Brothers Osborne play a particular model of 21-century nation music. Rising above fashionable themes and feels like tailgate anthems and hip-hop beats, their path mixes conventional and new sounds with fashionable rock and pop leanings carried by T.J.’s very good baritone voice and John’s guitar sharing middle stage.

The brothers solid an viewers thanks partially to the 2015 hit single “Keep a Little Longer,” which barely hinted at their versatility. Stylistically, they’ll’t be cornered, however they recall to mind basic pairings like Buck Owens and Don Wealthy, Dwight Yoakam and Pete Anderson, and Gregg and Duane Allman.

In his April ’19 interview with VG, John Osborne mentioned the 15-year Gnashville grind he and T.J. endured within the run-up to their 2016 debut album, Pawn Store, and the layered inspiration behind his guitar sounds on Port Saint Joe. Their self-titled fourth album (see our assessment within the November ’23 “Hit Listing”) adopted a heap of recognition together with 9 Grammy Award nominations (with a win for Greatest Nation Duo/Group Efficiency for 2020’s “All Evening,”), seven Academy of Nation Music (ACM) Awards, and 6 Nation Music Affiliation (CMA) Awards. In October, they have been offered the Randy Owen Angels Amongst Us Award on the thirty fourth annual Nation Cares for St. Jude Children Seminar.

Boasting constantly robust songwriting, Brothers Osborne veers unabashedly in methods their earlier albums didn’t; together with the nation that followers crave are the soul-adjacent “Goodbye’s Kickin’ In” and the near-disco of “Ain’t No person Acquired Time For That,” all impressed by seismic shifts of their lives.

The day after tour dates have been introduced for a 35-date spring run by way of the U.S., we talked with John about how the brand new music got here collectively.

What guided your stylistic decisions on the brand new album?
It’s humorous you ask. The time period “nation” is a sliding scale as of late. For those who take heed to radio, some hits have 808 samples and tracks galore, some is straight pop, and neither is nice nor dangerous, it’s only a style factor. What we’re doing continues to be very a lot us, nonetheless very a lot nation songwriting and a rustic prose, however a unique aesthetic.

On our previous information, it was very a lot natural – a stay band enjoying within the studio. This one continues to be a stay band, however with a unique producer and we actually took our time looking for one of the best tones and completely different sounds; we used lots of completely different amps and guitars and outboard results – far more than we’ve finished up to now.

How did you kind by way of guitars and amps for the periods?
Many of the stuff that I used was at [producer] Mike Elizondo’s unimaginable studio in Gallatin, Tennessee. He’s as a lot a guitar and equipment collector as anybody I’ve ever met, and it got here right down to him and I geeking out over sounds and throwing issues up within the air, attempting stuff. We each have lots of classic gear, however he has some guitars I’d by no means tried, like a Valley Arts from the ’80s that I ended up utilizing loads as a result of it labored so nicely, particularly by way of a Roland RE-501 Refrain Echo.

Which mannequin is it?
It’s a Strat copy with a extremely sizzling bridge pickup and a Floyd Rose. It seemed like one thing you’d by no means in million years see me play – blue curly-maple high, the entire works (laughs).

Did you keep off that Floyd Rose?
I really did use it at one level (laughs). I imply, giving a guitar participant a Floyd Rose is like giving a cat nip; you’ll sit there and mess with it time and again. It was one thing I by no means performed rising up; I used to be by no means round these and that wasn’t the music I listened to. However the second I began enjoying it, I couldn’t cease dive-bombing (laughs). For those who take heed to “Would possibly As Nicely Be Me,” we constructed a bit proper earlier than the guitar solo with dive bombs by way of a Marshall. It was a lot enjoyable. Once more – issues we’d by no means finished.

One other instance is the robust R&B vibe of “Goodbye’s Kickin’ In.”
Yeah, on that you simply’ll hear an early-’70s Tele Deluxe with a Bigsby by way of a bone-stock ’65 Princeton Reverb, no results. That’s one in all my favourite sounds on the document – very a lot guitar and amp, nothing else.

What are another examples of sounds you hadn’t tried earlier than?
One other factor I hadn’t performed a lot rising up was Marshall amps, which sounds loopy, however I grew up enjoying Fenders, and each time I’d plug right into a Marshall, it by no means felt proper; I at all times had this conception that Marshalls have been for super-high achieve, which wasn’t one thing that I’d sound correct enjoying by way of, particularly the JCM800. However I used one in all Mike’s ’60s Strats and an authentic TS808 going to his 800; I performed one notice and realized, “Okay, I perceive why everybody loves this,” as a result of it was one of many coolest sounds I’d ever made.

There’s a solo on “Love You Too,” which is a poppy tune for us, however I needed it to have a significant big-guitar second. That was Mike’s ’60s slab-board Strat by way of the 808 with a contact of a classic Klon Centaur and the 800.

“No person’s No person,” the primary single, was very a lot in our wheelhouse. That’s my Frankenstein B-bender Tele by way of a plexi Marshall, which was actually enjoyable. A Telecaster by way of a Fender appears like residence to me, however the plexi was marrying two types – the bender, twangy nation cranked by way of this heavy, mid-driven amp.

One other factor we did that I actually love was “We Ain’t Good At Breaking Up.” That’s the Frankenstein Tele, however by way of a Divided by 13 amp, and it sounded very Fender-like, however extra hi-fi and open, like a hotrodded Deluxe. It made me play otherwise.

One in all my favourite tones on the album is on “Ain’t No person Acquired Time For That,” which is like Waylon Jennings meets the Bee Gees – a loopy disco nation tune. We have been messing with tones for the solo and couldn’t land on one thing, however Mike wasn’t afraid to attempt something. He stated, “I’ve this pedal…” and he brings in an Electro-Harmonix Bass Micro Synthesizer. He goes, “Guitars sound superb by way of it.”

I used to be utilizing Mike’s Strat once more, and I’d by no means heard a guitar in my palms sound like that – prefer it was about to leap out of the audio system.

Each time we’d discover these moments, I felt like a child once more (laughs). That’s what you’re looking for – that second the place you’re feeling impressed. And I’m not a Strat man; stay, I suck on Stratocasters. However within the studio, you possibly can take your time and get into the way it feels. In a stay setting, I play actually laborious and I’m used to the way in which a Tele or Les Paul responds to my fingers. However within the studio, enjoying the Strat labored as a result of I may alter.

How did you resolve to work with Mike?
We had written songs with him years in the past, and we liked him as an individual. He’s a inventive pressure and one of many nicest, most-humble individuals you’ll ever meet. However he’s completely fierce in relation to making music. For years, we had labored with Jay Joyce, who we love; I’ve discovered extra from Jay than I may have ever discovered from anyone – he helped hone our sound. We owe loads to Jay. However there comes a time whenever you wish to attempt new issues.

For those who take heed to the albums my brother and I make, all of them sound completely different. As a creator, try to be pushing your personal envelope, and we thought, “What’s the largest factor we may change?” It was a little bit of of venture, however we went in with Mike and did one tune to verify we’d work nicely collectively, and it went nice. So we gave Mike the keys, and the very first thing he informed us was he needed to play bass and get Abe Laboriel, Jr. to play drums. I’ve seen Abe play with Paul McCartney a number of instances and I’m an enormous fan. He’s one of many most-amazing drummers you’ll ever see.

Mike additionally needed to seize a pair different individuals he’d labored with in Nashville, and we went with it. The outcome may be very completely different, however by way of a Brothers Osborne lens – our DNA with a unique theme.

Mike is a extremely touted bass participant
Yeah, he’s very, very, excellent. We weren’t going to say “No!”

Have you ever sorted by way of your rig and guitars for the upcoming tour?
I haven’t but, however I’ll attempt to preserve it easy as a result of we don’t like lengthy breaks between songs, so if I can play a number of songs on the identical guitar, I’ll do it.

One in all my favourite additions lately are Eli Lester’s Two-Rock amplifiers, which to me really feel like classic however are more-reliable, and in some methods sound higher. Eli’s model of a Deluxe is my favourite new amp. Between our different guitar participant, Jason Graumlich, myself, and T.J., there shall be 5 Two-Rocks onstage.

How about your speaker cabs?
The cab I’ve been utilizing is an ’80s Marshall 2×12 I discovered at a pawn store. I’m going to pawn retailers on a regular basis – thrift shops, vintage shops – the works. Anyway, I noticed a chainsaw sitting on high of what seemed like a cab going through backward, and I used to be like, “What’s happening right here?” I moved the chainsaw, turned it round, and there it was. After all I purchased it, and it’s badass. I like the way in which it sounds. Greatest $100 I ever spent (laughs).

Are you taking any classic devices out with you?
I hate taking classic stuff on the street. For a very long time I used to be taking my ’65 335 out, nevertheless it was getting its ass kicked from sitting in sizzling trailers then going into venues; the temperature variations actually mess with these issues. I gained’t take my ’60 ’Burst out until I can preserve it on the bus.

So what do you utilize on tour?
I play my R9 Les Paul, and my ’68 Tele stays out. It has taken a beating, however you would use a Fender as a ship oar, pull it out of the water, and play. That guitar doesn’t have many points on the street.

The ’Burst is new to you since we talked in 2019.
Yeah, it’s referred to as Le Freak and it’s in one of many Burst Believers books. I didn’t title it that, by the way in which (laughs).

The place did you get it?
From my good friend Trevor Boone, who owns Emerald Metropolis Guitars, in Seattle, together with his dad, Jay. It and Carter Classic are my two favourite shops, and Trevor is a pricey good friend.

I waited years to drag the set off on a ’Burst, and this one has had a bunch of stuff finished to it – a Bigsby had been drilled into it, so it has the plugs, and it’s been refinished. Its neck feels extra like a ’59. Trevor introduced it to a present in Washington so I may play it stay. He put .011s on it for me, and because it had been re-fretted, it was able to go; I had my tech, Zach Rickard, alter a number of issues.

From the primary notice, it blew my thoughts. I imply, I used to be completely hooked. I’ve had a number of PAF guitars, and there actually is one thing magical about these pickups. These [in the ’Burst] are somewhat hotter than some, however they’re nonetheless very musical and so harmonic and delightful. And it’s a lot enjoyable to play – a nice guitar.

The decision to my enterprise supervisor the following day was not the simplest (laughs). I needed to clarify why she wanted to belief me and I that knew what I used to be speaking about. I want ’Bursts weren’t so nice (laughs), however sadly for our pocketbooks, they’re.

You’re the solely particular person credited with enjoying guitar on the brand new album.
Yeah, now that I give it some thought, it was all me. There is an element on “Solar Ain’t Even Gone Down But” the place there are two guitars – one panned left, one proper, and that’s T.J. and I enjoying off of one another, which is a extremely cool, enjoyable second. He’s an incredible participant and his guitar is a part of our sound. Enjoying collectively makes us play otherwise as a result of we react to one another.

Which guitars is T.J. going to have on the street?
He has a ’68 Tele Customized with a rosewood fretboard that I discovered however reluctantly informed him about as a result of he had been on the lookout for one for a very long time (laughs). His favourite is a ’56 Les Paul Junior, which is what you’ll see him play more often than not. It has one of many most-amazing sounds.

Gibson lately gave him a J-45 with the highest in the identical gold they use on Les Pauls. It’s so f***ing cool.

You’ve additionally had a pair sunburst Juniors.
Yeah, I had a ’56, and I purchased a ’59 a few yr and a half in the past. After I began fascinated about promoting the ’56, I used to be telling myself, “I like that guitar. It’s nice. I performed it throughout [2020’s] Skeletons…” So, as an alternative of promoting or buying and selling it, I made a decision to present it to Zach as a thank-you reward for being so nice. I can’t do a gig with out him. I’m the man who wonders why my guitar isn’t working as a result of I didn’t plug it in (laughs), however Zach is so up to the mark. Plus, he’s so sort and gracious. Sooner or later, I put a notice within the case and informed him the Junior wanted work. When he opened it, there was the notice, saying, “Congratulations, right here’s your first classic Gibson. Take pleasure in!”

I needed the guitar to go to somebody who would actually recognize it. And, it stayed within the household.

Why didn’t you place a title on the brand new album?
That was a philosophical transfer, to be sincere. During the last couple of years, between Skeletons and this album, my brother and I’ve been very up-front and public about lots of private issues – we uncovered loads about ourselves that we’d stored non-public for a very long time, and doing so felt like lifting chains, like we may actually be ourselves. So, we felt fearless making this document, which is why it sounds the way in which it does. We had much more braveness, and it felt applicable to self-title it as a result of that’s who we at the moment are.

 One factor you’ve mentioned that’s particularly relatable to guitarists is having to take care of tinnitus.
Yeah, lots of musicians get it. I do know it’s been stated 1,000,000 instances and other people simply roll their eyes, however I say it on a regular basis – “Defend your ears.” As a result of as soon as tinnitus begins, it doesn’t cease, and it’s very, very laborious to get used to. Over time, you can habituate, which is your mind’s method of tuning out data it deems pointless. Nevertheless it takes time. I’ve finished lots of work to assist mine – meditation, anti-anxiety treatment, therapeutic massage to my neck and jaw to ease stress. However I had six months of trial and error and lots of ache and sorrow.

This text initially appeared in VG’s February 2024 challenge. All copyrights are by the creator and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.