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Koe Wetzel on Nashville, getting arrested and his ‘therapy session’ of a new album

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As a Texas native myself, I’ve had the pleasure of growing up with country music being a staple in my life. I remember the days when country was considered a niche genre, with its artists often facing stereotypes and limitations. But times have changed, and country music has evolved into something truly remarkable.

Koe Wetzel is speaking from Nashville after just beginning a two-night stay in the city, which he refers to as a “two-night town” being a longtime Texas resident familiar with the country music scene.

The singer and songwriter, sounding weary after last night’s events, described it as “feeling like a long weekend in Vegas” over the phone. He had been there since Tuesday and was eager to leave.

Wetzel, aged 32, gained popularity on social media through his boisterous delivery of post-grunge country tunes, such as “Drunk Driving,” “Something to Talk About,” and “February 28, 2016.” In these songs, he sings about his ability to rob a bank in an old Mustang and engage in hand-to-hand combat with law enforcement. The track “February 28, 2016” recounts his experience of being arrested for public intoxication in Stephenville, Texas. Fans now commemorate this day as Koe Wetzel Day.

His latest album, “9 Lives,” unveils a more mature and experienced version of the former hell-raiser: In “High Road,” he’s a man in a failed relationship choosing not to attend, while “Damn Near Normal” reflects on the monotonous lifestyle that comes with being on the road constantly.

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Gabe Simon, famous for his collaboration on Noah Kahan’s hit “Stick Season,” has crafted a more refined album with Wetzel titled “9 Lives.” This release showcases a stronger R&B and ’70s soft rock influence, blending seamlessly with reminiscences of Waylon Jennings and Puddle of Mudd. The songwriting is also more robust, boosted by the addition of music industry veterans like Laura Veltz and Amy Allen in the production process. Amy Allen, known for co-writing Sabrina Carpenter’s popular tracks “Espresso” and “Please Please Please,” was a significant contribution to this album.

As a skilled vocalist, Wetzel uncovers deeper emotions in songs such as “Sweet Dreams,” which reflects his habit of spoiling good things, and a heartfelt interpretation of Keith Gattis’ “Reconsider.” Noteworthy is also Wetzel’s stripped-down version of “Depression & Obsession” by the late emo-rap artist XXXTentacion.

“He mutters, ‘I’ve been poisoned, and I don’t feel good,’ as the soft strums of an acoustic guitar play on. The raw, hushed admissions of this hardened speaker bring a melancholic sense of understanding to his listener.”

As a cinephile, I’ve grown weary of being typecast based on tales I didn’t tell or images from my Instagram feed. From my current stop in Nashville, between tour dates, I share my authentic self: “This is me, in all my complexity. Take it or leave it.”

To date, “Sweet Dreams” and “Damn Near Normal” have amassed over 100 million streams collectively on Spotify and YouTube. The collaboration with young pop-country artist Jessie Murph on “High Road” has also made it onto Billboard’s Country Airplay chart – an accomplishment for Wetzel, who had previously maintained a distance from the mainstream country music industry and built his following through live performances instead of consistently releasing potential radio hits.

According to him, country music has expanded and evolved significantly in recent years, encompassing various sub-genres such as rock, alternative, bluegrass, and indie. His perspective is that the musical landscape no longer adheres to a rigid stereotype of what artists should sound like. The current output of country music is diverse and unpredictable, as evidenced by the rise of artists like Jelly Roll, who was previously a rapper with facial tattoos. Wetzel, who’s slated to open for Morgan Wallen this Friday at AT&T Stadium in Dallas, shares this viewpoint and finds it challenging to label country music as a single genre due to its multifaceted nature.

In a similar vein, “9 Lives” mirrors some popular music tendencies, including the resurgence of raw ’90s and early 2000s rock – witness Shinedown’s revival – through artists like Hardy, Warren Zeiders, and Bailey Zimmerman. Wetzel’s tunes bear a resemblance to Zach Bryan’s, another Nashville artist who has gained a huge following (and country radio recognition) by sharing his deepest emotions with listeners.

According to Wetzel, creating “9 Lives” was similar to undergoing therapy for him. Has he attended professional therapy before? He chuckles and admits, “Not as much as I probably should have.” Raised in a hardworking family in East Texas with a traditional male upbringing that encouraged resilience and keeping going, Wetzel shares that as he grows older, he recognizes the value of expressing emotions.

Hailing from the small town of Pittsburg, Texas, and named after renowned outlaw country artist David Allan Coe, Wetzel participated in football during his college years. However, a string of injuries led him to shift his attention towards music instead. His thriving live performances eventually piqued the curiosity of Columbia Records, resulting in the release of his debut major-label album in 2020, which he titled “Sellout.”

Ben Maddahi, Columbia’s A&R representative for the singer, shares that Ron Perry, the label’s chairman, believed Wetzel was on the brink of a major breakthrough despite his own uncertainty. Maddahi adds humorously, “Ron wanted a hit from the country music artist under his wing, so he sent the Persian-Jewish executive from Beverly Hills to help him achieve it.”

I was thrilled when Maddahi brought Wetzel and me together for a songwriting session at Sonic Ranch, an exceptional studio nestled near El Paso. During our time there, the producer sat on the ground with Koe and me, encouraging us to share stories from our lives. The melodies flowed effortlessly; we crafted several tunes during our two or three-day stint at Sonic Ranch, and then continued refining others in Nashville over another similar period.

In the humorous “Leigh,” which bears similarities to George Strait’s well-known song “All My Exes Live in Texas,” Wetzel ponders the possibility of relocating to Memphis to steer clear of ladies whose names share the same suffix.

Simon compared their situation to the scene in “Star Wars” where Luke is urged to use the Force to destroy the Death Star’s defenses. They had a brief opportunity before Koe’s armor would reactivate again.

Some supporters of Wetzel’s previous raw and edgy work have expressed apprehension towards the more sensitive themes in “9 Lives.” Recently, Murph mentioned on TikTok that she had been criticized for collaborating with Wetzel on “High Road.” She added playfully that a version of the track without her vocals was released by him.

I’m thrilled to share that Murph’s long-awaited solo rendition has finally dropped! If you’re a fan, don’t miss out – go grab your copies right away! (I reached out to Murph’s team for comment but unfortunately, they were unable to provide one.)

Despite turning some against him in the past, Wetzel remains unfazed. When questioned about his present stance on law enforcement, years after his last run-in with the law, he chuckles. “I have many friends who are police officers – state troopers among them,” he shares. “When they’re not handcuffing me and putting me in the back of a squad car, I support their cause.”

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2024-07-26 14:10

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