Ahead of the release of his new album 'My Days of 58' on 27 February, revered singer-songwriter Bill Callahan has opened up in a candid interview, sharing his thoughts on everything from his formative years in Yorkshire to the modern music industry's pitfalls.
The artist, once known under the moniker Smog, rejected the label of 'craftsman', instead describing his creative process as that of a 'drunk professor' who thrives on coincidence and mistakes. His only precision, he claims, lies in writing lyrics; for everything else, his approach is to 'throw it at the wall'.
From Yorkshire Orchards to Dub Dreams
Callahan revealed details of his childhood, having moved from Maryland to Knaresborough, North Yorkshire, between the ages of seven and twelve. He recalled the culture shock of 1970s England, where being American made him feel 'like a movie star' amidst a landscape he compared to the films Kes and A Clockwork Orange.
His youthful adventures involved trespassing in apple orchards, exploring rivers, and evading farmers. It was during his final year there that he first developed a passion for music, frequenting local record stores.
When asked about dream collaborations, Callahan named dub pioneers Lee 'Scratch' Perry and King Tubby, praising Perry's infectious excitement and Tubby's minimalist power. He mused that if he were to revisit the dub style of his 2014 album 'Have Fun With God', he might next try a 'chopped and screwed' record.
Streaming, the Mafia, and the Bleak Future of AI
The interview took a pointed turn towards the business of music. Callahan, who has been with the independent label Drag City for over 30 years, drew a stark comparison between streaming giants and organised crime.
'We were coerced into putting all of our music on streaming services,' he stated. 'Drag City did hold out for ten years... then finally, with all the bands' consents, they gave in – and they would be out of business now if they hadn't. That, to me, feels a little bit like coercion or mafia techniques.'
His critique extended to the rise of artificial intelligence in music. When asked if he would license his voice for AI-produced songs, his answer was a firm 'No.'
'It's just sad to me, really, the way people are devaluing everything with AI,' Callahan said. 'We're humans on Earth. That's the fun of it... AI is never going to make anything worth thinking about. Creating things involves growing as a human, and that's not what AI is about.'
Lyrical Inspirations and the Art of Receiving
Discussing his influences, Callahan highlighted Randy Newman and Stephen Malkmus of Pavement as masters of humorous, socially conscious lyricism. He reiterated his non-craftsman approach, seeing himself more as a medium who 'receives things that are already built' rather than constructing from nothing.
He also touched on the personal rituals that keep him creative, including meditation, which he began practising after moving to Austin, Texas, in 2004. These practices, he says, ensure 'everything is flowing correctly'.
Despite the sometimes-bleak outlook on the industry, Callahan's loyalty to Drag City remains unshaken, valuing the complete creative freedom they afford him. As he prepares to release 'My Days of 58', his unique voice—both literal and metaphorical—continues to stand distinctly apart in an increasingly homogenised musical landscape.
