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Role Model returns to his songwriting roots and writes most sincere record yet

BBG News

Role Model found himself on the phone as he walked laps around the gym at Holiday Inn Express. The 27-year-old performer disclosed that he was squeezing in some exercise before his concert in Tampa, Florida, later in the evening. Born as Tucker Pillsbury, this popular artist was nearing the end of the North American stretch of his tour. As he discussed his upcoming sophomore album, “Kansas Anymore,” a worried grin replaced his usual sardonic demeanor, captured by his phone’s camera.

The singer, with a collection of tattoos peeking out from beneath his hoodie, exclaimed, “Goodness gracious! People are gathered outside the window!” He added, “I can’t think of a more undesirable location for public view.

From now on during this Zoom meeting, I’ll steer clear of the gym windows and avoid the group of fans lurking around the hotel’s outer edge. Ever since he released his album last summer, that Maine-born singer has found himself in a whole new level of fame – with viral TikTok clips and adoring fans waiting everywhere. Nearly every evening, you can find fans queuing for hours just to catch a glimpse of him playing his guitar, singing his heartbreak tunes, and dreaming of being the night’s “Sally.” It’s an ongoing tradition where he invites one lucky fan (or famous friend) onstage to dance with him during “Sally, When the Wine Runs Out.

The No Place Like tour began in November and is now approaching its conclusion, with just a few remaining performances in the U.S. However, before wrapping up, he will be performing his heartbroken acoustics and cowboy hat at Los Angeles’ Wiltern for two sold-out shows on Tuesday and Wednesday.

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Last month, Pillsbury launched “Kansas Anymore (The Longest Goodbye)”, an extended edition of his folk-inspired album, which includes four fresh tracks. This release aims to maintain the tour’s vibrancy as it delves into emotions from a past relationship with internet sensation Emma Chamberlain, longing for his East Coast roots, and leading listeners on a journey through his healing process.

At first, he believed he had written a fitting conclusion with the bittersweet ballad “Something, Somehow, Someday” in the regular version of the album. However, when given the chance to create a deluxe edition and showcase his growing country style, the singer discovered he had a more poignant final goodbye within him. He chose “The Longest Goodbye,” the revised closing track, where Pillsbury left the heartbreak album with an open-ended conclusion, singing, “I don’t think I love you anymore / But I don’t think I’ll ever be so sure,” as his final words.

As for my personal reflections, it seems I have a preference for ambiguity in life’s conclusions. I find comfort in the gray areas rather than definitive ‘yes’ or ‘no.’ Partings are particularly challenging for me, and I often question if contented conclusions are truly realistic. I guess I prefer stories that leave room for interpretation, even if it means an unhappy ending. After all, I can never seem to get enough of the enigmatic and peculiar.

He shares his performance schedule and laments the scarcity of outdoor time during concert days, as being outdoors brings back memories of home the most. The tunes in “Kansas Anymore,” filled with a warm, Americana resonance, pay homage to his childhood in Cape Elizabeth, Maine. He yearns for its stone-paved streets, red brick structures, and the nearby natural landscapes.

Pillsbury expresses longing for Maine daily, especially while being in Tampa. He describes Maine as a place with its own unique ambiance, saying it’s effortless to imagine it like a scene from a film.

Initially uncertain about the sound he wanted for his second album after the release of his 2022 debut “Rx,” a collection of catchy pop tunes laced with provocative sexual lyrics and wistful melodies, Pillsbury began experimenting with various musical styles. His earlier EPs, such as “Arizona in the Summer,” “oh, how perfect,” and “our little angel,” hovered between melancholic bedroom pop and introspective rap. In an effort to diversify his sound for this second album, he dabbled in ’80s synth-pop and electronic music, but nothing felt right.

In simpler terms, Pillsbury expressed that he found it challenging to compose on electronic devices, stating, “It’s tough for me to write on these odd electronic gadgets; I just can’t seem to do it.” After an unsuccessful attempt, he shared that he didn’t feel his work was convincing. Instead, he switched back to writing songs using only an acoustic guitar in his living room, a method more familiar and authentic to him.

While sitting comfortably on his couch, playing with a freshly learned instrument and contemplating his words, he found himself reminiscing about his days as a student at Pittsburgh’s Point Park University. In the year 2017, Pillsbury unveiled his debut EP, “Arizona in the Summer,” which consisted of four tracks that he recorded on the floor of his bedroom closet. One standout track from this EP, titled “Stolen Car,” caught the ear of the late rapper Mac Miller, who initially helped Pillsbury secure a record deal and ignite his career.

For Pillsbury, it feels like coming full circle. He admits he wasn’t completely sure about his actions during ‘Arizona in the Summer,’ but he believes great music can emerge from uncertainty. With ‘Kansas Anymore,’ he was able to initiate these songs humbly in his living room, with only basic guitar skills. Instead of striving for perfection, he simply aimed to do the absolute minimum and let ideas flow – a method that proved surprisingly effective.

In 2018, when he was signed to Interscope Records, the singer found himself in numerous recording sessions with songwriters who would initiate conversations by asking about his thoughts or feelings. He admits it takes him a while to open up to others, and this vulnerability in the studio was initially tough for his early projects. However, he successfully produced catchy tunes such as “hello!” with its energetic horns, and “forever&more,” a track that hypnotizes listeners, both having accumulated approximately 50 million streams on Spotify each.

In simpler terms, Pillsbury expressed that he left the room and cried in the bathroom. He felt extremely disoriented by the situation. It caused him to question his abilities as a solo songwriter. He wondered why he was paired with other songwriters, especially when he had already been signed based on self-written songs. This situation left him confused, and it negatively impacted his mental state. Many artists might experience similar feelings, which is why he chose to work independently on this album.

By entering “private production,” he claims to have crafted one of his most genuine and mature albums yet. He’s now stepping away from tracks like the “Masturbation Song” from “Rx” – which he refers to as a song about self-pleasure attempting to be transformed into a sweet love ballad. Instead, he’s focusing on a more introspective exploration of how he copes with heartache and longing for home.

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This album, ranging from the introspective “Frances” where he ponders over past mistakes, to the optimistic yet self-effacing tracks like “Scumbag” and “Something, Somehow, Someday,” which express hope that they’re destined for each other – paints a vivid portrait of a breakup. However, Pillsbury assures us that the emotions portrayed in his music don’t carry over to his live performances. He explains that he excels at separating the turmoil he experienced during songwriting from his focus on stage, where his primary concern is remembering the lyrics.

In simpler terms, Pillsbury mentioned that when he’s observing people in the audience, he tries not to dwell on his past experiences. He doesn’t aim to re-create those emotions during his performance. Instead, he avoids causing people to cry and prefers to uplift them instead. To achieve this, he tends to be humorous between each song, providing comic relief to keep the atmosphere cheerful.

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2025-03-28 20:01

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