Interview: Trevor Hall
Raised on an island in South Carolina, singer/songwriter Trevor Hall realized at a young age that music was more than just a passion — it was his life’s art. At 16, he recorded his first album. Shortly thereafter, Hall left South Carolina for Idyllwild Arts Academy in California where he studied classical guitar and was introduced to the practices of yoga and meditation, which would greatly influence his life and his music. His latest album, Trevor Hall and The Great Inbetween, will be released Friday, September 15.
Before heading to Asheville for his show at the Salvage Station on Sunday, July 9, Hall spoke with longtime fan Julia Quigley for Asheville Stages about the evolution of his music, the best venues to play, and why Asheville holds such a special place in his heart.
Julia Quigley: I want to start out by saying, welcome back! Over the years you’ve played at The Grey Eagle, The Orange Peel, and New Belgium, but you’re returning to the Salvage Station. Is there a certain type of venue or vibe where you feel more connected with your audience?
Trevor Hall: I think it really depends on the show. You could be playing a smaller room like The Grey Eagle and be closer to people but not feel the connection because maybe the crowd is feeling some way or you’re some way and it doesn’t all line up. But then, you know, you could be at a bigger place where perhaps you don’t see the details of the people, but then it could just be the opposite and you could just feel the energy being fluid between you and the audience. I think there’s just a lot of things that have to come together to make that feeling of connection the best it can be. So it’s hard to say.
I really do love every venue I’ve played in Asheville. Salvage Station is just amazing on the river. It’s just such an amazing layout and everyone is so kind and we’ve really enjoyed playing there over the years. But I also love The Grey Eagle. I love playing the smaller room and kind of being tight with everybody. All the different elements just have to come together to make you feel that connection. You could be on the best stage in the world and not feel connected. It’s more of an internal thing, I think.
JQ: Since having a family of your own, you’ve talked about the inspiration that comes from your son. I’ve been at a few concerts where your own dad has been known to make a special appearance. Can we expect him to pop up on this tour this time around?
TH: You know, it just depends on if he’s around and if he gets through security. [laughs] I grew up in South Carolina, so whenever I’m touring in the southeast he tries his best to come to the shows. It’s always just such a pleasure and treat to have him there. You know, in Asheville he does often make it [to the shows] because he really does love the town and seeing me up there. So, who knows? We’ll see if he makes an appearance or not.
JQ: I remember being at The Grey Eagle last time I saw you and he was taking photos with some of the fans who were waiting to see you.
TH: [Laughs] Oh my god. Yeah, he’s more of a rock star than me!
JQ: Transitioning a little bit, you have your album Trevor Hall and the Great In Between coming out soon. I was just doing the math and realized this is your 10th album, not including singles and live albums in between. How would you say your approach to making your music has changed from your first album, Lace Up Your Shoes, to this most recent album?
TH: The biggest thing that comes to mind is that, in my early years, I didn’t really know about recording. I didn’t know about the programs and the tools and all these things you need to record a record. I didn’t really have a great understanding of the process yet and I was being guided by a producer or other musicians.
As time’s gone on, just from working with different people, I’ve picked up a few bits of knowledge. Like, I’ve learned whatever this mic does or how to record a demo on my own. And then I started learning about different programs and different tricks. That made me want to do more recording on my own. So I started getting a little more control over the process and not having to rely on different people to bring my vision to life.
I feel like I have a greater sense of independence now. For example, this record is the first I’ve self-produced in its entirety. I recorded at home, on my own and I’m really proud of that. After all these years and having all these types of situations, to finally have the gift to record in my own home and to have at least a little bit of confidence to go, “I think I can do this on my own.”
That was one of the big parts of this record. Even if it was long or bad, I just needed to go through this process on my own in this season of my creative journey. Obviously, I want to work with so many more people, but at this point I knew that I needed to just feel it out for myself. So, I would say I feel a greater sense of freedom and independence just being able to create things on my own and not having to rely on external forces.
JQ: Your last album was titled In and Through the Body, and this one is titled Trevor Hall and the Great In Between. How do you go about choosing the name of your albums? Does where you are in your life or creative journey play into how you pick a title?
TH: Yeah, of course. The music’s coming through you at that time and season of your life. But I don’t typically select the name or even think about the album as a whole when I’m recording. I try to just, you know, lay down whatever comes through. Sometimes you have lots of different demos, lots of different ideas, lots of different songs. Not all of them make it to the final thing, but they’re all a part of that journey to get there. It’s not until I have a bunch of songs that come together, and once that happens, that’s when it kind of presents itself to me. Like, the songs themselves present to me. It’s kind of more at the end of the process for me.
I feel like some folks obviously have a specific idea of where they want to go and what album they want to make, which I do too at certain points. However, I really do like to let the music create the theme and the title. All of that just kind of comes later after the songs have presented themselves to me.
JQ: You mentioned you want to work with other people later down the line. You’ve had some great singles with artists like Gone Gone Beyond and The Hip Abduction, so how does working collaboratively with those musicians inspire your approach to this most recent album?
TH: Working with any artist or producer — even if what you’re working on doesn’t see the light of day — you learn something. Even if it’s a long process, you still learn so much about music and collaboration. So, it’s almost like we all share bits of ourselves with everyone, and we’re all made up of the inspirations we’ve had in the past. We share that when we come to the table to make music.
Luckily, I’ve been able to work with a lot of great people. Working with friends is always wonderful and always such a process of growth. Every time you think you have a handle on it or kind of understand the process, it always surprises you. It teaches me to stay open no matter what and challenge my own ideas of how it should be or how it’ll turn out. I think that’s really, really healthy for any artist.
JQ: Being a creative person, it’s often hard to always be creative. There’s often that pressure to always be writing or producing. Is there an activity you turn to in order to spark your creativity again when you’re songwriting? I know you have a recurring theme of nature in your work and you live in Colorado, so are there any outdoor activities you like to do that help light that spark?
TH: I feel like it’s not up to me most of the time. I feel like you could be in the most gorgeous place outside, but nothing musically comes through. I mean, obviously those experiences are planted in your heart and influence your being and who you are as a person which influences your music. But you could be in a stale hotel room and have all this inspiration. It has its own power, I think. It speaks when it wants to and you can’t force it to come out. I mean, you can try, but every time I try, it always comes out sounding like crap. [laughs].
So, for me, it’s just a process of trying to stay out of my own head and try to get to some type of intuitive place in myself. I’ve tried certain things, but what I’ve learned is that I don’t know when it’s going to speak to me, but I can at least work my muscle. For example, on this record I was always going into the studio, even if I was just messing around for the whole day. The wind is always flowing and you’ve got to lift the sail. So, I always try to lift that sail just by picking up an instrument and messing around.
Sometimes, something magical comes through and sometimes you feel like you don’t get anywhere, but I feel like you always kind of get somewhere. I think it’s just about turning your gaze in that direction and just waiting. Again, it’s kind of like a lot of different elements come together and I just try to do my little part.
JQ: That’s awesome. I’m a graphic designer and painter myself, so just hearing that advice from you to not force things is really great for any creative that just wants to constantly be doing something. Just let life guide you. That’s really beautiful.
TH: Yeah, it’s not just about your art. I try to apply that to my day-to-day life. However, I’m often so bad at it in my day-to-day life, so that’s why music is so special to me because it’s such a healing modality to help me get out of my reasoning mind or over-thinking mind. It takes me to that more intuitive place and that’s why it’s such a gift for me. So, you know, you can’t be too hard on yourself all the time. It just is what it is.
JQ: I’ve been listening to your albums since I was 10 years old, and something I’ve always enjoyed is that I can track my own personal growth through your work and I know you can track a sort of growth yourself. What is it about coming back to Asheville and wanting to share your message with the people and this city?
TH: When you’re touring and people open their hearts to you, you remember that. It leaves a deep impression on yourself, you know? Asheville has always done that for me and for the band. It’s always been a very creative place that really comes out, and the people really give us their energy. It’s just a very special place and we really feel those things when we come to a spot like Asheville.
So, I think it’s a combination of people opening their hearts, the power of the land — and those things leave an impression on us. And, you know, you keep coming back after so many years and more and more people come, so you’re definitely not going to ignore that. You want to come back for the love that people are giving you. There’s a lot of different things about Asheville that are special that keep us coming back.
JQ: Well, before I go, I just wanted to say congratulations on the new album. I can’t wait to hear it. I already love the new singles “Hello, My Son” and “All of My Lessons.”
TH: Thank you so much!
JQ: Of course, we’re excited to see you in Asheville!
TH: Well, we’re excited to see you there. Also, Asheville has one of the best breakfast spots that we all love: Sunny Point Cafe.
JQ: Oh my gosh, yes!
TH: So, we’re gonna be sure to get some of that. That’s honestly why we keep coming to Asheville. It’s not because of the land or the people — it’s for Sunny Point Cafe. [laughs]
JQ: Oh yeah! It’s for those french toast bites. They’re incredible.
TH: Yeah!
IF YOU GO
Who: Trevor Hall with The California Honeydrops
When: Sunday, July 9, 6:30 pm
Where: Salvage Station, 468 Riverside Drive, salvagestation.com
Tickets: $40 advance/$45 day of show
(Photo courtesy of the artist)
