The first surprise when speaking to Piper & The Hard Times is how little they talk about blues as a style. Frontman Al ‘Piper’ Green speaks as if every song is a personal stake in the ground. Guitarist Steve Eagon treats tone like a conversation rather than a reference point. Drummer Dave Colella talks about tension, air and human timing before anything technical. What emerges is not a group preserving a tradition but musicians working in the present tense, creating songs like they are happening for the first time.
Piper, do you feel the gospel and the rock and roll sides of your musical upbringing pulling in different directions or do they align?
My singing and stage performance come from a melting of gospel, Elvis, traditional blues, rock and roll, and soul. I pull something from all of it and make it Piper!
Steve, your guitar tone carries echoes of Jeff Beck and Muddy Waters but still sounds your own. What did it take to arrive at a voice on the instrument that feels this lived in rather than stylistic pastiche?
Good catch on Beck and Muddy! I’ve always been attracted to guitar players who take risks, push the boundaries of a certain style, and make the listener feel something. My biggest influences are Jimmy Page, Steve Howe, Pete Anderson, Jeff Beck, Muddy Waters, and B.B. King. That’s quite a variety of different techniques and musical feels from which to learn. I’ve always prided myself in avoiding a label or comparison to other players.
I arrived at my voice over the years by trying to fit my approach and tone to the song I’m playing or writing, and having a large vocabulary of styles helps me do that. Living in Nashville for over 25 years and being around world-class musicians has also been a huge influence as well.
Dave, after studying with Joe Morello, what philosophies from that school of thought still guide the way you drive a song today? Is there something you hear drummers missing when they approach blues-rooted music from a purely technical angle?
I think first and last, it just needs to feel good. That’s really the most important thing in any groove-based music. I’m generally thinking about playing less, making sure the feel is good and the foundation is happening with Parker Hawkins, our bass player. If there’s something not happening there you’ve got problems.
Studying with Joe was wonderful, and as the master he was, had an intensity in his groove and abilities. But he was an ensemble player and that is the most important thing. To sit in your right place among everything, drive the bus and serve the song.
You have been playing together for over twenty years. What was the breakthrough moment when you realised you were not just executing songs but thinking as a single band?
This may sound crazy, but the first time we got together there was a chemistry and friendship that formed almost immediately. We laughed and enjoyed each others’ playing to the point that it seemed we were destined to find each other.
None of us have an ego that rules the band, so we’re able to focus on entertaining and playing as Piper & The Hard Times. The true test of this chemistry came after we took a break from playing for 5-6 years. We each went and did other projects, and when an opportunity came for us to get back together and perform it was as though we never stopped.
We’d be remiss not mentioning the other two band members – Amy Frederick on keys and Parker Hawkins on bass. We’ve had stellar musicians play in this band over the years, but this lineup is special and feels like home.
Winning the International Blues Challenge lit the fuse for this run you are on now. Did that night in Memphis change the way you see yourselves or confirm what you already knew?
Not to sound cocky, but we always knew early on that we had an ability to grab an audience and take them on a ride and feel something from us. It’s easy to do that when you have someone as dynamic as Piper fronting the band. We were a weekend bar band that had earned a reputation in and around Nashville as a solid live act for many years.
We also noticed that the audience would react just as enthusiastically to our original songs as various cover songs. After giving the IBC some serious consideration, we thought we’d go through the process and just be our usual fun-loving selves and see what happened.
Once we won the whole thing that night in Memphis, we felt we were ready to push this band as far as possible. We have a level of confidence, love and respect for each other. The IBC win confirmed what was in the back of our minds and allowed us to embrace the change that was about to happen.
How live was your album Good Company recorded, and were there moments where a mistake ended up becoming the take?
Good Company was recorded in the legendary Studio A at Oceanway in Nashville. Like our first album, Revelation, we brought in producer and friend, Tres Sasser and tried to record as much of the album “live” in the room together.
Our goal in the studio is to always capture the feel and excitement of our live show. We do not record to a click track, we’re not afraid to improvise in the studio, and we take chances that may lead to something unique. A great example of “going for it” on Good Company is the song, “Those Days.” We had played it live a handful of times, but on one gig close to the recording date we let the song breathe and we improvised the end – and it worked.
When it came time to record the song, we captured an absolutely magical take on the first pass. The issue was that it was close to 8 minutes long, but it was such a strong emotional take that we knew we had to keep it. The only overdub on that song was the saxophone.
‘Now I’m Lovin’ You’ channels the Muscle Shoals and Stax spirit with conviction. Piper, what did you tap into emotionally to deliver that kind of authority?
I pull from all my life experiences to deliver each song. Even if I don’t write the lyrics, I have to connect with the story and vibe to deliver it in the only way I know how, which is at full on.
Steve, how do you begin a song intended for Piper’s voice rather than just a guitar progression? Do you write with his phrasing and attack?
A typical song starts with me usually finding a guitar riff that has a strong hook. No one was better than Jimmy Page writing memorable guitar riffs, in my humble opinion, so it’s in my DNA. I’ll then sketch out a chord progression with a melody or vocal hook, send it to Dave and Piper to check out, and then keep building if they give it the green light.
For Piper to sell a song to an audience, he has to feel it and connect with the lyrics. Sometimes he’ll write all the lyrics, sometimes I will, but most of the time we collaborate. And, yes, I write with his voice and delivery in mind.
Dave, what is the invisible line between driving the band and leaving it air to breathe? Is restraint ever harder than power?
I think you can do both at the same time, just play less notes, that’s the restraint part. But I’m happy there. To me, some of the heaviest feels are the ones that are simple and relentless. When that’s happening and you’re leaving a lot of white space, when you step out and say something it speaks really loudly.
Blues is a genre heavy with tradition and expectation. How conscious are you of lineage in the writing room, and how much do you deliberately ignore in order to stay dangerous?
As a band, we’re extremely respectful of the blues as a genre and of course its history. It’s the backbone of our sound. That being said, Piper & The Hard Times has its own sound and a variety of roots rock influences. We want to push the boundaries of the genre and stay true to our identity, yet we still always express loyalty to the music and fans that got us here.
Piper, the lyrics draw from lived experience. Are there stories you are still hesitant to sing because they feel too raw or is the stage where you process them?
Yes, there are certain life experiences that I doubt I’ll ever be able to sing on stage. I’m an emotional guy and always sing and deliver the lyrics from deep inside me. There is one example of a song where I struggle to get through when we perform it on stage.
On our first album, Revelation, the song “20 Long Years” was written in the studio with Steve and I was in tears after recording it in only one take. This one really hits me hard when we play it live, and to be honest we haven’t done it that often.
Looking ahead to bringing Good Company to bigger stages, are you preparing to expand the show, or is the goal to stay as lean as the club sets that built your reputation?
Our vision for this band is to eventually be hitting it with a horn section and a few background singers. We’ve had the opportunity to do that a few times and it is a big, beautiful sound. Though, at the same time we’ve played some bigger shows recently as a power trio behind Piper and we make that work too.
And finally, for each of you, what is the moment in a great night where you know the band has gone from playing a gig to creating something unrepeatable?
Steve – While every night has its magical moments, the shows that are over-the-top occur when the band is playing at an unconscious level and the audience feels like they’re on stage with you. There’s usually sweat, tears, and some shenanigans happening as well!
Piper – I agree 100% with Steve’s answer. The only thing more I’d say is that the chemistry we have as a band in each and every song rises to another level on some nights, which hits the audience squarely in the chest.
Dave – Yes, it happens in that exchange between the band and audience. And the audience is as much responsible for that happening as the band is. For any show. If they’re bought in, it can happen. There’s an exchange of energy and it really doesn’t matter how big or small the audience is. For the band it starts to feel effortless and like a wave you can ride.
