The Apache Relay are indie roots with eclectic instrumentation, part of a new Southern indie scene rising across the region, but taking over Nashville, Tennessee. The band is gaining a lot of attention behind the first single from its eponymous sophomore effort, “Katie Queen of Tennessee.”
On Friday, they’ll make their first Alabama stop of the coming months with a show at the Shoals Theater in Florence, Alabama, part of the Billy Reid Shindig weekend. In October, they’ll return, coming to the Magic City as part of the second annual Cask & Drum lineup on October 11.
Guitarist and lead vocalist Michael Ford spoke to Weld about the band’s early success and sound.
Weld: The rest of the band had formed before you met them. Did you replace someone, or were they doing it with no vocals?
Michael Ford: Originally, it was Mike, Brett and Kellen, and it was, like, an acoustic bluegrass trio. Basically, what happened was that I was doing some solo shows and I had heard that Mike and the guys had an acoustic trio, and I just thought it would be really interesting to combine my vocals with the elements of bluegrass that existed within their trio. I called them up and we played a few shows together and it was really good. We decided to make a record, and the first record that we made, 1988, was two months after the first show we played together.
So, yeah, they were doing their thing and I was doing my thing and we felt that it was most natural and made the most sense to combine forces.
Weld: Was it a natural combination, or did one side have to compromise and do something they weren’t doing before?
MF: Honestly, it was really natural. We were all, at the time, influenced by the acoustic movement and bluegrass movement that was happening in Nashville and nationally. We kind of discovered each other and realized that our vision for the record was the same and everybody was open and excited to collaborate. It wasn’t a lot of artistic friction or anything like that; everyone was kind of open and following our gut.
Weld: Belmont is churning out Southern indie bands like the University of Georgia churns out college rock bands. What led to that?
MF: I don’t really know how all of that happened, I just know there are a ton of really talented musicians and writers and bands that are in this area and I think part of it has to do with osmosis – just from living in the area, people are listening to certain bands and they’re going to certain shows and I think it kind of seeps into your subconscious and I think that influences a certain writing style maybe, a certain kind of sound. I think that’s what’s been going on at Belmont the last few years. There’s a tight circle of musicians here in town and everyone hangs out and goes to each other’s shows. It kind of goes with the territory. Small town, lot of musicians.
Weld: Is Nashville originally home for everyone?
MF: Originally, we’re from all different parts of the country. Me and my brother Ben are from the New Orleans area. Mike Harris is from right outside Charlotte in Mooresville, North Carolina. Brett’s from Wilmington, North Carolina and Kellen is from Philadelphia.
Weld: How much did the jazz sounds you grew up around in New Orleans influence what you were doing?
MF: You know, as a kid, we really didn’t go into New Orleans much. We’d go into town for a Saints game here and there, but when I was a kid, we were in the suburbs and I was listening to pop radio. In high school, I got into metal. [Laughs] Prog music. It’s really sad — when I was there, I really didn’t appreciate jazz music like I should have. Ben went and studied jazz guitar for a year-and-a-half in high school. When I was growing up, I’d just listen to whatever was on the radio and then in high school, I got into really weird stuff.
Weld: How did you guys get hooked up with Billy Reid?
MF: We met Billy through Shelly Colvin. She’s a good friend of the band and she’s married to our band’s attorney. We’ve known her for years. She lives in Nashville and she’s been a big supporter of ours and is a dear friend. I guess it was four or five years ago when we met Billy — really early in our career. We love his company and we love everything they’re about. Love the clothes, too.
Weld: Has Shelly had a chance to make you over?
MF: She has! [Laughs] She styled one of our music videos, for “Katie Queen of Tennessee.”
Weld: You’re sharing the Shindig bill with Wild Cub, a band with a very different sound. How does your music fit together with theirs on this bill? What is your relationship like with them?
MF: I’ve only had a chance to meet Keegan a couple of times, he’s a super awesome dude. I’ve met the other guys before – they’re all very nice. We know them in passing, and it’s cool because both bands provide an element of energy and fun from both bands in different way. We’re doing the retro-pop thing and they’re — well, I don’t want to categorize anybody else’s music, but kind of the little electronic but little pop-rock kind of vibe. So I think both – I think for crowds it will be fun because it’ll be energetic, it’ll be fun, but there’s two different aesthetics and I think that’s what makes a show exciting and keeps it from getting boring; two bands doing their own thing, but it lends itself to a good show and keeps it exciting.
Weld: Who are the top five American rock bands of all time?
MF: Gotta start with Tom Petty and the Heartbreakers. Wilco is in the top five for me. I’m going to go with My Morning Jacket. Springsteen, definitely. And if we’re talking rock bands, Nirvana’s got to be in there, of course.
Learn more about this weekend’s Billy Reid Shingdig and how you can purchase tickets to the concert at Reid’s journal. Learn about the entire Cask and Drum lineup in Birmingham on October 11, and get more information about each level of ticket available for purchase by visiting Cask and Drum’s site.
