JD McPherson with special guest Kate Clover

Over the course of 12 years, four studio albums and two EPs, JD McPherson has blazed a singular musical trail, one steeped in a deep affinity for foundational rock ‘n’ roll, rockabilly and r&b (among other mid-century American-made sounds), and filtered through a unique and alluringly idiosyncratic songwriting sensibility. While the Broken Arrow, Oklahoma native testifies that he “really loves those classic styles, and the driving force of those old songs,” he also affirms that he doesn’t approach his music like a museum piece. Rather, McPherson says, “I think about it like, ‘Why not throw some of those rhythms and sounds into a blender and see what comes out?’ ”

Why not, indeed. And to be sure, what has emerged from JD’s musical blender this time out is something unlike anything in his catalog. The new Nite Owls, his fifth studio full-length, shows McPherson further sharpening his songcraft in the service of ten tight, dynamic and hard-hitting rock ‘n’ roll tunes. At the same time, he also reached deeper into his stylistic toolbox to incorporate elements of glam, new wave, post-punk, surf rock and other sounds into the mix. “To me, the thread between Duane Eddy and Depeche Mode is that single-note, reverb-y guitar style,” McPherson says about connecting some of these sonic dots. “So it felt natural to blend that kind of big-string guitar thing with the classic stuff and a dash of surf. It made sense.”

He laughs. “Although I have sent this record out to some friends, and a couple of ’em were like, ‘What are you doing?’ ”

We’re here to say: relax, friends. JD’s got it handled. Nite Owls kicks off with one of
McPherson’s most infectious tracks to date – “Sunshine Getaway,” a blast of beaming, T. Rex-y glam rock that, despite its title and, yes, sunny musical demeanor, has a darker sentiment at its core. “I wrote it with my good friends Jack and Page from the Cactus Blossoms,” JD recounts. “They’re from Minneapolis, and we were talking about how the cold is really a problem there. I remember Jack saying, ‘If you drink too much and you come home and you can't find your keys, you can die on your porch in the wintertime.’ That’s serious. But then that conversation turned into a song about being kind of stuck in place and dreaming about beautiful sunny skies.”

Musically, “Sunshine Getaway” is “a real ‘stroller,’ ” JD continues. “And I couldn’t believe how huge it sounded when we got it back from the mixing sessions – it blew my head off. Everybody was like, ‘This has to be the first single!’ ”

From there, we move into “I Can’t Go Anywhere With You,” a tightly wound r&b rave-up in which McPherson chronicles the fabricated plights of Tony Mandatori and Eddie Rockefeller, “a filthy type o’ fella” (“it’s very Leiber-and-Stoller, tongue-in-cheek humor,” he explains), before landing on the gorgeous “Just Like Summer,” a slice of melancholic, new-wave-tinged dream-pop that finds JD reminiscing about the type of long-lost love that can “burn you like the bright, blue summer” (“a little high-school story”), as dew-drop guitar notes and gently warped chords fill in the sonic space around him.

Elsewhere, McPherson conjures a vivid, detailed story-scene in the evocative title track (“it sort of makes me laugh because of how wordy it is,” he says); invokes a Beach Boys-esque vibe, replete with chiming bells and exquisite vocal harmonies, on “That’s
What a Love Song Does to You,” and teams up with Ryan Lindsay, of Oklahoma indie rockers Broncho (“one of my favorite bands, ever”), on the breezy love – or is it lust? – song, “Shining Like Gold.”

Throughout Nite Owls there are also a handful of tracks that longtime McPherson fans may recognize as more characteristically JD – the twangy “The Rock and Roll Girls,” for one; the garage-rock groover “Baby Blues,” for another; the Shadows-like instrumental barnburner, “The Phantom Lover of New Rochelle,” for a definite third. But, really, it's all of a piece. “There's no saxophones this time, there's no r&b piano, but it’s a rock ‘n’ roll record,” JD says of Nite Owls. “To me, it’s the next logical step from my last one, Undivided Heart & Soul.”

That album, it’s worth noting, was released back in 2017. And while McPherson did issue one more record of original material, 2018’s SOCKS, that one was comprised of holiday-themed songs, making Undivided Heart & Soul “the last non-seasonally-sensitive record I’ve made,” he says with a laugh. “And that was now seven years ago.”

Which is not to say he hasn’t been busy. In 2023 JD released the Warm Covers 2 EP, featuring his interpretations of songs by five artists, spanning from Oklahoma r&b and country legend Big Al Downing to Iggy Pop to the Pixies. And he has also spent the last few years on the road with two other American roots music enthusiasts, Robert Plant and Alison Krauss, serving as the support act on the duo’s ongoing joint tour – and also, incredibly, as a guitarist in their backing band. “The first year, I was holding on for dear life, just trying to keep up with Robert and Alison and the band,” JD admits. “But once I got over that, I learned so much. And I am continuing to learn so much from playing with those folks.”

These experiences, JD says, helped him through a particularly difficult period in his personal and professional life – one that also coincided with the Covid lockdown. “I actually recorded a version of Nite Owls several years ago in L.A., but the environment within my band just wasn’t working at all,” JD reveals. “It was a painful time. And then the pandemic hit, and I went pretty dark. I thought it was all over for me in the music world – my band was gone, I wasn’t playing shows... it took me a long time to get back into enjoying it.”

What changed? “Joining the Plant-Krauss band was a big part of it,” he says. “And then meeting some other musicians and going in and doing the Warm Covers project was a hugely important thing, because that was pure fun. These were steps towards healing a little bit. And now we have this record.”

To make the version of Nite Owls that we have before us, McPherson retreated to familiar environs, Reliable Recorders in Chicago, with a core group of musicians that have been in his orbit for years – guitarist and “auxiliary” player Douglas Corcoran, bassist and “good friend” Beau Sample, and drummer (and Reliable proprietor) Alex Hall. “I went back to where I made my first record, and it was a wonderful experience,” JD says. “We pretty much did everything in-house, and we recorded the thing quick and fast and live.”

That electricity and immediacy is baked into every groove of Nite Owls. “I’m just trying to share an infectious enthusiasm,” JD says about his musical intentions. “That's something that's missing in a lot of bands. Like, everybody's so sullen and serious! But me, I want to enjoy myself and make the music I want to make, and I’m so full of gratitude that I get to make it for a living.” He pauses. “I guess you could say I’m kind of a professional enthusiast, you know?”

Kate Clover is a songwriter and musician from Los Angeles, California. From the local lineage of bands like X, Germs, and The Gun Club, to the glamorous destitution of the downtown streets, Clover is inspired by the city that raised her, exploring the intricacies of self-discovery, self-creation, and self-preservation in the place where dreams are born to die. With the live-wire energy and crackling force of defiant fists raised in the air, Clover’s music is the rallying cry of a natural born killer. Leading an ace band of rangy, rowdy boys, Clover cuts an electric figure--a next-gen underground hero for the would-be believers.

With Patti Smith and Iggy Pop as her artistic North Stars, Clover mastered three chords and defected to art school, where she learned to play “Chinese Rocks” by Johnny Thunders, and wrote her first song. She cut her teeth playing in various projects but was determined to go solo, seeking independence and total control. 

In 2019 she parted ways with her former bands and was in search of a new start. In need of self-discovery and an escape from her life in America, she headed to Mexico City to write. A four day trip turned into four months, as Clover decided to stay and record her album. Upon her return to the US she assembled a band and quickly carved out a space for herself in the LA scene. Earning a rep for explosive live shows, Clover spent 2019 hitting the road with Death Valley Girls, Crocodiles, King Dude and SadGirl. After independently releasing her first single that same year, Clover’s next offering was an EP titled Channel Zero” mixed by Carlos de la Garza (Cherry Glazerr, Bleached, Paramore, Wolf Alice), followed by her debut album “Bleed Your Heart Out” released spring 2022. In support of her 2022 release Clover headlined a National tour as well as a solo European tour with multiple sold out dates.

 Growing up within the fringe cultures of skating and surfing, Clover has always been attracted to the otherness of west coast counter-culture-- the gritty innocence of the saintly barbarians and dissatisfied kids around her. But it was her brother’s copy of photographer Glen E. Friedman’s book ‘Fuck You Heroes,’ where Clover first saw herself, reflected in the energy and intensity of his punk-rock images. “I didn’t know what any of it meant yet,” she explains. “I was attracted to the rebellion I felt I shared with the subjects of his work. I connected to the bravery.” Within those photos, Clover’s nascent unrest found a cause to cling to. Weekends at the beach turned to weekends going to shows. “I would go home in a cab smiling, covered in sweat, spit, and beer. I found where I belonged.” Determined to enter the fraternity of the artist, she submerged herself in the salvation of rock ‘n’ roll.

JP Harris was born shortly, and fortunately, a few minutes before Valentine’s Day 1983 in Montgomery, Alabama. Within a handful of years he was wearing a green velour tracksuit and leading a large Doberman around for street credibility, at the young age of three. He had a charm and strut that would take him far, so the grown folks said; but roughly a decade later, on the opposite side of the country, he would leave his family’s home late one summer night with no designs on fame, fortune, or clothing endorsements, never to return. He had an inkling that the eighth grade was enough education for where he was headed,and set a course for Anywhere, USA. Turns out he was right. Spending most of his teenage years traveling by freight train, thumb, or foot, he would set down his rucksack for what he thought was the last time in rural northern New England, shortly after the anticlimactic event known as Y2K came to pass without much to-do. He spent the next decade living in remote cabins lacking the modern appointments of power, running water, or winter road access. It was there Harris honed the many trades he’d learned: sheepherder, logger, heavy equipment operator, farm laborer, restoration carpenter, and sometimes as contraband handler, while his musical palette expanded beyond the punk rock of his youth to include the Early American Folk Canon of blues, old time, and early country recordings. JP had long fashioned himself a carpenter who did halfway-decent campfire renditions of old country tunes, but turned suddenly to songwriting in his mid twenties after years without the slightest ambition toward “music business” of any sort. He would assemble a band, trade his work truck for an old Econoline van, and fifteen years would elapse before he would reluctantly add the term “professional” in front of his title of “musician.” In 2011, Harris loaded his van and trailer with every tool, guitar, and keepsake he could cram and moved to Nashville TN, shortly before the release of his debut album “I’ll Keep Calling,” which would win him countless accolades from various outlets and entities unheard of by the general masses. It was enough praise to keep him on the road, even if his largest reward garnered at the time was a sizable box of Taco Bell gift cards. He would go on to record 2014’s “Home Is Where The Hurt Is,” 2018’s “Sometimes Dogs Bark At Nothing,” and 2021’s Appalachian banjo-centric side project album “Don’t You Marry No Railroad Man,” under the moniker JP Harris’ Dreadful Wind & Rain. JP’s historic restoration carpentry has continued to be a baseline for his relationship to music; the yin to his yang, the Burt to his Ernie, the Dolly to his Porter. It was through this concurrent line of work that he met another twice-initialed singer with a penchant for old Americana music, obscure film, and overly elaborate ethnic meal preparations: one JD McPherson. The two became fast friends and would eventually, through many twists, turns, false starts, and biblically-proportionate plagues, enter a modest studio in Nashville to record Harris’ latest album “JP Harris Is A Trash Fire.” Over the course of nine months in 2023, they recorded a sometimes lush, sometimes sparse, and sometimes jarring country album of Harris’ originals, loudly and violently squelching any attempt to pigeon-hole a song into any subgenre of country music. Only albums by Lee Hazelwood and an obscure folk album Waylon Jennings made when his hair was still short were allowed to be mentioned in reference. Featuring the guest vocals of Erin Rae, The Watson Twins, Shovels & Rope, and producer JD McPherson himself, the record is equal parts satire, reflection, and apology to those that would listen. In a musical landscape of period-correct reproduction, “outlaw” internet posturing, and flavor-of-the-month variants on country, “JP Harris Is A Trash Fire” burns bright as a dumpster ablaze in a Walmart parking lot on a moonless night; some will fear it, some will gravitate to its acrid warmth, and most will have no idea what to make of the situation. Harris has been steadily elbowing the definitive boundaries of “country music” wider with every album, both sonically and lyrically, and his latest piece of self described “Avant-Country” is no exception. Even within the rapidly growing world of “underground” country music, Harris still considers himself an outsider, content to inhabit a gray area where punk rock ethos, folk art aesthetic, and the workingman’s ballad mingle. When he’s not touring, JP Harris can be found fixing historic houses, riding old motorcycles, or picking through scrap piles for useable refuse.