So, it was a mixture of things I attributed to that sound. There was a time in my songwriting journey where I just felt compelled to shape my songs around soul music, along with the community of musicians I used to run with. It’s just one of those things-throughout our lives we store so much music and influences and it ultimately just pours out into the art.
My father was really into Otis Redding, Curtis Mayfield, and Sam Cooke and my mother was into Anita Baker and Sade. Man, I think a lot of that comes from-I would say the seed was planted initially through my parents. What do you think originally drew you to older sounds or aesthetics? by the name of “A Wink and a Smile.” I remember as a kid thinking it was kind of like an older tune, not knowing that was a modern record of the time. Some of the earliest memories for me was when my mother would go pick up my father from work and she would play the Sleepless in Seattle soundtrack.
Jake Uitti ( Under the Radar): When did you first discover music as a young person? We also talked the repercussions of fame and working in the restaurant industry.
We caught up with Bridges to ask him about the genesis of the single, video and LP. The video for the romantic track was directed by the famed artist and musician, Anderson. Yet, when you’re one of the best singers on earth, few days are uneventful.īridges, who will release his forthcoming LP, Gold-Diggers Sound, on July 23 via Columbia, released the record’s first single, “Motorbike,” and corresponding music video today. To him, often an uneventful day is the best kind. But, deep down, Bridges is a low-key fellow. In fact, one might want to hear him belt out a vocal run more so than the crooner seems willing. Rather, Bridges is often reserved, measured, composed. But it’s not one that he throws out bombastically or haphazardly. Gold-Digger Sound is set for a July 23 release.Grammy-winning singer/songwriter, Leon Bridges, has one of the best voices on the planet. It’ll be exciting to hear what fresh angles Gold-Digger Sound conjures.Ĭheck out the video for ‘Motorbike’ down below. That album, which is about as desert-scorched as you can get, was a fantastically low-key left turn for Bridges, who seems to be slowly moving away from the Stax-inspired sounds of his early career and into futuristic sonic territories. Last year saw the release of his collaborative EP Texas Sun with the psychedelic funksters Khruangbin. The album will be Bridges’ third after the fantastic one-two punch of 2015’s Coming Home and 2018’s Good Thing. ‘Motorbike’ also comes with the announcement of a new album, Gold-Digger Sound, set for a summer release. The wonderfully romantic visualizer, which has a fair amount of Pulp Fiction, Bonnie and Clyde, and Queen & Slim in it, is a beautifully shot and tragically-tinged accompany piece to the song proper. ‘Motorbike’ also comes packaged with a new music video directed by Anderson. I happen to like his retro fetishism, and I happen to like the fresher production on his latest, so the logical conclusion is that Bridges is a versatile artist who can comfortably work around just about any instrumentation or stylistic shakeup. Bridges could sometimes come off as a retro fetishist, but there’s none of that on ‘Motorbike’. It’s not like this is a techno song, but its gently trippy drum loop and greater reliance of synths and keyboards is a departure from the horn sections and wide open live sound of his past work.
A light departure from the deep fried southern soul that Bridges is famous for, ‘Motorbike’ is a smoother, more electronic effort. Bridges is always good for some killer new music.
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