He’s a self-described amateur rocker, the co-host of the Off Panel Off Topic pop culture podcast, and, perhaps above all, a professional human being. He’s the Amazing T-Bird, and he recently took some time to chat with me about his music…

How long have you been making music, and how did you get into it?

We visited the governor of North Dakota and he played the violin for us, and so I picked up the violin in 4th grade, but I didn’t start writing my own music until 12 or 13, in junior high. My dad had an old tube amp and I made a record for my brother. I think it horrified him. He sent it back to me overdubbed with actual songs lol. I wish I still had it just to see if there was anything there yet. 

But I did the whole standing in front of a mirror with a tennis racket pretending to be Jimmy Page or Eddie Van Halen or whoever. I saw some classmates play at a talent show and I thought, I wanna do that. I wrote my first real song at 17. It’s been downhill ever since, haha.

How would you describe your sound to someone who’s never heard you before?

It’s interesting, because I say I do grunge type, 90’s alternative stuff with a touch of Bob Seger, but Seger and arena rock is exactly where the grunge movement got a lot of it’s influence and sound. Much like the Rolling Stones and Beatles were trying to make American rhythm and blues, the grunge bands were making music that they grew up with. So it’s kind of an ouroboros of influences running through my sound. But there’s definite hip hop beats and sensibilities in there as well.

How has your sound evolved over the years?

I think I’ve just really been more open to different sounds and music styles the older I’ve gotten. Not to get political, but I’ve become MORE liberal as I’ve aged, and most people do the opposite, I’ve found. I think I really don’t ever want to STOP evolving as a human being, growing my soul, whatever. And definitely being in the Twitter community of indie artists, I’ve found a LOT of courage to do stuff I wouldn’t have thought of before. But there’s songs on the first two records that I wrote way back in the late 90s, and they fit with my sound now. But, yeah, being more open to new stuff.

You’ve mentioned elsewhere that you’re a fan of David Bowie. Is there a particular aspect of his music that you like, or is it the complete package? 

I made a record last year called Becoming The King of Ghosts, and I did some stuff with makeup that reminded me of the Ziggy era Bowie. I don’t know that anyone from my generation wasn’t somehow touched by Bowie, or Michael Jackson, or Madonna, or Prince. These people came into our homes in the 80s all day, every day through cable and music videos. And Bowie had already reinvented himself at least once, so he pivoted to the video era. I think I just love his I don’t give a fuck attitude, his willingness to evolve and push the envelope. If you play rock or listen to rock, you have been touched by Bowie. Also, the fact that Stevie Ray Vaughan played all the guitars on Let’s Dance, that’s just cool. And the cover of that record, too. Dance steps and he’s in boxing gear. Cool visuals.

Would you describe him as an influence? 

I would say so, definitely the whole space age stuff. I love Monster Magnet, and you know they listened to Rise and Fall of Ziggy.

You’re also a fan of the Beastie Boys. How do they show up in your music?

There’s a song off Check Your Head called Gratitude, and it’s fucking incredible. These guys were a hardcore punk band who turned to hip hop and realized they were really fucking good at it. Their instrumentals throughout their discography, all by them in the studio playing bass and guitar and drums and keys. I fucking love that they always took time to jam in between ridiculously good beats. I would really like to do a cover of Gratitude live, all I would need is a drummer.

Do you hear any overlap between Bowie and the Beastie Boys? What do they have in common?

Definitely knowing who they are and what they are about. Both reinvented themselves in different ways, though Bowie was more overt. But in between License To Ill and Paul’s Boutique, the Beasties became alternative. I thought it was amazing. And Ill Communication is probably the zenith of that era. Just blammer after blammer after blammer.

I see that you’re on Patreon. What’s been your experience on that platform?

I haven’t really done much with it. When I was starting, someone suggested using Patreon for help with funds and stuff. I can’t remember the last time I was on there. But I have many colleagues and peers who have had good experiences. 

Can you talk a little bit about your latest release?

It’s probably the most complete record I’ve made thus far. There wasn’t as much of a big-picture view of this one compared to the previous releases, and I think that helped with the writing process. There’s a running theme throughout of feeling left out, of being desperately alone despite being surrounded by people. I feel like humanity kind of leaves me behind a lot. I’m learning that I am not the only one who feels that way, but that’s only half the battle. The title comes from a police code for Improper Use of Radio, basically what John McClane did on top of Nakatomi Plaza early in Die Hard. 

What’s on the horizon for you?

I’m making a Christmas album, I have at least two collabs coming up with amazing artists and I am hard at work on the next record. I’m also working on getting my sounds right, mixing, mastering. I’ve got some really great resources in the community so it’s just a process of learning stuff I don’t know. Maybe a TikTok channel, I don’t know. But I’m just gonna keep making music until I die.