Caylee Hammack chats with CitUK
On Friday 14th August, one of country music's most promising newcomers will be releasing her long-awaited debut album - If It Wasn't For You. Having co-wrote and co-produced every track on the album, we caught up with the Georgia native to find out more.
Before we get onto the upcoming album – today (24/7/20) you released a new track in collaboration with Alan Jackson on a Don Williams classic. Has do you make that sink in?
Oh, it doesn’t! Today is the first day I’ve really got to celebrate it. I don’t really celebrate anything until it comes out because I don’t want to get my hopes up and disappoint me. This is one of those that there is no way it couldn’t be what I wanted – getting to sing a song with such a classic icon of country music like Alan Jackson is unreal. Getting to produce it with Dave Cobb, be in the room as he goes through stuff and learning through him was another blessing. Getting to sing a song that means so much to me is a blessing as well. It’s all been a blessing; I don’t know how else to say it!
Before we get onto the upcoming album – today (24/7/20) you released a new track in collaboration with Alan Jackson on a Don Williams classic. Has do you make that sink in?
Oh, it doesn’t! Today is the first day I’ve really got to celebrate it. I don’t really celebrate anything until it comes out because I don’t want to get my hopes up and disappoint me. This is one of those that there is no way it couldn’t be what I wanted – getting to sing a song with such a classic icon of country music like Alan Jackson is unreal. Getting to produce it with Dave Cobb, be in the room as he goes through stuff and learning through him was another blessing. Getting to sing a song that means so much to me is a blessing as well. It’s all been a blessing; I don’t know how else to say it!
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Is this kind of collaboration one of those moments you don’t believe it’s real? That and the Reba one. It still doesn’t feel real that these people that I look up to so much are even willing to sing on something with me and it means the world to me. I don’t even know if they know how much it means to me as a young artist. Maybe they do and they were once young artists that a big artist helped too but it certainly means the world to me. This album has been a long time coming, it was January 2019 when you released Family Tree and now the album is just a few weeks away. How does it feel knowing it’s now so close? |
It’s terrifying!!! And also terrific! It’s a weird mixture of feelings. I’m sitting here in the mist of all the other stuff I’m doing to get ready for it and I’m staying up till 2am typing on my typewriter as now I’m insistent on putting out full lyrics for fans so they have it and can read along as they listen. It wasn’t planned by anyone on my team, it’s just a case of let’s make more work for me! It has been so much fun to be able to create this album that’s taken almost two years now to finally put it out from when we first started working on it. As every song has rolled out, people have connected to it differently and for different reasons. When I signed at Capitol Records, I had two insistent things – I’m an album girl, not a single girl and wanted a whole album for people to deep dive into and also I wanted full creative control. I wanted to make this how I wanted. I’m wiling to do radio edits, but on my album, I want it to sound like me. Capitol said they wouldn’t want it any other way. Getting to have full control over everything, put these weird sounds in, tell these stories where I’m cussing, doing things a little outside the norm of what country music has always been. It’s been very freeing, almost like I’ve been writing this diary entry that is no ready to share with the world. The fear from that is people not accepting it but the thing is – if 100 people don’t like it but 1 person connects to it, then the song has done it’s job. I just want it to connect to anyone who needs to hear it. You have Small Town Hypocrite where all of us have stayed in a relationship that wasn’t good for us for too long or if its Forged In The Fire going through a house fire or natural disaster. If there is a song that I can create to help people through it, that is everything I want in music.
You’ve gone against the trend of releasing an EP prior to a debut album, what was your record labels reaction?
I know that singles and EP’s are easier to push. I wanted an album with 12 to 13 songs so that I could tell all my stories and you could see the different sides of these stories and this music. They didn’t give me much grief to be honest. Capitol Records have been extremely good to me, they gave me control over my sound and my look. I think they’ve enjoyed going on this journey with me as it’s probably been a little different for them as well.
Can you explain the album title for us? It gives it a feeling of truth before you have even listened to the first track!
I used to have this weird thing every time I bought a physical copy of a CD. There were certain track numbers I would always go straight to before anything else – number 1, 3, 4, 7 and 12. I don’t know why and I’d always listen to the title track first, that’s how I wanted to do it. When I made the record, I wanted an interloop, some point that I can be produced as much as they want outside but in this one point I want it to be just me, nothing is autotuned, nothing is fixed, it is just me singing. That’s what gold became. My team wanted to name that track If It Wasn’t For You but I said no, name it Gold. That way no one can do like me and cheat the system by listening to the title track. I wanted to create it with a fluidity to it and you start at the stop. I had to set it up so they listen all the way through. The reason that If It Wasn’t For You came about was in a conversation with God and I was like if pain is art, you truly have given me gold in the grand scheme of my life. You’ve given me a lot of good, more good than pain, but you have given me pain and I can learn from that. Every time I sang the lyrics, I started to think about every person in my life and how every tiny inspiration or encouragement someone gave; every critique that seemed to wreck you. Whatever it is, all these people made me who I am – whether they meant to or not. Everybody I’ve ever come into contact with has made me who I am in some way. I think in this album, I did get a little selfish as this is me getting to tell you all my stories and spreading it out to the world. With the title track, I wanted to make sure it was the most welcoming that it could be because if it wasn’t for people listening; look up this new artist; buy one of the songs; just stream it; I wouldn’t be able to do what I do and make a living where I get to create. I wouldn’t be blessed with doing this if people weren’t willing to listen. I wanted to dedicate it to everyone who has wanted to make me or break me.
You have a writer or co-writer credit on every track. How important was that to you?
There’re so many good songs in the country music realm and in Nashville. I’m not a person who say I will never cut an outside song, I’ll never say that as there’re so many good songwriters who need to be heard. At the time, when I moved to Nashville, I found songs that I really loved and found that there were artists who were great singers, but the song didn’t showcase them. When I was young, I couldn’t find writers at that point who wrote songs that I wanted to put out for my own music so I had to say, I guess if I want to put out stuff that I like and I’m proud of then I need to write it myself. I’ve always had a weird obsession with words and phrases. My whole house has words written everywhere and taped to the wall. It was really important to me to co-write all of these songs and was vital in getting my point across. Getting to step into the co-producer’s seat too helped me ensure that my voice was going to stay true through all of it and you knew it was me.
We’ve spoken about todays release with Alan Jackson, but there are some exciting collaborations – including Reba McIntyre - on the album. Were you worried about their responses when you first approached them?
It was a shot in the dark. My whole team and I were sat at a conference table before lockdown talking through the track list and how it was going to go. My manager asked me who I would love to have on the album. The first names I put out was Ashley McBryde and Tenille Townes who are two of my dearest friends. They said that was a great idea and who else would I like. I didn’t know I’d be allowed to have more! I start thinking of people in town that I have connections to, then I’m asked who I would die to have on the album but have no connection to and it could be a big name. I have always dreamed secretly to myself that Reba would sing on Redhead. I said that’s the one I want. My manager laughed and said that was a big one! Her manager and my manager are friends and they were sitting down talking one day and she said how Reba had told her she really likes Caylee Hammack’s music. Her manager relayed that to my manager and Mary played her manager Redhead who thought Reba would love it. We got an email back saying let us know what lyrics you want her to sing and she’s willing to do it. It was amazing, I couldn’t believe it until she came into the studio. She met me outside, and she goes “Hey, I’m Reba.” I knew who she was and I loved that she still introduced herself. She is such a true professional and businesswoman. It’s unreal. A lot of moments in my life over the past year have felt that way.
You’ve gone against the trend of releasing an EP prior to a debut album, what was your record labels reaction?
I know that singles and EP’s are easier to push. I wanted an album with 12 to 13 songs so that I could tell all my stories and you could see the different sides of these stories and this music. They didn’t give me much grief to be honest. Capitol Records have been extremely good to me, they gave me control over my sound and my look. I think they’ve enjoyed going on this journey with me as it’s probably been a little different for them as well.
Can you explain the album title for us? It gives it a feeling of truth before you have even listened to the first track!
I used to have this weird thing every time I bought a physical copy of a CD. There were certain track numbers I would always go straight to before anything else – number 1, 3, 4, 7 and 12. I don’t know why and I’d always listen to the title track first, that’s how I wanted to do it. When I made the record, I wanted an interloop, some point that I can be produced as much as they want outside but in this one point I want it to be just me, nothing is autotuned, nothing is fixed, it is just me singing. That’s what gold became. My team wanted to name that track If It Wasn’t For You but I said no, name it Gold. That way no one can do like me and cheat the system by listening to the title track. I wanted to create it with a fluidity to it and you start at the stop. I had to set it up so they listen all the way through. The reason that If It Wasn’t For You came about was in a conversation with God and I was like if pain is art, you truly have given me gold in the grand scheme of my life. You’ve given me a lot of good, more good than pain, but you have given me pain and I can learn from that. Every time I sang the lyrics, I started to think about every person in my life and how every tiny inspiration or encouragement someone gave; every critique that seemed to wreck you. Whatever it is, all these people made me who I am – whether they meant to or not. Everybody I’ve ever come into contact with has made me who I am in some way. I think in this album, I did get a little selfish as this is me getting to tell you all my stories and spreading it out to the world. With the title track, I wanted to make sure it was the most welcoming that it could be because if it wasn’t for people listening; look up this new artist; buy one of the songs; just stream it; I wouldn’t be able to do what I do and make a living where I get to create. I wouldn’t be blessed with doing this if people weren’t willing to listen. I wanted to dedicate it to everyone who has wanted to make me or break me.
You have a writer or co-writer credit on every track. How important was that to you?
There’re so many good songs in the country music realm and in Nashville. I’m not a person who say I will never cut an outside song, I’ll never say that as there’re so many good songwriters who need to be heard. At the time, when I moved to Nashville, I found songs that I really loved and found that there were artists who were great singers, but the song didn’t showcase them. When I was young, I couldn’t find writers at that point who wrote songs that I wanted to put out for my own music so I had to say, I guess if I want to put out stuff that I like and I’m proud of then I need to write it myself. I’ve always had a weird obsession with words and phrases. My whole house has words written everywhere and taped to the wall. It was really important to me to co-write all of these songs and was vital in getting my point across. Getting to step into the co-producer’s seat too helped me ensure that my voice was going to stay true through all of it and you knew it was me.
We’ve spoken about todays release with Alan Jackson, but there are some exciting collaborations – including Reba McIntyre - on the album. Were you worried about their responses when you first approached them?
It was a shot in the dark. My whole team and I were sat at a conference table before lockdown talking through the track list and how it was going to go. My manager asked me who I would love to have on the album. The first names I put out was Ashley McBryde and Tenille Townes who are two of my dearest friends. They said that was a great idea and who else would I like. I didn’t know I’d be allowed to have more! I start thinking of people in town that I have connections to, then I’m asked who I would die to have on the album but have no connection to and it could be a big name. I have always dreamed secretly to myself that Reba would sing on Redhead. I said that’s the one I want. My manager laughed and said that was a big one! Her manager and my manager are friends and they were sitting down talking one day and she said how Reba had told her she really likes Caylee Hammack’s music. Her manager relayed that to my manager and Mary played her manager Redhead who thought Reba would love it. We got an email back saying let us know what lyrics you want her to sing and she’s willing to do it. It was amazing, I couldn’t believe it until she came into the studio. She met me outside, and she goes “Hey, I’m Reba.” I knew who she was and I loved that she still introduced herself. She is such a true professional and businesswoman. It’s unreal. A lot of moments in my life over the past year have felt that way.
You’ve had opening slots now for some of the biggest names in Nashville, recorded with Alan Jackson and Reba McIntyre, what’s been the best advice you have been given?
Miranada Lambert told me to remember that radio does not make good country music – artists do. I was so optimistic with Family Tree and I’m so grateful for where it went but it died in the top thirties. At that time, I was heartbroken as you always want every song to be a number one and you always push for that. Everything happens the way it should, and she reminded me that one of her songs and similarly fell at that point of the Billboard charts too. I asked Reba one day at The Ryman while we were performing an event how does she do it after being Reba for 40 years. She told me she does this and pointed out at the crowd. We were at a radio seminar and told me she goes out on stage even when she doesn’t want to; she stays relevant; does favours for people; always shows up. I was like wow. It’s not about making the best music in the world or looking the best, you’ve just got to show up and give your best. For me, sometimes I get so caught up with the business side, the image side and what I should look like or should say, every time I remind myself to be myself and keep stepping out on stage to give it my best. Those two women have probable given me the best advice.
Miranada Lambert told me to remember that radio does not make good country music – artists do. I was so optimistic with Family Tree and I’m so grateful for where it went but it died in the top thirties. At that time, I was heartbroken as you always want every song to be a number one and you always push for that. Everything happens the way it should, and she reminded me that one of her songs and similarly fell at that point of the Billboard charts too. I asked Reba one day at The Ryman while we were performing an event how does she do it after being Reba for 40 years. She told me she does this and pointed out at the crowd. We were at a radio seminar and told me she goes out on stage even when she doesn’t want to; she stays relevant; does favours for people; always shows up. I was like wow. It’s not about making the best music in the world or looking the best, you’ve just got to show up and give your best. For me, sometimes I get so caught up with the business side, the image side and what I should look like or should say, every time I remind myself to be myself and keep stepping out on stage to give it my best. Those two women have probable given me the best advice.
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Can we go back to last September, you made your Opry debut with all your family in the crowd. How does that night rank in your career highlights so far? That was such a wild day. It was a little bit stressful during the day as there’s so many interviews and photo ops you have to do backstage but when you step on that stage, it’s like you’re transported somewhere different. It’s such an honour. It’s one of those things I put on my bucket list as I thought it would take longer to get to. When I accomplished it, I went home and cried – I’d waited 25 years for this, and I did. It all happened so quick, time flies when your having fun onstage. If you’re ever backstage at The Opry you have to get the lemonade! Diane makes the best lemonade. |
During the show, did you remember where your family and friends were sat?
They sat a little to the right of centre. Two if my friends sat in the pews behind. My parents wanted to sit out front as they wanted to hear it better. It was cool, I had so many family and friends around me and probably drove The Opry mad with how many people I had backstage as we were falling out of the rooms. It was cool and I made them stand up at one point as it was such a special night for all of us.
With two ACM Award nominations, how does it feel to be nominated?
Unreal. It was such a surprise to me and is such an honour to be group with this calibre of women. Even the Musical Event of The Year is wild to me. To be considered a part of this group of people or acknowledged in this industry is so validating and soul fulfilling for me. It shows for the all the hard work I’ve put in; somebody is listening. It’s never been about awards for me, I just realised that without music I’d die. I have nothing else in this world that I care to do. This is what I want to do. TO have people like Alan and Reba wiling to sing with you; to get ACM nominations; I wish I could go back to 16-year-old me who was crying and going through a lot and tell her what I’ve accomplished this year. I always look at my numbers and think I could do better. I have to stand back and remind myself that God’s leading this ship and I’ve got to let him lead it. My heart has needed some of this encouragement to get pumped up for some this, it’s scary putting an album out during a pandemic as physical sales are down – streaming is up though. Not being able to promote it on the road and go to New York and LA where you’d be doing late night and morning shows to make it grow can hurt an album. Everything happens the way it should I think it’s all going to work the way it will.
You did make it to Europe this year, even though it didn’t end as planned! We were fortunate enough to have travelled to Berlin and caught your set in the Town Square, what the experience of performing in Berlin and Amsterdam like?
I played 8 shows in 48 hours in Berlin – that was crazy. I loved it though, my hotel was right beside the Berlin wall and I got to walk it one evening. Doing a boat cruise in Amsterdam and walking around to different coffee shoes and bars. It was such a blessing to me to get to perform in these cities and then get to go out and interact with the people there was a big deal. I was heartbroken about London. We played one night, and the travel ban was announced. We were watching it at 2am and I had to fly my whole team back at 8am. I was naive to it and wanted to stay and keep the whole team there. My management had to tell me to get back as I couldn’t be stuck over there. I told them I’d be happy stuck there, although I don’t know about my team as they all have family at home. They weren’t willing to leave me so I can’t wait to be back in London, Amsterdam and Berlin. It was so cool to get to go somewhere where I was learning different languages while I was there. I was learning how to say things in German on stage and then I tried Dutch but had a lot more luck with the German. It was such an exciting time for me, as much as it was so sad for it t end the way that I did, I had 2 weeks pushing hard in Europe.
With your UK trip cut short, is Europe still a priority for you once restrictions ease?
I want it so bad. I can’t wait for the world to go back to normal so we can perform music again. I didn’t realise how much I needed the community and the energy that people give back to you when you’re on stage. I thought as an artist you’re supposed to go out there and everyone is waiting for you to push energy to them and be a force on stage, I never thought about how much I needed the push back of energy when people connect with you and are exciting – dancing and singing along. I’ve missed that. I miss being on stage and seeing people sing along.
They sat a little to the right of centre. Two if my friends sat in the pews behind. My parents wanted to sit out front as they wanted to hear it better. It was cool, I had so many family and friends around me and probably drove The Opry mad with how many people I had backstage as we were falling out of the rooms. It was cool and I made them stand up at one point as it was such a special night for all of us.
With two ACM Award nominations, how does it feel to be nominated?
Unreal. It was such a surprise to me and is such an honour to be group with this calibre of women. Even the Musical Event of The Year is wild to me. To be considered a part of this group of people or acknowledged in this industry is so validating and soul fulfilling for me. It shows for the all the hard work I’ve put in; somebody is listening. It’s never been about awards for me, I just realised that without music I’d die. I have nothing else in this world that I care to do. This is what I want to do. TO have people like Alan and Reba wiling to sing with you; to get ACM nominations; I wish I could go back to 16-year-old me who was crying and going through a lot and tell her what I’ve accomplished this year. I always look at my numbers and think I could do better. I have to stand back and remind myself that God’s leading this ship and I’ve got to let him lead it. My heart has needed some of this encouragement to get pumped up for some this, it’s scary putting an album out during a pandemic as physical sales are down – streaming is up though. Not being able to promote it on the road and go to New York and LA where you’d be doing late night and morning shows to make it grow can hurt an album. Everything happens the way it should I think it’s all going to work the way it will.
You did make it to Europe this year, even though it didn’t end as planned! We were fortunate enough to have travelled to Berlin and caught your set in the Town Square, what the experience of performing in Berlin and Amsterdam like?
I played 8 shows in 48 hours in Berlin – that was crazy. I loved it though, my hotel was right beside the Berlin wall and I got to walk it one evening. Doing a boat cruise in Amsterdam and walking around to different coffee shoes and bars. It was such a blessing to me to get to perform in these cities and then get to go out and interact with the people there was a big deal. I was heartbroken about London. We played one night, and the travel ban was announced. We were watching it at 2am and I had to fly my whole team back at 8am. I was naive to it and wanted to stay and keep the whole team there. My management had to tell me to get back as I couldn’t be stuck over there. I told them I’d be happy stuck there, although I don’t know about my team as they all have family at home. They weren’t willing to leave me so I can’t wait to be back in London, Amsterdam and Berlin. It was so cool to get to go somewhere where I was learning different languages while I was there. I was learning how to say things in German on stage and then I tried Dutch but had a lot more luck with the German. It was such an exciting time for me, as much as it was so sad for it t end the way that I did, I had 2 weeks pushing hard in Europe.
With your UK trip cut short, is Europe still a priority for you once restrictions ease?
I want it so bad. I can’t wait for the world to go back to normal so we can perform music again. I didn’t realise how much I needed the community and the energy that people give back to you when you’re on stage. I thought as an artist you’re supposed to go out there and everyone is waiting for you to push energy to them and be a force on stage, I never thought about how much I needed the push back of energy when people connect with you and are exciting – dancing and singing along. I’ve missed that. I miss being on stage and seeing people sing along.
Caylee's debut album, If It Wasn't For You, is available 14th August. Click here to pre-order/ pre-save the album now.
‘IF IT WASN'T FOR YOU’ TRACKLISTING
1. “Just Friends”
(Caylee Hammack, Aaron Raitiere, Mikey Reaves)
2. “Redhead” (Featuring Reba McEntire)
(Trent Dabbs, Caylee Hammack, Natalie Hemby)
3. “Looking For A Lighter”
(Caylee Hammack, Hillary Lindsey, Gordie Sampson)
4. “Preciatcha”
(Caylee Hammack, Jordan Schmidt, Laura Veltz)
5. “Sister”
(Blake Bollinger, April Geesbreght, Caylee Hammack)
6. “Just Like You”
(Caylee Hammack, Blake Hubbard, Jarrod Ingram)
7. “King Size Bed”
(Caylee Hammack, Thomas "Tawgs" Salter, Gordie Sampson, Troy Verges)
8. “Forged In The Fire”
(Thomas Finchum, Caylee Hammack, Andy Skib)
9. “Family Tree”
(Caylee Hammack, Gordie Sampson, Troy Verges)
10. “Mean Something” (Featuring Ashley McBryde, Tenille Townes)
(Caylee Hammack, Mikey Reaves)
11. “Small Town Hypocrite”
(Caylee Hammack, Jared Scott)
12. “Gold”
(Caylee Hammack)
13. “New Level Of Life”
(Caylee Hammack, Aaron Raitiere, Connor Thuotte)
‘IF IT WASN'T FOR YOU’ TRACKLISTING
1. “Just Friends”
(Caylee Hammack, Aaron Raitiere, Mikey Reaves)
2. “Redhead” (Featuring Reba McEntire)
(Trent Dabbs, Caylee Hammack, Natalie Hemby)
3. “Looking For A Lighter”
(Caylee Hammack, Hillary Lindsey, Gordie Sampson)
4. “Preciatcha”
(Caylee Hammack, Jordan Schmidt, Laura Veltz)
5. “Sister”
(Blake Bollinger, April Geesbreght, Caylee Hammack)
6. “Just Like You”
(Caylee Hammack, Blake Hubbard, Jarrod Ingram)
7. “King Size Bed”
(Caylee Hammack, Thomas "Tawgs" Salter, Gordie Sampson, Troy Verges)
8. “Forged In The Fire”
(Thomas Finchum, Caylee Hammack, Andy Skib)
9. “Family Tree”
(Caylee Hammack, Gordie Sampson, Troy Verges)
10. “Mean Something” (Featuring Ashley McBryde, Tenille Townes)
(Caylee Hammack, Mikey Reaves)
11. “Small Town Hypocrite”
(Caylee Hammack, Jared Scott)
12. “Gold”
(Caylee Hammack)
13. “New Level Of Life”
(Caylee Hammack, Aaron Raitiere, Connor Thuotte)