Smokin' Cola, an artistic persona born out of a placeholder name, has evolved into a significant identity in the music world. Initially a catch-all term for various creative endeavors, Smokin' Cola organically grew into a distinctive persona for a musician recommitting to his passion. This identity mirrors the DIY, lo-fi ethos of the music, reflecting an authentic and honest approach to artistry.
The Technical Origin and Multi-faceted Nature of Smokin' Cola
The name 'Smokin' Cola' carries a pun, integral to the artist's persona. This identity extends beyond just being a band name, as it encapsulates the varied aspects of the musician's personality. Each role - the singer, guitarist, bass player, and drummer - contributes to a composite musical character, each with unique influences and styles.
Influence of a Musically Rich Childhood
Growing up in radio stations and with musically inclined parents, Smokin' Cola was exposed to a diverse range of music from a young age. This environment ingrained a habit of constant musical exploration, leading to a wide array of influences, from classic rock to grunge, shaping the unique sound of Smokin' Cola.
Transition to Solo Project and Musical Evolution
From a band member in his earlier years to a solo artist in his late 40s, Smokin' Cola's music has undergone significant evolution. This transition involved embracing the natural music that resonated within him, moving away from expected genres and exploring more rock and experimental sounds.
Integrating Diverse Influences while Maintaining a Unique Sound
Smokin' Cola manages to blend a spectrum of influences, from Johnny Cash to St. Vincent, while maintaining a distinct sound. This integration involves embodying different personas for each instrument, influenced by a background in user experience and web development, to channel various musical styles.
Fatherhood's Impact on Musical Perspective
Fatherhood significantly shifted Smokin' Cola's musical perspective, enhancing his confidence and authenticity. This change led to a more genuine exploration of preferred musical styles, transcending previous self-imposed limitations.
Advice for Aspiring Artists
For aspiring artists, Smokin' Cola emphasizes authenticity and honesty in music creation. Practical advice includes constant recording and self-review to refine skills and understand audience perception. Embracing one's unique voice is crucial in carving out a distinct place in the music world.
Rule-Breaking and Self-Taught Learning in Music Creation
Despite being self-taught, a brief encounter with music theory provided Smokin' Cola with foundational knowledge that complemented his natural style. This blend of education and innate creativity has been crucial in his musical development.
Maintaining Individuality in the Music Industry
In an industry teeming with talent, Smokin' Cola stresses the importance of individuality, suggesting that authenticity naturally leads to distinction. Understanding the universality of musical elements like the pentatonic scale and focusing on creating music that resonates personally are key strategies.
Upcoming Projects and Preparations
Smokin' Cola's plans for 2024 involve working on new music, including participation in the Monthly Music Challenge and potential covers of songs from his father's 1960s band. Balancing songwriting and live performance preparation is a critical aspect of his current focus.
DIY Ethos and Collaboration
The DIY ethos is seen as compatible with collaboration. Smokin' Cola is part of Only the Label, a collective of DIY musicians, demonstrating that independent creation can coexist with collaborative efforts.
Engaging with the Local Music Scene
Based outside Baltimore, Smokin' Cola intends to engage more with the local music scene in 2024. This involvement will include both contributing to and drawing inspiration from the vibrant local community.
Adapting to Different Audiences and Venues
Smokin' Cola's experience in adapting to different audiences dates back to earlier live performances, where he embraced the challenge of diverse roles and venues. These experiences helped shape his current adaptable approach to live shows.
Handling Criticism and Feedback
Constructive criticism is welcomed by Smokin' Cola as an opportunity for growth, while negative, non-constructive feedback is largely ignored. Maintaining a positive and supportive stance in the music community is a core principle.
Self-Promotion Strategies
Smokin' Cola's self-promotion strategies involve active engagement on social media platforms like Twitter and TikTok, and participation in music community events. Emphasizing mutual support among indie musicians is a key part of his approach.
Balancing Artistic Expression and Commercial Appeal
Striking a balance between artistic integrity and commercial appeal involves envisioning audience reaction while staying true to one's creative instincts. Smokin' Cola views commercial success as secondary to artistic fulfillment.
Composing for Film or Television
While Smokin' Cola has not composed specifically for film or television, he expresses a strong interest in exploring this avenue, leveraging his creative energy across various artistic forms.
Challenges in Independent Music Production
Time management is a significant challenge for Smokin' Cola, balancing family, career, and music. Prioritizing and scheduling dedicated music production time is a key strategy in overcoming this challenge.
Networking in the Music Industry
Networking, crucial in the music industry, involves genuine engagement and interest in others' work. Platforms like Twitter have proven beneficial for building connections within the music community.
Influence of Early Music Experiences
Early musical experiences, including the first instrument played and the origin of the stage name, have been previously addressed, highlighting the lifelong impact of these early influences on Smokin' Cola's artistic journey.
Personal Inspirations and Artistic Creation
Current inspirations for Smokin' Cola come from fellow independent artists, with a focus on continually exploring new musical territories and maintaining a commitment to authentic music creation.
Interview with Smokin' Cola
How did the persona of Smokin' Cola come to be? Can you share the story behind the creation of this artistic identity?
Smokin’ Cola as a persona – and it very much is, which I’ll get into, even if I’m not going full Buster Poindexter or Ziggy Stardust over here – really came about unexpectedly. I’ve used Smokin’ Cola forever as an umbrella, catch-all name for everything I did, so when I decided to recommit myself to making music, I called it Smokin’ Cola almost as a placeholder. But it just grew, organically, into its own thing. It really fits the music, I think, but it’s also starting to influence the music in some ways.
Inspiration Behind the Name 'Smokin' Cola': What's the story behind the name 'Smokin' Cola'? How does it reflect the essence of your music and persona?
Well, those who get it, definitely get it, as far as the pun in the name, which is the technical origin of the name. And that is certainly a part of the persona. I gave the IRL answer above but Smokin’ Cola the band also has its own personality, which is all about making the most authentic, honest music possible and has a DIY, lo-fi ethos that sort of identifies the music and the general vibe of everything Smokin’ Cola does.
But the other part is that I am also Smokin’ Cola the musician, and there are, like, several of me. I’m Smokin’ the singer and guitarist who is kind of out there, then I’m Smokin’ the lead guitarist, who’s really into Johnny Marr and John Frusciante and I’m sure some guitar players not named John. And they’re a little different from Smokin’ the bass player who is, you know, the bass player. And the drummer is my computer.
Early Musical Environment: You mentioned growing up in radio stations and being surrounded by music through your parents. How do you think this unique childhood environment shaped your musical tastes and your approach to creating music?
Well, as one would expect, I just have a ton of musical influences (and I’m not afraid to use them). My dad worked in all kinds of formats, some of which I learned to really hate (haha), but I also have appreciation for a lot of music that doesn’t directly seem evident in my sound, whether it’s Top 40 pop stuff or whatnot. But what it really did was just make listening to music and constantly finding new music something that we just did, just as a regular part of life. So, some of my biggest influences are from when I was a kid and my dad was playing stuff like Tom Petty and Foreigner at work and then coming home and playing Bob Dylan and John Prine, then watching my mom and stepdad’s band play stuff like Pretenders and The Fixx, then watching Talking Heads and Blondie on SNL. But then I found stuff like Beastie Boys and Red Hot Chili Peppers or Guns ‘n Roses and Metallica own my own. Then, you know, I was the right age to be right in the middle of the whole grunge thing, so that left a huge mark. And it’s never really stopped from there, so, yeah, that whole idea of constantly searching out and listening to new music is directly a huge part of who Smokin’ Cola is.
Musical Evolution: You've transitioned from playing in bands in your 20s and 30s to embarking on a solo project in your late 40s. Can you elaborate on how your musical style and objectives have evolved over the years, especially with the shift to a solo project?
This is a good question, that has been a really interesting transition, no doubt. So, I come from a very musical family, my parents, siblings, various extended family were (or are) all musicians. But I started seriously playing an instrument kind of late, in my senior year of high school (h/t Cliff Burton). I was a bass player in my first band, Disco Soul Saviour, which was in the mid 90’s and was kind of a rock/funk/rap thing. We were pretty good for a small-town band, played a bit all over Louisiana. When that broke up, I moved to Maryland, and my best friend from that band followed me up a few months later and, with others, started another band. That was Atomic Brown, and we were a 7 piece, really funky, experimental band. We had saxophone and steel drum; one guitar player played a synth setup pretty exclusively. I switched between vocals, guitar, bass, whatever. It could change gig to gig. But, as these things go, that ended for a variety of reasons after 3-4 years. After that I started doing some things solo, but, yeah, life happens, and I ended up doing not much more than occasionally strumming a guitar for way too long.
A huge thing that happened over that time was having kids, who are freaking awesome, but two specific ways they impacted me musically is, number one, singing a LOT of bedtime songs – I was never a confident singer (fire rapper, even if I keep that mostly in the back pocket these days, lol), even though both of my parents are fantastic singers. So that practice, in a real way, just kind of helped. And the other way is, I just had one of those things where, when my first kid was born, I just stopped caring what other people thought a little bit more – not in an “eff you” way, I was just, you know, a little more confident and a little more, for lack of a better term, a dad – different priorities suddenly.
Anyway, back to the question. Once I started figuring out what I was going to do with Smokin’ Cola, one thing I focused on was exploring the music that I’ve always just had in my head. And that music was a little different than what I had played with either of my bands. There are little similarities - I kind of can’t resist a little groove you can shake to – but for the most part, the music I naturally hear in my head has always been a little more rock ‘n roll, but still kind of experimental and filtered through all the different genres I’ve absorbed over the years. But figuring out how to do everything has been a…let’s call it a creatively stimulating process.
Influence Integration: With such a broad spectrum of influences from Johnny Cash to St. Vincent, how do you integrate these varied styles into your music without losing your distinct sound?
There are two ways I think I can approach this question. Going back to the last band I was in, Atomic Brown, we actually had a conceit (I think I’m using that correctly) where each member of the band was a Mr. or Ms. Brown. That’s how we would refer to ourselves on stage (I was the Downest Brown, for inquiring minds), and we very loosely built little personas onto them (or at least some of us did, I don’t want to necessarily speak for everyone; in any case, it was fun, and I liked it). So, I sort of borrowed that once Smokin’ Cola started coming to life; I think I mentioned this before, where I try to get into a different mindset for each instrument, and really build a persona around that. So like I mentioned before, I can kind of use my influences and assign them to each persona and go from there.
This is where I must break the fourth wall a little and talk about my non-musical career, which is in web development, specifically user experience. And a big thing in that field is building various personas for different users, so I also used that knowledge to inform, to a much less formal extent, the different Smokin’ Cola mindsets. Anyway, in a real sense, that’s how I organize some of my influences, because Smokin’ Cola, right now, is trying to focus on really honing a specific sound, so there is a conscious focus on more guitar-driven, yet eclectic, sounds. I have many that I’m not remotely using right now, though I think all the time how to incorporate them, from going back to some of my funk, hip-hop oriented musical roots, to some different heavier styles, to even some more international influences.
Parental Influence: You’ve mentioned your kids as one of your big influences. How has fatherhood influenced your songwriting and your perspective on music?
I know I touched on this a bit already, so I’ll share this anecdote – I mentioned singing bedtime songs to my kids and, for whatever reason these things happen, one day my kids decided they wanted me to sing Rudolph the Red-nosed Reindeer one night and that lasted for about 5 years. I’ve literally sang Rudolph thousands of times and, if I may say, I’ve got it down.
Another thing I’ll touch on is this: I mentioned how the music I hear in my head is a bit different from my previous band’s music, but I always resisted that in some way. I felt I was identified with a certain type of music and that’s what I had to create, and yet this weird rock and almost rootsy, dark folk stuff kept coming out and I just, like, couldn’t understand it! There was a point where I almost felt like lost the music a little bit, and I think that was partly because I was trying to create what I thought (in my own, wonderful, noisy mind) was somehow expected of me. You know, I wasn’t being authentic, even though I wasn’t really consciously aware of that.
But, when I had kids, I stopped caring as much about what anyone thought and more about just being a true, authentic person (and I will tell you that is summing up years’ worth of blood, sweat, and tears in one sentence) and when it came to music, that carried over. So, I started authentically exploring the sounds I always naturally gravitated towards, and it has just felt so much – not necessarily easier, but a lot more fun and fulfilling and something that I’m really proud of at this point.
Practical Advice for Aspiring Artists: Based on your experience, what practical steps would you recommend to aspiring artists in terms of developing their craft and finding their unique voice?
You know, I can only speak for myself, I think everyone has to find their voice in their own kind of way. But I would say, I think in terms of being unique, being authentic and honest in your music helps – I can make some straight-ahead rock music that I still think has a sound that’s unique to me, because I’m not trying to sound like this band or this guitar player, I’m just playing what I want, the way that I want.Beyond that, I feel like a lot of it is true cliches – practice your craft, don’t be afraid to step outside the box, whatever. All of that is good. I guess in terms of practical advice, record yourself all the time, listen to it, figure out what you don’t like and how to fix it or what you want to change. I am constantly sneaking down to my studio to just play a few songs with my phone recording. Especially if you want to play live, I think this just a must do, because sometimes you get caught up playing and you’re not really listening to what the audience is hearing. So that’s probably my biggest piece of practical advice.
Rule-Breaking in Music Creation: You've described yourself as self-taught and unafraid to break rules. Can you give an example of how this approach has directly influenced one of your songs or albums?
It’s true that I am pretty self-taught and for many years I was kind of proud of not having had any lessons or anything. I mean, I picked up stuff from friends and musicians I knew. I worked in a guitar store for many years in my twenties and, you know, talked to the guitar instructors and overheard stuff in lessons, but that was pretty much it, haha. And I believe that definitely helped me develop my own sound and style, but, honestly, it also made it really difficult to finish songs and play with others, because a lot of the time I was really just kind of guessing what would happen if I played a particular thing.
So, at the risk of going against the question a little, one of the biggest things that happened right around the time Smokin’ Cola came into being is, I was (and this is a totally different story) in the process of finishing my bachelor's degree and I had to take an elective, which ended up being a FANTASTIC music ethnography class, which also really influenced me a great deal. But most importantly, the first couple of weeks of the class were, like, a music theory primer, so non-musicians would have some grounding in what to listen for; those two weeks basically connected so many dots that I had picked up over the years and suddenly I had this basic understanding of theory, and it was just mind expanding. I don’t know if it would have had the same effect at another point in my life, but it was just the right information at the right time and things just clicked. Now, I’m not suddenly some genius composer or something, but just knowing some things makes the whole process more – not less – creative and energizing.
But, like, I still am mostly self-taught and one thing I don’t have is a big repertoire of other people’s licks and riffs and stuff, so I feel like I still have my own sound. It’s like I have the best of both worlds – a little bit of education and the freedom of ignorance, for lack of a better way to put it.
Individuality in a Crowded Industry: In a music industry crowded with talent, how do you maintain your individuality and ensure your music stands out?
I mean, it’s right in the word, individuality – you have to be yourself. In my world, we’re all different, there is no “normal”, everything is a spectrum of something, so if you want to make rock or EDM or trap or Avant Garde piano, whatever, just be true to yourself and by default you have individuality.
One thing I think about though is that – so when I studied music ethnography, one of the most liberating things I learned was that the pentatonic scale isn’t just for blues music, it’s literally in everything. You know, classical music uses the pentatonic scale, choral and chanting music, even Indian music, you find the pentatonic scale in everything, because it’s just a universal set of sounds that resonate with human ears. Yet for so many years I refused to use it because I thought it wasn’t cool, like a dumbass, haha.
So, my point is that you don’t have to reinvent the wheel, you don’t have to make every song some brand new thing the universe has never heard before. We’re all using the same set of notes and whatnot, just like painters are all using the same available colors, right? So, at least for me, I’ve gotten to a point where I’m just trying to make some songs that I like and am proud of; everything else should just flow from there.
Upcoming Projects: With plans for a new EP and potential live performances, how are you preparing for these new ventures? What can your fans expect from these upcoming projects in terms of style and substance?
Yeah, my plans for 2024 are still somewhat fluid – my plans always will be – but I am currently working on new music. I am participating in the Monthly Music Challenge (#MMC shout out to @CosmicBos on Twitter (or X or whatever)), so in theory that might end up being an album by the end of the year.
I have found that I work well with challenge-type projects; my EP Quadrivium came from the Album Writing Club put on by the Lights and Lines label last May and I’ll enter that again if it’s happening this year – my guess is that would be another EP, I have a few ideas I’m bouncing around.
I also want to do some covers, especially some stuff by my dad’s old band back in the 60’s. I think that will be really fun. And you never know what else; one of my favorite musicians right now is Truck Dog and the Go People and that guy is so prolific. I am, um, not, but that’s something I’d like to get better at. That’s kind of all about getting better at my own recording workflow and improving my skills at that craft.
That’s actually a good transition to talking about playing live, because one thing that slows me down is, like, I can write and record a song, but I also want to play it live and that’s its own process, especially figuring out how to play and sing parts together. So, I end up getting caught up learning how to play my own songs and not writing new songs. But I want to get a little more relaxed releasing some stuff that, heck, I may never play again, and being ok with that.
I do think my philosophy around songs is compatible with that idea. My personal way of thinking about songs and songwriting is sort of thinking that each time a song is played – and I mean whether live or listening to a recording – it is a unique, living version of itself. This is another area where I’ve evolved over the years, there was a time I had real issues finishing songs because I was trying to make the “perfect, final version”. But now, I’m like, “just finish the song the way that it is right now.”
Because, if I play it live, it’s likely going to be just me with a guitar, which will be completely different from a studio version with drums and bass and multiple layers anyway. And those versions might change and evolve too, from performance to performance, or as part of new bands or collaborations, so what the hell even is a “perfect, final version”. I just let go of that concept, at least as best as I can – I still want to put out something I’m proud of, so there’s a balance between making it good and not getting hung up on some tiny detail.
DIY Ethos and Collaboration: You've expressed a love for the DIY ethos. How do you balance this with the collaborative nature of music, especially as you plan to work with other musicians?
I think DIY and collaboration are completely compatible. You can do it yourself or do it yourselves, right? I am very open to musical collaborations – I mentioned Truck Dog and the Go People, and we’ve had some loose discussions that I am hopeful come to fruition this year. I’ve been very fortunate to find an awesome, supportive community of essentially DIY musicians online – I’m talking about people who are writing, playing, recording, and largely even mixing and mastering on their own, which is what I’m doing. We’re talking about genres that are incredibly diverse, as are the styles and the mixes, but the thing that everyone has in common is this love of independent music as art and the musicians as artists. That community has organically kind of organized itself and, thanks to some really incredible, generous people, recently culminated in Only the Label, a new record label of which I am incredibly honored to be part. I never thought I’d ever be able to I’m on a label, but here we are, haha.
But, in a very real sense, that’s another form of DIY collaboration, not must making music, but working together in a very real and intentional way to form a community and provide support structures and tools for promoting and growing ourselves as an artist. It’s just been something special to be involved with.
Engagement with the Local Music Scene: Being based outside of Baltimore with its vibrant punk scene, how do you plan to engage with and contribute to the local music community?
With great care, haha! No, I know some great people in the Baltimore scene and, even more, really, in Annapolis and this general area, that I have no doubts I will be welcomed and have some opportunities when I’m ready to get out there. Now it is kind of funny that, to this point, Smokin’ Cola is completely online, and I can honestly say I have more fans in England and Spain than I do locally. But I anticipate that changing a bit this year – for one, thanks to Only the Label I have discovered that a few of the people I’ve been interacting with online are somewhat local to me, so there’s been some discussion of putting together some label shows.
Beyond that though, I think my plan for 2023 was to create something that I could take out into the world and, for the most part, I did that. So, there are some local people I’ve known for years who are just starting to get wind that I’ve been making music again and I plan to spread that word locally more in 2024.
As far as supporting the scene, I think that’s really important, but for someone like me, who also has a family and career outside of music, it’s kind of do whatever you can, whenever you can. Probably the best thing I try to do is just be a good example of a cool guy and supportive fellow artist. There are enough critics and trolls out there, you know, so I just always try to focus on being supportive, especially to anyone who is just coming into the scene or putting themselves out there – that experience is recent stuff for me, so I have that perspective I can offer.
Adapting to Different Audiences and Venues: Can you share an experience where you had to adjust your performance style for a specific venue or audience? How did you approach this adaptation and what was the outcome?
This is kind of a weird question for me, since my recent experience playing live is pretty slim, going back ten or fifteen years. Though, now that I think about it, what live playing I did over that time is probably where the answer is. After Atomic Brown broke up, I didn’t play live again for at least five or six years, which ended when I played at this tiny fall harvest festival. That was actually the first time I ever played solo in public singing with at guitar, so that’s kind of the embryonic origin of Smokin’ Cola. That whole thing was an adjustment, from hearing myself through monitors to hitting the mic stand with the guitar neck, haha.
But the experience that really comes to mind was shortly after that, and that was when one of my best friends, Boo Valdez, who was in Atomic Brown with me, passed away. He was just a huge figure in our circle and beyond – I mean, he was stage manager for freaking Toto for a while – just the best, nicest, guy. So, a couple of months after he passed there was a tribute show in Annapolis and we had a mini-Atomic Brown reunion. But we were pretty scattered across the country at that point and not everyone could make it and, as it turned out, it sort of fell to me to do all the vocals, singing, rapping, screaming. I had done the last two actively – those were mostly my parts, but I had to sing all of Boo’s parts.
Boo had a great voice and, at that point, whatever my voice is, I had very little confidence. But I just went out and was like, “for Boo” and went for it. And I am not, by any means, a religious person, and even my spirituality is a little agnostic, but I’m telling you I felt Boo on that stage with me and I just sang along with him and, dammit, I left that show knowing I could do this. It was like the last, best gift Boo gave to me (though I am also the owner of his old washboard). Anyway, I don’t know if that exactly answers the question, but there were definitely adaptations made, both by and to me, that night.
Handling Criticism: As an artist, you’re likely to face criticism from fans or critics. How do you handle such feedback, and can you provide an example of how criticism has positively influenced your work?
If it’s given honestly and constructively, I totally welcome criticism – well, I’m at least open to it, haha. I know I’m not a virtuoso at anything I do, so there is certainly a lot of room for improvement. Hell, putting it all out there so the audience can follow my growth is part of the whole idea, Smokin’ Cola is supposed to be this organic, evolving thing. So, if someone wants to offer some tips on improving my mix or say, “Hey, does that note really fit there?” or says, “you’re a little pitchy, but if that’s intentional you should really lean into it (true story, h/t Loop City Slums)” then I’m taking that kind of stuff to heart.
As far as negative, not constructive feedback, I mostly just ignore it. Like, there’s different categories of it – someone might say my song sucks, but it’s kind of obvious that they don’t like weird rock music in general, so I’m not really going to take that personally. And if someone wants to go low and troll to get a reaction, well in my world that’s a reflection on them, not me, so again not going to take that personally.
Kind of going back to some of the stuff from before but getting to a place where you’re comfortable in your own skin of course helps with dealing with negativity. And being a positive, supportive person – you’re just going to get positivity back more than if you’re out there spreading negativity yourself.
Self-Promotion Strategies: What strategies do you employ to promote yourself as an artist? How do you utilize social media, networking events, or collaborations to reach your audience and industry professionals?
Ugh, I’m the wrong person to ask this question, haha. HELP! I NEED HELP WITH THIS!!!
Like, I’m pretty active on Twitter/X, intermittently on TikTok, sporadic on YouTube. The things I’ve had most success with is finding people who will play your music and give feedback – I already mentioned Loop City Slums, they are awesome about that. Only the Label basically grew out of something called the Indie Music Hunt, which is done by John Woodson, AKA Only the Host and is a daily live YouTube show where he plays whoever submits and newcomers get priority. That is appointment watching for me and I recommend anyone check it out. The community and feedback there is incredible. And there are lots of other great, supportive people like this if you look around, the Music Mondays podcast comes to mind, too.
It's kind of like when I was talking about the pentatonic scale – especially when you’re first starting out, you shouldn’t be afraid or ashamed for your fans to be other musicians. I’ve actually seen that criticism, “oh that’s just some circled jerk” or whatever – but how effing dumb is that? I LOVE that musicians like me. You know, the traditional music industry is pretty much nonexistent now for most of us indie musicians, so we’re all in the same boat trying to define what this new landscape looks like. It’s a really important time to support each other. But it’s also a time where there is SO MUCH music out there and, contrary to what a lot of people say, it’s a great time to be an indie music fan. And most of us indie musicians are of course fans too, so why not support each other in that way as best we can.
Anyway, that’s all I got for this question.
Balancing Artistic Expression and Commercial Appeal: How do you balance artistic expression with the need for commercial appeal in your music? Can you give an example of a project where you successfully achieved this balance?
This is a balancing act and, to be clear, to the extent that I’ve achieved this balance the commercial appeal was definitely theoretical! Really, I don’t focus on commercial success at all – if I make enough money off this to support itself or buy some new gear, that’s all good with me. That said, I do want to people to like my music – I’d like to think some people might bob their head or tap their foot and, heck buys a download or a t-shirt because they dig my song. So, when I write a song, I do try to really envision someone listening. I try to get out of my musician shoes and into my fan shoes. That’s a helpful exercise for me, actually, when trying to figure out how to phrase a line or arrange a song – how will this get a crowd going?
I might be a broken record, but it’s all going to go back to being true to yourself and focusing on doing things authentically, then trusting that things will flow from that.
Now, to counterbalance that thought – if you are really, authentically desiring of that commercial success, then you need to hustle, you need to grind, you better put your work in, you better be someone people can work with, or all the talent in the world won’t mean anything.
Composing for Film or Television: Have you ever composed music for film or television? If not, how would you approach such a project, and what aspects of your creativity do you think would contribute to its success?
That’s something I’d love to try, but I’ve never actually composed anything intentionally for film or any other medium. I do love tinkering and making videos for my songs, but that’s really on the hobby level right now – another thing that keeps me from writing new music, haha. But that’s part of the DIY mentality, to just throw yourself into, and really enjoy, whatever part of the creative process calls to you. Like most musicians and artists, I have a lot of creative energy, but that energy can manifest itself in all kinds of avenues. I love to create art, whether it is a song or album cover or video, and I have other non-musical outlets, too..
Challenges in Independent Music Production: As an independent artist, what are some of the challenges you face in music production? How have you overcome these challenges in your career?
For me the biggest challenge is just time – like I’ve mentioned, I have a family and a career outside of music and – as much as I love music, and I really intensely do – I love those things too, so I have to prioritize the best I can. Fortunately, I do work from home most days, so I try to do something productive for Smokin’ Cola every day, but when it comes to recording new music, it definitely helps to have a few days when the family is busy with school or whatnot. Then I can take a few days off work, and just focus. Kind of like booking time with myself in my home studio.
I think your challenges vary according to your goals, too. So, like, I’m not seeking fame and fortune, so I don’t have a lot of worries about do I have shows booked or how many units I’ve sold. I’m more concerned about creating something authentic and a being part of a community, so I worry about things like, making sure I contribute in terms of feedback or buying merch or recommending new artists to friends, as well as creating new content. I mean, don’t get me wrong, I love that some of my songs have gotten way more streams than I ever expected and if this somehow finds me playing some festivals and selling merch in a few years and I somehow make some money, like I’ll never complain. But that would all be house money at that point. I just need to have this outlet.
Networking in the Music Industry: Networking is crucial in the music industry. How do you approach building and maintaining relationships with other industry professionals?
You know, I’m really new in terms of what Smokin’ Cola is doing and, though I have a few in different roles, my contacts in the industry are pretty few and far between. But, you know, this industry, whether you’re talking musicians or producers or stage crew, engineers, labels, there are a lot of characters that you come across, so I think just being a cool, real person is a good place to start. Not something I ever thought I’d say, but Twitter, I think, is actually one of the best places for musicians to network, at least in my experience. Maybe I’m lucky, but that’s where I really found my people the last few years. Be interested in other people, ask questions about stuff you’re genuinely interested in, stuff like that will never steer you wrong.
Influence of Early Music Experience: Reflecting on your early years, what was the role of music in your life and how has it influenced your journey as an artist?
First Musical Experiences: What was the first instrument you learned to play and what is the story behind your stage name, Smokin' Cola?
Personal Inspiration and Artistic Creation: Who are your personal inspirations in the music industry, and how do they influence your creative process and artistic creation?
I kind of feel like I’ve already answered these last three questions for the most part. I will say, in response to the last one, my biggest inspirations these days are my fellow independent artists. It’s very energizing to see and hear people out there creating and putting themselves out there daily. It’s inspiring from an effort standpoint, it’s also inspiring in regard to being inspired to try new things, whether different genres or arrangements or tonal pallets. My personal aspirations are pretty simple – just keep makin’ music. I’ll do whatever it takes to make that happen.
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Special Lyric Review Face My Love
The lyrics to "Face My Love" are quite expressive and touch on themes of vulnerability, love, and the fear of not being enough for someone else. The song seems to navigate the complexities of a deep emotional relationship, where one person is seeking validation and a decision from their loved one.
Emotional Depth: The repetition of "face my love" could symbolize a plea for the other person to confront the reality of the relationship, to acknowledge the depth of the feelings involved. It's a call for openness and honesty.
Insecurity and Doubt: Lines like "I'm never gonna be good enough for you my dear" reflect a deep-seated insecurity and fear of rejection. This sentiment is common in many romantic relationships where one person feels unworthy of the other's love.
Urgency and Decision: The recurring lines "So you've got a choice to make, Will you run, Or face my love?" emphasize a sense of urgency and the need for a decision. It's as if the speaker is at a crossroads, needing to know whether their partner is fully committed to the relationship.
Self-Reflection and Realization: Phrases like "Then one day, it occurred to me, You're my life, I don't wanna die" suggest a moment of profound realization about the importance of the relationship in the speaker’s life. It’s a recognition of how deeply they value the other person.
Imagery and Metaphors: The use of imagery, such as "Oh little stars, how they shine," adds a poetic quality to the lyrics, creating a romantic and somewhat dreamy backdrop to the song's emotional core.
Confrontation and Resolution: The final lines, "This is just the rest of our lives, Look me right in the eyes, And tell me, What are you going to do?" bring the song to a climax, demanding a confrontation and a resolution. It's a moment of truth for the relationship.
Overall, the lyrics are laden with emotion, combining elements of love, fear, and the longing for clarity and commitment in a relationship. The songwriter uses repetition effectively to emphasize the main message and create a sense of urgency.
Lyric Story Stars of Decision
Created by Indie Mastered
Copyright 2024 Smokin' Cola
In the quaint town of Luminara, where stars shone brighter than anywhere else, lived two souls entwined by fate but separated by doubts. Ella, with a heart full of dreams, and Noah, a poet at heart, found themselves at a crossroads, under the very stars they once wished upon.
Ella, with eyes reflecting the night sky, had always been the anchor in Noah's tumultuous world. Her love was a sanctuary, unwavering and pure. Yet, Noah, plagued by insecurities, often wondered, "Am I good enough for her?"
One night, under the luminescent glow of the stars, their unspoken fears and desires came to the forefront. Ella, ever patient, had waited for Noah to see what she always saw in him – a kindred spirit, a soul mate.
"Noah," Ella whispered, her voice as soft as the night breeze, "you've always been more than enough. Your love, your fears, your hopes – they've all held a space in my heart. But it's time for you to face my love, face the truth of us."
Noah's eyes, usually filled with poetic verses, now mirrored a storm of emotions. The stars above seemed to dance, casting a celestial glow upon them. He realized then that his love for Ella was not a quiet stream but a roaring ocean.
"Face my love," Ella repeated, her hand reaching for his. "Will you run from us or embrace what we have?"
As they stood under the starlit sky, Noah felt a shift within him. The words he often penned in solitude now found their voice. "Ella, you are my life, my muse, the star that guides me through my darkest nights. I've been a fool, lost in my own fears, blind to the love that was always here."
With a newfound courage, Noah looked into Ella's eyes, their future reflecting in them. "I won't run anymore. I choose to face your love, our love, and embrace whatever comes our way. This isn't a compromise; it's the beginning of the rest of our lives."
That night, under the watchful eyes of the stars, Ella and Noah's hearts aligned in unison. They realized that love wasn't just about facing each other but also facing themselves – their fears, their hopes, and their dreams.
As dawn approached, with the first light breaking the night's embrace, Ella and Noah knew that their journey wouldn't be easy. But with love as their compass and the stars as their witnesses, they were ready to face it all, together.
