Allen Stone. Photo Credit: Jason Tang.
By: Lisa Occhino
It’s not very often that I’m significantly impressed with new artists these days. But the first time I heard Allen Stone’s music a few weeks ago, it was like experiencing my first gasp of air after being submerged underwater for way too long, drowning in the oversaturation of the market. Seriously, I can’t remember the last time I was so blown away by an artist that I felt the need to share his music with everyone I know.
Allen Stone is a true soul musician. He makes you feel his music in every bone of your body while delivering a perfect balance of fun, feel-good tunes and thoughtful social commentary. If you’re a fan of artists like Stevie Wonder, or just have a deep appreciation for well-crafted music, you will be so relieved that this kind of incredible, raw talent is still alive in the music industry today.
Even more impressive to me is that Allen Stone is a purely independent musician. He’s got a team assembled, but every single dollar spent on his career is out of his own pocket. I admire so much that he’s stuck his ground and refuses to accept a major label deal until he deems the timing to be absolutely perfect.
But wait – an independent musician who’s performed on Conan and Kimmel, is opening for Dave Matthews this summer, and played two sold-out shows at the legendary Troubadour on his headlining tour? Read on, Groovers…
Berklee Groove: How did you get your start in music?
Allen Stone: I started singing when I was a little kid in my daddy’s church. That instilled a love for music. I picked up the guitar when I was 12, basically trying to get girlfriends.
BG: Did you have any lessons, or were you self-taught?
AS: I was self-taught – well, my dad taught me a couple chords, but it was all by ear for me. I never had a music lesson or a voice lesson or anything. I started writing when I was about 13, and really got serious about it at 16. Someone gave me Intermissions by Stevie Wonder, and that was like my holy grail. The fire was lit inside after I listened to that record. I was like, “Man, this is how I have to learn to sing and play.” I just started diving into soul music after that, and the rest is history.
BG: You have the most soulful voice I’ve heard in a very long time. Who are your musical influences?
AS: James Taylor, Joe Cocker, Creedence Clearwater Revival, but mostly soul, gospel, and R&B music.
BG: What’s your songwriting process like? What inspires you?
AS: I just really wanna write music all the time that’s on the cusp of progression. I mean, I have songs that are cotton candy, straightforward pop songs, but the music that I really enjoy singing and writing is my conscious stuff about politics or cultural progression. Music has done a lot for me to change my spirit, change my energy. What inspires me is the desire to do that for somebody else… The wheels are always turning with ideas for what to write about. There’s not really too much of a process beyond just sitting down and doing it.
BG: I read that you’re a do-it-yourself musician?
AS: I have a [team], but no label, no publisher… There’s a grey area with the word “independent” in the music industry today, where it’s kind of cool to call yourself “independent” when a lot of people actually aren’t. I would call myself purely independent because literally every dollar spent is my own. I don’t have some venture capitalist throwing dollars my way.
BG: Have you purposely chosen to not go with a major label? Have you turned down deals?
AS: I’ve definitely turned down some deals. I’ll partner up with a label eventually. But for me, I’ve worked with my manager for the last five years and he had about 10 years worth of experience before we started working together. The plan that we came up with was to build it as much as we can on our own, and once we have the right amount of leverage we can go to a label and actually utilize what they can do. A lot of people go to a label way too early and get crappy deals, and if they don’t find a single that breaks right away, the label shelves them – and that’s the last thing that I want. If I partner with a label, I want it to be the last deal that I sign.
BG: What are the pros and cons of being an independent musician?
AS: Not having radio is one big one… Labels have the history of breaking enormous acts – and me, I haven’t done sh*t. Obviously they understand how that works a lot better than I do. A con of being independent is that you’re really learning as you go. For me right now, it’s growing faster than me and my team can keep up with, so bringing a label on is going to be necessary because we just don’t have the means and the workforce at this point to really utilize every opportunity that I’m getting. But also, when you sign to a major label, they have 75 other obligations and priorities next to you. You can get lost in that mix, and lost alongside 75 other extremely talented artists who desire the same amount of attention that you do… There’s no formula for cultivating a career in music. I believe that you have to dive into it head first and get wet and sticky and messy, and try to find a way to rise to the top and create a career.
BG: Do you think it’s still a necessity to have the support of a major label in order to be a successful musician?
AS: No, not at all. I mean, I’m self-sufficient right now… I know other artists out of Seattle who are killing it as independent artists… But I think there is a difference between artists like Mac Miller and Adele. There’s definitely a machine behind those mega-artists, and that machine is the label. The people that have been doing it for 20-30 years and broke 10 different bands know what they’re doing, and they have those cultivated connections that have led to successful careers. I think it’s very possible to be successful without a label, but it all pertains to what your dream is, what you want. Do you want to be an arena/stadium type artist, or do you want to be a 1200 cap venue artist? It’s whatever you want, honestly.
BG: What would you consider your biggest accomplishment so far?
AS: I think my biggest accomplishment is being out on the road as much as I am and everybody’s checks being cashed at the end of the month. That’s what I’m most proud of – doing what I do well enough to compensate the people around me that make it possible. I don’t have an apartment, I’m a nomad basically… I don’t really have any expenses beyond my cell phone and my van payments. I lift my chin up about being able to compensate eight people – that’s a relatively large business, if you think about it. To me, obviously the most important thing is the music… but the compensation is a direct reflection of the music…. Pride is a weird thing. I’ve gotten incredible opportunities – playing on Conan, opening for Dave Matthews this year, playing Jimmy Kimmel – but I don’t feel like I deserve those things. For me, those are like blessings. I could name off 25 other artists that are more talented than I am and deserve those opportunities more than me. Sitting back and being proud about that is weird for me, personally. I’m very excited and thankful, but I don’t know if I’m “proud.” I don’t know… This is all very, very new to me, this whole people caring about what I’m doing thing. I’m still learning how to adjust to it.
BG: What advice do you have for musicians who want to achieve success without the help of a major label?
AS: If you want to do music fulltime, you have to know that it’s what you need to do. It’s almost like an addiction to you. If you’re doing it for fame or money or because you think it’ll be easy, then you are so, so deceived. It’s not easy, and it’s not always fun… Right now on tour, we’re doing about 95% travel and other sh*t, and about 5% music… The 5% of getting to play compensates for the 95% of the other sh*t that I don’t enjoy as much… Singing is extremely therapeutic for me, and something I knew that I needed to do.
Allen Stone is performing with Daryl Hall and Sharon Jones at Boston’s House of Blues on April 12.
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