The Michigan natives Andrea Moreno-Beals on cello, Micah Middaugh on guitar, and Trevor Hobbs on drums were on their way to a bookstore show in Marfa when The Daily Texan spoke with the band’s drummer.
The Daily Texan: I Google’d your name and a “hire a mountain guide” website came up. What’s something you’re knowledgeable or confident enough to guide people through?
Trevor Hobbs: Yeah, the mountain guide is not me. But I do have an affinity for the Earth sciences and I did a master’s degree studying Geo-Morphology. So I think that I’m qualified to speak about that, it’s interesting you found a mountain guide though.
DT: Where did you get your Master’s?
TH: Michigan State University.
DT: As a drummer in a folk band, are there ever times you just want to rage?
TH: [Laughs] Uh, yeah, definitely. There are times when I just want to groove. It’s interesting because I feel that feeling [the rage] is slowly making its way into our music. But playing along with acoustic instruments like the cello and acoustic guitar, you definitely have to approach drumming in more delicate perspectives.
DT: So could you describe the way that “feeling” is making its way into the sound?
TH: I think we’re always interested in jumping on instruments that we are maybe not most comfortable with. Andrea has been playing drums more and more, and I’ve been playing keyboards. So in order to keep it grounded and held together we occasionally throw in a drum machine and try to lock into that rigid sound. But it’s hard to pin down where it’s all going. I think we are always looking to evolve in a lot of different ways with our songs, whether it’s toward a groove or instruments we’re not familiar with.
DT: So what are you guys traveling in?
TH: We’re traveling with Laura [Gibson] and her crew, it’s a passenger van. We got all our gear in here and we’re sort of folded up. We’re just tucked away with all of our stuff.
DT: And how did you guys meet Laura?
TH: We met in Portland. We started going to her shows and we just really admire what she does, so we just met through music that way. We started hanging out and seeing each other when we would come to Portland then she asked us to come along on this tour.
DT: It’s pretty cool how musicians meet up and make friends.
TH: Yeah! It’s a very open community.
DT: It seems you guys have an affinity with animals. What makes you partial to owls, dragons, wolves, dogs, moles and/or ostriches?
TH: I think that affinity comes from Micah being interested in making songs about characters that are moving through space and going through time. They kind of have an element of story-like nature to them. I think it’s part of Micah’s songwriting. Just being someone who grew up always interested in stories and always having storytelling and poetry around him, it comes from him and that time I think.
DT: Last year you released The Listeners/These Train Tracks, a two-story vinyl with illustrations. What brought upon the idea for that project?
TH: It was kind of a long time coming. Micah has always had this idea to write a children’s book. It was kind of a three-year project in the making. He is always writing down stories or lyrics in little pocket books and keeping them in random places, like the cabin and coats and pockets. I think that’s how the book started. He imagined a story of a mole and an ostrich and how they meet up underground. The [band's] music was coming together at the same time as the story was and it dawned on us that they show together really nicely. Then we did a kickstarter fundraiser to raise money to fund the book. It was successful and it was a reality so we thought we should do it for real.
DT: You mentioned the cabin, what’s that about?
TH: All three of us lived at the cabin at one point. Just recently I moved but Micah and Andrea still live there. It’s this place that’s a Lincoln Log Style cabin that’s on a property that Micah grew up on. It’s where his grandparents lived when they were still around. They would go there to spend the winters. Now it’s a place where we’re setting up the music studio, Micah has his print making studio there, so it’s a place we return to when we’re off the road to recoup and create stuff. We make movies and record.
DT: Is living in a cabin more appealing then living in a house?
TH: Yeah, definitely. It comes with its fair share of pros and cons but the pros outweigh the cons. Just being able to go out the back door and get lost in the woods on an adventure and just having the freedom to create with few distractions.
DT: If you had to choose a landscape, or culmination thereof, which you say Breathe Owl Breathe sounds like?
TH: I think our songs are reminiscent of icy landscapes of the North. But I think more and more lately they’re sort of rolling canyon desert landscape filtering into our aesthetic.
DT: What’s the best setting to listen to your music?
TH: Maybe on a tape in a car. [Laughs] We have a lot of people say our albums have accompanied them on a journey somewhere.
The two artists who undeniably garnered the most attention preceding the 54th annual Grammy Awards were triumphantly Adele and tragically Whitney Houston, each of them indelibly gifted with standout voices of their generation. Between the award announcements and performances, the attention seemed to bounce between Adele’s success and Houston’s untimely death. As predicted, Adele swept up six awards including Record of the Year and Album of the Year for her album “21.” With almost every performance came an artist’s impromptu dedication to Houston, ultimately leading to singer Jennifer Hudson’s chilling tribute performance.
Backed by a full orchestra, Bruce Springsteen kicked off Grammy night with enthusiastic kicks from underneath his electric guitar. In the audience, Paul McCartney clapped along to the Boss and the E Street Band’s latest single, “We Take Care of Our Own.”
Host L.L Cool J followed up with a prayer to honor Whitney Houston, who passed away Feb. 11, a day before the show, at age 48. The audience—from Katy Perry to Faith Hill and Tony Bennett—bowed their heads as L.L. Cool J finished with, “Whitney, we will always love you.”
Nominated for six Grammy awards this year, Bruno Mars performed “Runaway Baby,” from his album Doo-Wops and Hooligans. Mars synchronized costumes and choreography with his band, looping dapper in a gold blazer as he slid into the splits mid-song, never once missing a beat or his key.
Alicia Keys and Bonnie Raitt joined country and R&B forces on shortened yet soulful version “Sunday Kind of Love” in tribute to another lost artist this past year, Etta James.
As expected, the award for Pop Solo Performance went to Adele for “Someone Like You,” despite competing against pop mega-forces Lady Gaga, Katy Perry and Pink. In her acceptance speech, Adele said that the song changed her life. With this win and a classic look of voluminous curls and red lips, Adele proved not all pop hits are the result of sugar-coated dance beats and scantily-clad songstresses.
Chris Brown made his Grammy comeback with three nominations after a three-year absence following the release of violent images of his assault on then-girlfriend Rihanna in 2009. His signature pop-and-lock dance moves dominated his song “Turn Up the Music” against a technicolor stage that times flashes of rainbow colors and skyline images perfectly as each beat dropped. With this performance, Chris Brown reminded the audience of his stage presence as he pleased the crowd with his dance moves despite his likely lip-syncing and court record of violence against women.
The clementine-clad Fergie and Marc Anthony presented the award for Best Rap Performance. Nominees include Jay-Z and Kanye West for “Otis,” Drake and Nicki Minaj for “Moment 4 Lyfe,” and Chris Brown featuring Busta Rhymes and Lil Wayne for “Look at Me Now.” Watch The Throne’s Jay-Z and West won, though they unfortunately were not in attendance to accept the award. Perhaps there was another event substantially cooler and more worthy of the rap stars’ attendance?
In typical Grammy fashion of pairing performers with clearly different sounds, the unexpected duo of Rihanna and Coldplay performed together. Rihanna slithered on the ground to her hit “We Found Love,” tossing her newly blonde locks as the song’s signature techno dance beat kicked in. As her song ended, the camera cut to Chris Martin of Coldplay on an acoustic guitar playing “Princess of China" when Rihanna joined him after only a few lyrics. After a quick duet, Martin raced to stage where the rest of Coldplay was waiting to perform hit single, “Paradise.” The performance didn’t prove to be an authentic collaboration but rightfully gave two of this year’s biggest acts much-deserved stage time on music’s biggest night.
The Foo Fighters in all their bearded glory beat out rock cult favorites Radiohead, Coldplay, The Decemberists and Mumford & Sons for Best Rock Performance. The band’s winning single, “Walk,” comes from album, Wasting Light, which was recorded on tape in the garage of lead singer Dave Grohl’s garage. Grohl marks the first winner of the night to be cut off by the show’s outro music as he screamed out, “Rock 'n' Roll.”
In celebration of The Beach Boys reunion, Maroon 5 performed the California band’s classic, “Surfer Girl.” Foster The People was up next with even more well-known Beach Boys’ staple, “Wouldn’t It Be Nice.” Finally, The Beach Boys swung slowly along as they sung “Good Vibrations” which ended with a standing ovation by the audience and smiles all round.
It seems that only a legend is worthy of presenting another legend. Stevie Wonder introduced Paul McCartney, who crooned “My Valentine” in front of a full orchestra which included the sorrowful yet sweet strings of a classical guitar.
Surprisingly not dressed in her usual sequins, Taylor Swift took the stage in a modest boho dress. With a bango slung around her shoulders, Swift sang a lackluster version of her single “Mean.” She winked and smirked through the “I told you so” lyrics, reminding her audience that despite her poor track record as a live performer, she’s unbearably charming.
Song of the Year nominations included “The Cave” by Mumford & Sons, “All of the Lights” by Kanye West and Rihanna,“Grenade” by Bruno Mars, “Holocene” by Bon Iver and “Rolling In The Deep” by Adele. Not surprisingly enough, Adele happily skipped up the stage hand-in-hand with the song’s producer Paul Epworth to accept the award.
However, in a surprising turn of events, country’s girl-next-door Taylor Swift did not crush her country competition for Best Country Album. It was instead Lady Antebellum who won for Best Country Album with Own The Night.
Adele’s much-anticipated performance lived up to the hype as she crooned a hauntingly beautiful rendition of her song “Rolling In The Deep,” which won Song of the Year earlier in the night. With each second of her performance, from the acapella beginning to the bridge she belted out, Adele continued to outdo herself, clearly showing the world that she’s not the next big thing; she has already arrived.
Country stars The Band Perry and Blake Shelton honored Glen Campbell. Their performances pleasantly primed the stage for the true star, Glen Campbell, who proudly sang “Rhinestone Cowboy” while the audience clapped and sang along.
Jazz legend Tony Bennett sang alongside a refreshingly less-country version of Carrie Underwood’s voice that swapped southern twang for fluid jazz harmonies on “It Had To Be You.”
Bon Iver beat out The Band Perry, Skrillex, J.Cole and even Nicki Minaj who had an undeniably explosive year for new artist. He humbly accepted the award, tipping his theoretical hat to the musicians who have yet to be discovered.
In honor of the tragic death of Whitney Houston, Jennifer Hudson, who just a couple nights ago was praising Houston’s voice on “Piers Morgan Tonight,” took the stage. Hudson stood under a spotlight while she delivered an impressive (though not quite on par with Houston’s) version of “I Will Always Love You.” Considering the obviously short notice of this performance and Hudson’s chilling rendition, you have to wonder if this is a song she’s dreamed of performing since she was a little girl.
Deadmau5, Chris Brown, Lil Wayne, David Guetta and Foo Fighters attempted to rouse the crowd with what the Grammy’s had been calling a “dance party” preceding the performance. David Guetta’s electronic beats slunk up and down as background music for Chris Brown and Lil Wayne in a haphazard performance that lacked cohesion. Strobe lights and smoke distracted from a performance that the show could’ve done without. As it turns out, a Deadmau5 and Foo Fighters collaboration make for a pretty abysmal performance.
Looking fresh in a tuxedo, rapper Drake teases us with an introduction of his “good friend” Nicki Minaj, instead of a performance of his own. It’s quite obvious through Minaj’s typical clothing style, that she strives to be different than your average pop or hip hop star, so her bizarre acting and rapping hybrid performance doesn’t come as much of a surprise. After rap lyrics littered with the word “bitch,” she sampled the Christmas carol, “O Come, All Ye Faithful” resulting in an odd performance that left the audience cheering but completely confused nonetheless.
The Band Perry presented the Record of the Year to Adele, sharing the same attitude as the rest of the audience with a simple, understated, “No surprise, 'Rolling in the Deep!'” At this point, does it even really matter who else was nominated?
Adele pulls off a six-for-six clean sweep with tears in her eyes as she accepts the final award of the night, Album of the Year. Despite a runny nose and a little voice cracking, she maintains a level of class and grace that other pop stars can only dream of having. “It has been the most life-changing year,” she sobs. And that is perhaps the understatement of the night.