that’s me’. I’m learning that the purpose of the song is to communicate to the listener, not to express necessarily something that is intensely personal. You want another person to relate it it…A song that I am in the process of writing right now is a direct response to a song by Dawes called A Little Bit of Everything. It’s an incredible song, and it really had quite a profound effect on me. It’s been surfacing for a while now.”
Terrell added, “It’s funny, I’m not interested in strictly personal writing. I think of it more as a challenge to tell a cool story, and I like to do that. There’s a big difference between the way Jacob and I write. Jacob writes more personally, I think it’s fair to say. It’s cool to have that mixture and that variety. Wood is more of a mixture of the two.”
It is obvious that this next album will be more of a collaborative effort among the band. This approach not only challenges them personally, but also pushes them to learn how to work together to produce a sound that is ultimately unique–a sound that is Mipso.
“I think with collaborative writing, someone brings an idea and you flush it out together. Or sometimes Joe or myself will bring a finished song that doesn’t need too much beyond working out the parts. But we are still learning how to write together,” said Sharp.
Terrell added, “One thing we’ve learned is that the song that’s on the page–the lyrics and the music–is not the whole picture. What we do together is the biggest picture of what makes the song sound like a Mipso song–the harmony that Jake picks out and the baseline in particular, because Wood is not a bluegrass bassist. He really has a cool jazz background.”
While Mipso wouldn’t categorize themselves as a strictly bluegrass band, they certainly pull inspiration from the traditional genre, and do so with the utmost respect.
“So, bluegrass players are really good, like virtuosos. There is a distinct level of virtuosity in that genre of music that would not be fair to claim as our own,” pointed out Robinson.
“I think we are influenced and inspired by bluegrass. So I think we are bluegrassy in the same way we are folksy,” added Sharp.
When you sit down to listen to Mipso’s previous work, it is clear that their influences run the spectrum, from Paul Simon to Doc Watson. As they continue to define their own signature sound, much of that fine tuning has been taking place in the recording studio. On their upcoming album, they are working with producer Andrew Marlin at the Rubber Room Studio in Chapel Hill. Marlin, who is best known as half of folk-bluegrass duo Mandolin Orange, has signed on to guide the recording process. With Marlin behind the boards, Mipso has gained a mighty mentor who is proficient in all areas of production.
“Working with [Marlin] has been really enlightening,” said Sharp. “It’s almost like we have an apprenticeship, because he’s a great friend but also one of our favorite, most respected musicians, and really talented songwriter, and mandolin and guitar player. So everyday we went in and learned something new individually, but we also saw a different side or perspective in the recording and writing process.”
“It’s very cool to have an external source, to have a very deliberate and apparent hand in the process of writing these songs. We bring these songs with an idea of where we are going with them, and having another person outside of the band say, ‘Hey, this should be slowed down a bit. Maybe it could use a little snare in it.’ Is amazing how those little things can bring out the character of the song in such a beautiful way,” said Robinson.
Also joining the guys in the studio will be their fourth band member, fiddler and singer Libby Rodenbough. When Mipso first started two and a half years ago, they were known as Mipso Trio–catchy right? About a year ago, they decided to drop the ‘Trio’ which happened to fall in line with the addition of Libby. Libby had already contributed to all recordings, so it seemed like a logical move.
“We’ve always felt like she added a lot,” Terrell shared. “We formed the band when she was taking a year off school, and she actually collaborated remotely from Chicago on the six song EP that we put out. We wanted to shorten the [band] name anyway, and that coincided with Libby joining so it made a lot of sense. She’s still going to be in school next year, so she’s going to be playing with us, but there will be lots of shows where she won’t be playing with us. So, we are a three-piece with a close musical collaborator.”
Sharp added, “Libby has taught us a lot about how we can benefit from having a fourth piece. As we grew more comfortable in playing with her and also recognizing it was a consistent thing, it was fun to start writing for a fourth piece, but it’s nice to know that we can still be a pretty tight three-piece.”
So what can fans expect from their upcoming second LP, slated to be released in late October/early November? Based on the album’s first single, Carolina Calling, themes of state pride and family roots rise to the surface. However, the band shared that thematically the album will expand from the epicenter that is the only home they’ve ever known–North Carolina.
“I started thinking about graduating in November [’12]. I’m used to this place–North Carolina and Chapel Hill–but it would be cool to capture what this place is to me and all of us at this moment in time. I took the project on of writing the song that I felt was the senior spring song. It’s Chapel Hill-centric, but also about North Carolina. There’s something special about being in North Carolina that you don’t get in other places. That’s the idea I had [for the song],” explained Terrell.
In terms of the feel of the entire album, they believe that it will have an elevated sound–even more ‘Mipso’ than before.
“I think we’ve grown into our shoes a little more since the first album. I think it’s easier than on the first album for people to say, ‘Oh that’s kind of a bluegrass song.’ Now they sound more like Mipso songs,” Terrell proudly stated.
Sharp added, “It’s better blended.”
“You can see very direct themes in the last album–home, leaving home, coming back home, loves and lost loves, and certain other things–but it is kind of cool to be pushing our comfort zone for thematic writing [on our new album],” added Robinson.
While quality songwriting and recording are necessities for any band to be successful, so too is becoming integrated into a local music scene. Luckily, the North Carolina music scene is welcoming, even as it busts at the seams with talent. While Mipso carves away a place in the music scene, the band also pulls inspiration from those who have paved the way.
“It’s so important to be a part of a music scene, and North Carolina music scene is awesome. Two of my favorite bands are Chatham County Line and Mandolin Orange. They are awesome and right around the corner from us,” said Terrell.
Sharp chimed in, “Also, Andrew [Marlin] embodies the Carrboro music scene and is definitely at the top of it. He’s just always out playing. Whenever he’s not on tour, he’s anywhere where there’s music–always has his guitar and jamming with someone in a variety of styles, and he can play for like five hours straight if he wants. He’s never happier than when he’s performing. If it’s like one person in a bar or a packed Cat’s Cradle, he doesn’t care. That’s his craft and where he finds his joy. So that for me–it’s not just about practicing in a room or playing a big show–it’s about playing all of the time.”
In addition to their local music scene, Mipso is making a concerted effort to establish roots first throughout North Carolina, and then beyond. Since graduation in May, the band has been able to look forward with a new sense of direction and intent.
“For us it’s exciting because this whole year will be very focused and intentional. It was always something we just did on Fridays and Saturdays. It’s cool that it feels much more embodied and fully a part of our lives,” explained Terrell.
“As far as getting further afloat from North Carolina, it’s really a big goal of ours to first be really rooted here, to cover the state pretty thoroughly, because we keep learning about all of these cool communities. So, it’s fun for us to explore. Lots of them are places we’ve been as kids or something but never knew there’s this great music scene. That’s really exciting for us, and it also makes more sense to move out in smaller circles and just keep widening the radius,” added Sharp.
Robinson rounded it off, “It’s really cool to ground yourself as a North Carolina band by making sure that everyone in North Carolina–well not everyone–hopefully has a chance to hear you. We are really proud to be from this state, so we might as well make other people proud, too.”
Establishing their musical roots in North Carolina means playing local venues–anywhere from general stores to house show living rooms.
On the subject of house shows, which seem to be a very popular option among smaller indie acts, Sharp explained the appeal, “We’re seeing a much wider variety of venues and shows now, and it’s fun because you learn how with each one you have to tackle it a bit differently. House shows are especially cool because you’re taking this place and changing the space that it’s creating. It’s especially cool to watch people see how their living room turns into a venue. It’s a different type of community that comes to a house concert.”
Terrell added, “You’re pretty much guaranteed to talk to people a little bit more personally, play a little bit more intimately. Might happen at other shows too, but at a house show it’s kind of like what you expect, which is pretty sweet.”
Mipso plays a Charlotte house show, sponsored by Common Chord Concerts, this Friday (7/12), and has plans to continue touring throughout North Carolina, West Virginia, Tennessee, and Connecticut. When I asked them if they had plans to tour out West, I was quite surprised by their response.
“Well we’ve got an idea about going East,” said Terrell with a laugh. I was perplexed. Out East?
“We are going to Japan and China in August. We are doing fourteen days in Japan. Last Summer I was in Japan. I wrote my honor’s thesis on the geography of music and it was about how bluegrass spread into Japan, specifically. So, I spent all Summer in Japan doing research, and just really listening to people who have for a long time been listening, and just gathered their world histories,” explained Sharp. “I was there for eight weeks and played a couple of concerts. More importantly I was seeing concerts and many festivals so we have strong ties to this small community of bluegrass musicians and bands who have an incredibly rich tradition of playing since WWII. So, we kind of just plugged into that network. We are playing the Takarazuka Bluegrass Festival. It is in its forty-third year. It’s a four-day festival, with about one hundred people. It looks like we will be playing five concerts outside of that, four of which are paired with Japanese bands.”
Mipso certainly has an exciting tail-end of the year ahead, including an overseas tour and putting the finishing touches on their second LP. Despite their steady growth as a band, Sharp, Robinson, and Terrell know that they still have mountains to climb, and they are very comfortable with that. Mipso doesn’t seem to carry the sense of urgency that would be expected from a group of recent graduates. They all possess a realistic level of patience that seems to be lacking in our world of instant gratification–which in itself is quite gratifying. As they move forward together, they pay special attention to the lessons put forth by their mentors, including one of North Carolina’s favorites, David Holt.
As the interview came to a close, Terrell shared a bit of the wisdom that has been imparted on him by Holt. “The other night I thought a little bit about this, but hearing it from [David] meant a lot. He said, ‘You guys have some really cool songs. I want to hear about why you wrote them–what the story is about.’ It reinforced to me that people want to hear the songs, but they also want to get to know you on stage, and the space between the songs is really important, too.”
That evening those at Peasant’s Pub were treated to an excellent two-set show. They were engaging and filled space between the songs with witty banter that held the audience’s attention. This time around I was able to appreciate Mipso’s set from a better vantage point. On stage, their awestruck quality was replaced by an ease, as they appeared much more comfortable and at home in their songs. The songwriting had matured, which was evident in the new songs they played. They even threw in a crowd-pleasing cover of Michael Jackson’s Billie Jean, which showed not only their sense of humor, but also their ability to cross genres and make a throwback song their own.
I was pleased to leave that evening with a new, shiny and fair impression of the band and their music. Mipso is moving in the right direction, at a smart and steady pace that exudes a quiet confidence. Armed with patience, talent, and big dreams, these young men will continue to gain fans as they travel the globe and share their songs and stories.