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Discover Salt Lake magazine’s music section. Here you’ll find previews and reviews of upcoming local concerts and performances in Salt Lake City, along the Wasatch Front and Back, and around Utah to help you discover great live music and events.

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Portland Cello Project at State Room

Review: Portland Cello Project at State Room

By Music

The Portland Cello Project brought two sets of holiday cheer to Salt Lake last weekend for an evening at The State Room on Dec. 14, 2024, and we were better off for their visit.

The touring group was a pared-down version of their usual cast of characters, featuring four incredible cellists instead of the usual revolving number of 7-14. In this case, less was more. Nobody minded a bit. It helped allow for a more intimate evening than usual. All was calm and intermittently bright.

And while a heavy sprinkling of the festive numbers was all but expected, there were continual surprises. It’s hard to think of many other Christmas-themed concerts casually dropping their own arrangement of Leonard Cohen’s “Hallelujah” into the mix, following it up immediately with Zeppelin’s “Stairway to Heaven.” The latter got some of the night’s biggest reactions (in the form of both hoots and hollerin’), probably because you don’t get to see cellists headbang, well, ever.

“Shalom Chaverim” (from the group’s Winter album) was a lovely turn, offering their take on a song children might sing during a Hanukkah celebration. There were arrangements inspired by Looney Tunes (a race through William Tell’s Overture), Charlie Brown (“Linus and Lucy” will never get old), and even their very renaissance-founding take on Fleet Foxes’ “White Winter Hymnal.” Special personal highlight? A romp through Soundgarden’s “Fell On Black Days.”

The unexpected worked wholly to their advantage, and perhaps that’s a learned tactic resulting from a lot of live experience. The intrigue factor was high for what should have seemed a standard performance of four incredible musicians. It meant a standing-room-only crowd collectively held its breath and wondered what might come next. If the universe is kind, it’ll send them back with the entire crew for one of their Radiohead tributes. Dare to dream, baby.

Portland Cello Project at The State Room Photo by Natalie Simpson
Portland Cello Project performed at The State Room on Dec. 14, 2024. Photo by Natalie Simpson/Beehive Photography

Shovels & Rope at Commonwealth - Photo by Natalie Simpson

Review: Shovels & Rope at Commonwealth

By Music

Have you ever done that weird thing where you wondered what a band might have sounded like if certain core members in it had never met? Sort of a Sliding Doors type scenario? Sure, it’s an unusual thought to land on a few songs into a Shovels & Rope concert, as I did last night Thursday night (Dec. 12, 2024) at The Commonwealth Room. And there’s even a chance the band would have ceased to exist entirely should one or the other have chosen to go right instead of left.

Granted, that’s a lot of conjecture, maybes and what-ifs. But when you hear how easily the voices of husband and wife duo Shovels & Rope (Michael Trent and Cary Ann Hearst) sound together as each buoys the other up, it sounds like they’ve always belonged together, wrapped around one another, two halves of a whole.

It hasn’t been so long since they visited us, but they hauled their duets and joy back here Thursday. And while comparisons are mostly lazy shortcuts, they build on that loose Jack and Meg White Stripes geetar-and-drums sound by giving it more muscle, melody and even better storytelling—smashing the blueprint and improving the model. And here’s a way to keep your audience wide-eyed: play musical chairs throughout, taking turns drumming and guitaring and pianoing, doing each impossibly well, even further proof of their effortless talent.

Photography by Natalie Simpson

We were treated to highs and lows throughout the night. When the band sang of our fair state early on (“C’mon, Utah!”), it was the good vibe we all yearned for, and they prefaced the tune by saying it never sounded better anywhere else. There was a sad turn, too, when Trent shared that it was the anniversary of his father’s passing, and he gave us an emotional tribute of a number in his memory.
The one-song encore helped put a final bookend on the night, and they brought out opener Al Oleander to put her best Roy Orbison foot forward with her take on “Blue Bayou.” It was maybe the first time in the evening that Shovels & Rope seemed to take a breather, opting to support instead of clambering toward the spotlight. Classy touch, that one. Besides, they’d more than earned the chance to take a rest.


Lower Lights at Kingsbury Hall

Review: The Lower Lights at Kingsbury

By Music

What needs saying first: when you witness the Lower Lights, you experience more than a band. The group opened their three-night stand on Dec. 11, 2024, at Kingsbury Hall on the University of Utah campus. There are two more shows on Dec. 13 and 14. 

Sure, these 16-17 rotating musicians have shared their lauded Christmas shows with this valley and its growing fan base for at least 15 years, and that’s plenty of time to experiment, sand rough edges, and make the good better. But understand these are also friends who’ve written music before (and during) that period. They’ve played on one another’s albums, dreamed up their own, and had tours with their names in real or proverbial lights.

However, when they join arms as this entity, the results are wholly different. Maybe that’s a given. They create moments of magic they’d not be able to make on their own, at least not entirely.  

Sharing nearly two-and-a-half hours with the Lower Lights means tapping into one of the greatest collections of Christmas and gospel music that’s likely ever been pieced together. And it’s hardly a rehash of tired carols. Nothing pedestrian is allowed in this space. 

Instead, you hear what friendship and deep care and empathy sound like when swirled together. A version of “Silver Bells” may not come out exactly as planned, and those who feel their way through it will tell jokes about what did and didn’t happen, but it’s hard to mind that much as a member of the audience. Perfection wasn’t promised, and it was hardly sought. In its place, you receive warmth. The roaring campfire you didn’t know you needed showed up at the right time.

And when that happens, you’re allowed to shake your head in disbelief and maybe chuckle at how great these Lights are when the spotlight is shown on all instead of one. 

The Lower Lights isn’t a “nice to have” for Salt Lake City. It feels necessary. When Dominic Moore and Paul Jacobson duet on Lennon’s “Happy Xmas (War Is Over),” for example, it helps soften a divisive feeling still lingering on an election year. Also needed: Kiki Jane Sieger’s soulful turn on “Pretty Paper,” a sultry take on “The Chipmunk Song (Christmas Don’t Be Late)” and banjos and mandolins and three-part harmonies sweet enough to scare out surprise tears.

This feels like a spoiler alert, but it’s not. All of this happened, and those who gathered were grateful. Once invited by Sarah Sample to dance along, we stood and participated immediately. We danced along in balconies and aisles (with and without kids in arms), and even in place when that notion struck. The thing was, it struck often. With a massive stage as filled as it was with talent, we wanted to join. We wanted to react. Joy begets joy, after all.  
The great part about reading these strung-together thoughts (and hopefully on Thursday, when they’re still fresh out of the gate), is that the Lower Lights are set to join forces twice more, on Friday and Saturday. This puts me in a precarious and incredible position. Should these words have any sway, please know buying any available ticket to either show will be a heralded decision on your part, an early Dec. 25 gift you get to give yourself.

Sarah Sample and the Lower Lights

Interview: Sarah Sample (Feat. The Lower Lights)

By Music

The Lower Lights are coming. If you’re brand new to the Beehive State, you’re forgiven for not knowing about the huge local band conglomerate that’s steadily grown into a holiday tradition around these parts. You have no excuse if you’ve been here a while. The Lower Lights have been singing and dancing and carol rearranging for the masses for about 15 years now. It’s reached a point where they can’t do it all in one night (with three shows available, you may choose your own adventure). They will sling the holiday magic Dec. 11, 13 and 14, 2024 at Kingsbury Hall.

We caught up with Sarah Sample at her home in Wyoming this week, where she lives in a small cowboy town near the Bighorn Mountains, a space with a lot of wild edges to it. “Drive 10 miles in any direction and you’re still on a dirt road,” she says. While she loves where she’s planted roots with her family, coming back to Salt Lake for this string of shows is never a burden.

It’s a chance for her to reconnect with her musician family and those related by blood, as her mom and sisters still live in the area. 

“Whether it’s 50 or 200 people, I think a smaller crowd size is something most of us were used to,” she says. “To have the demand of a Christmas concert grow to the point where we’re playing multiple nights to 2000+ people at Kingsbury Hall is the coolest. It’s a joy I do not take for granted.”

Doing these shows for as long as she has with some friends she’s known for over 20 years has created a palpable sense of comfort. There’s no jockeying, no hogging the spotlight. In the early years, it was a process of trying to find where you fit in the band of 18-20 musicians on any given night. But everyone has settled into their spaces, and beautifully so.

“I’ve learned my role,” she says. “I love to dance and be in my body. That’s bringing something to the show only I can bring, because I will be the crazy mom who is going to dance, whether my teenager wants me to or not.”

Sometimes it even spawns impulsive copycats, as she once spotted a father and his young daughter in the back of the theater, dancing along to the band’s three-part vocal harmony version of “White Christmas.” That’s a reaction she lives for and hopes to see more of.

But the performances do come with a lot of layers. They are more than singing and dancing. 

“One part of the Lower Lights I really love is the consistency of relationships through change,” she says, reflecting. 

“You know, we all have aged and changed, and our lives and religious standings are different. We’ve had children, we’ve been married, we’ve been divorced, and still, it’s a collective of musicians who care about one another, who show up and basically say, ‘Come as you are. We would love to have you as part of this group.’ And what I hope is that people in the audience feel that same invitation, to come as they are. Whether they’re heartbroken or really excited for the season, we will take them as they come and hope they feel something when they’re at our shows, that they’re welcome to be there regardless of what their lives look like.”

“Hopefully that makes people more comfortable. Our concerts are not perfect. It’s not like we never miss a note … it just doesn’t matter if we do. You’ll still have a great show.”

You heard it here first. Some promises, you can’t help but 100% believe in.

Read more: Christmas Music Revival: The Lower Lights

Shovels and Rope

Two Don’t-miss December Shows

By Music

Provided you aren’t hitting all three nights of The Lower Lights in the next 7-8 days, here are a couple of shows we’ll gladly add to your radar. It’s not often we get a couple of bands this good this late in the year, so chances are we’re already applauding for that alone.

Why: On the heels of the band’s latest (September’s full-length Something Is Working Up Above My Head), the husband and wife duo of Michael Trent and Cary Ann Hearst return to these parts to give us a lot of incredible harmonies laced with a lot of drums, an thundering and steady beat. And, sure, they were here just last year supporting Gregory Alan Isakov, but it’ll be good to see them for a lot longer, showing off all their newly created songs. Is it too much to wish they end up performing their excellent take on “In My Room,” (the one they did along with Sharon Van Etten, on Busted Jukebox, Vol. 3). It’s okay to start manifesting that reality, yeah? In any case, if you’ve never seen them live, know this: even if you don’t know their music well enough to sing-shout along to, just know you’ll really, really want to. And that’s never a bad way to feel, period.  Tickets and info: Tickets

Portland Cello Project

Why: It’s less important to know who is in this band hailing from you-know-where than it is to view them for what they are and the uniqueness that they bring. To paraphrase their own site real loosely, they create music you’d not expect to hear on multiple cellos in places you’d rarely expect to see them performed. And it means, yes, you’ll hear them take on the likes of (spoiler alert) Elliott Smith and Radiohead and Fleet Foxes and Outkast. And considering they’ve recorded their share of holiday tunes, expect one or more of those. Carols may show up. While I can attest to seeing 14 accordions played live at once, I’ve yet to experience what at least 9-12 traveling cellists sound like tackling “Paranoid Android” together. A real gift, indeed. Tickets and info: Tickets

Stage setup of Lower Lights with drums and guitars_SLM ND24_Justin Hackworth Photography

Christmas Music Revival: The Lower Lights

By Music

Every holiday season, The Lower Lights brings more than a dozen musicians to the stage to celebrate the spirit of the holidays

Provo producer scott wiley had five free days to jam with friends, so he put out a call to drop by the studio and play music. But not just any music. Inspired by a desire to tap into tradition, Wiley wanted to play hymns. As it turned out, so did a whole lot of other Utah musicians. In those five days, artists spanning genres from alt-country, folk and Americana to indie rock rotated in and out of the studio to pull songs  from old hymn books, pioneer songs, Irish hymns, and gospel and harmonize. 

The Lower Lights comprises artists spanning genres from alt-country to Americana and indie. Photo by Pixel-Shot/Adobe Stock

Over 20 musicians successfully recorded what would become their first album, Hymn Revival, under the moniker, The Lower Lights. Next up: Christmas music. Fifteen years and eight albums later, The Lower Lights has become a Utah Christmas institution. 

“We never thought we’d be a band at all, much less become a Christmas band,” says Paul Jacobsen, singer/songwriter and one of 18 active musicians comprising The Lower Lights.

Like all of The Lower Lights collaborators, Jacobsen has a full-time project that keeps him busy: Paul Jacobsen & The Madison Arm. But performing as The Lower Lights has become a Christmas tradition, not just for the musicians who reunite every year to play a few shows—some band members now live out of state and travel back to Utah to participate—but for audiences who have helped the band graduate from smaller venues like Post Theater to Kingsbury Hall. 

“To some degree, we’ve become part of the fabric of people’s holiday traditions,” Jacobsen says. “It’s become this thing that is bigger than all of us.” 

For Jacobsen, uniting with friends in the music scene to bring Christmas music to life through the individual styles of 18 different musicians is a dream come true. One that he hopes to build upon each holiday season as the band continues to add songs to their setlist—each catering to different tastes and beliefs, but always tied to the spirit of the season. Ultimately, it makes for a performance that allows every band member to shine while bringing people together in the way that only music can. 

“It is honestly a dream come true that I get to play on a stage—where I’ve seen so many artists I love—with my friends, and we provide something for people that is meaningful to them. Our Christmas shows are our most successful and well-attended shows because something we do there appeals, I think, to nostalgia and people like to see a real thing happening on stage: a bunch of friends making music.” 

Photography by Natalie Simpson

The Lower Lights lineup 

Principal Singers:

Debra Fotheringham, Dustin Christensen, Dominic Moore, Sarah Sample, Cherie Call, Marie Bradshaw, Kiki Jane Sieger, Paul Jacobsen

Varsity Instrumentalists:

 M. Horton Smith, Dylan Schorer, Ryan Tilby, Colin Botts, Megan Nay, Scott Wiley, Brian, Hardy, Tyler Lambourne

Drummers:

Aaron Anderson, Darin LeSueur

If You Go

The Lower Lights Christmas Concerts
Kingsbury Hall
1395 Presidents’ Circle, SLC
Dec. 11,13, & 14, 2024
thelowerlights.com


DSC_5173

Kilby’s 2025 Lineup Drops

By Music

The sixth rendition of the ever-growing Kilby Block Party will take place May 15 to 18 at the Utah State Fairpark, and festival presenters Sartain & Saunders (S&S) have gone all out to provide Salt Lakers with another jam-packed weekend of local and national acts. 

What began as an alt-block party outside of Kilby Court in 2019 has ballooned into the hottest spring ticket of the year. Last year we saw big-draw acts like The Strokes, Vampire Weekend, Wu-Tang Clan and LCD Soundsystem. This year promises more high-quality bookings. In their typical dream-big fashion, S&S has expanded Kilby Block Party 6 from three to four days, featuring 75 artists and an even larger festival footprint. Taking over the Utah State Fairpark, the 2025 Block Party is prioritizing festival goers with added space for amenities like water stations and relaxation areas. Organizers have also taken complaints about audio bleed from stage to stage into consideration and mapped out new areas for smaller stages to spread the sound around.

Ticket Info

The four-day festival begins on the evening of Thursday, May 14, 2025, and runs through Sunday, May 18, 2025. Like 2023, S&S is offering four-day passes only this year which will go on sale Wednesday, Dec. 4 at 10 a.m. Early bird passes for KBP6 went fast before the lineup dropped, so expect some competition when it comes to snagging this first tier of tickets! Of course, we’ll be providing readers with tons of pre-festival coverage as well as day-by-day reviews and photography of the 2025 festival, check out last year’s coverage here

The 2025 Kilby headliner list has some stunners, including New Order, which is grinding out late-career touring like pros but might be moving toward the last-chance to-see column.

  • New Order
  • Beach House 
  • Weezer 
  • Justice 

The so-called supporting acts are almost more exciting than the headliners. We’re looking at you Devo, which recently just started touring again. Future Islands and St. Vincent also raised our eyebrows. Here’s the full list.

  • Devo
  • Future Islands
  • Yo La Tengo
  • Slowdive
  • Car Seat Headrest
  • Wallows
  • St. Vincent 
  • Toro Y Moi
  • TV on the Radio
  • Still Woozy

The supporting, supporting cast has a bright smattering of local acts (in bold) amid an interesting mix of up-and-coming performers and bands. Kilby’s free-range setup makes for a great chance to discover something new. 

  • Teen Suicide, Levelor, Julien Baker & Torres, Built to Spill, Perfume Genius, Peter McPoland, Vacations, Youth Lagoon, The Lemon Twigs, Momma, Hey, Nothing, Hovvdy, Lunar Vacation, Wishy, Been Stellar, Being Dead, Cardinal Bloom, Free Range, Melancholy Club, Josaleigh Pollett, Montell Fish, Black Country, New Road, Panda Bear, Gang of Four, The Black Angels, IDKHOW, George Clanton, Wisp, Friko, Youbet, Over Under, Marchall Van Leuven, Hurtado, Nation of Language, Tennis, Real Estate, Boa, Jay Som, Geese, The Pains of Being Pure at Heart, Vagabon, Frost Children, Nourished by Time, Husbands, Lime Garden, Wlat Disco, Faerybabyy, Beeson, Gift, Hannah Frances, Poolhouse, Elowyn.

Other Kilby Court News 

Kilby Court, Utah’s longest-running all-ages venue and the namesake of its biggest music festival, was recently sold to venture group Blaser Ventures in late October. The ownership change marks a new era for the venue. Buyer Brandon Blaser has assured Salt Lake music fans he plans to preserve the integrity of the venue. “Kilby is just such an essential part of the fabric of Salt Lake City and the Granary District. It’s one of those cultural icons and moments that is very unique to Salt Lake,” Blaser told development news source Building Salt Lake. “The loss of it would be absolutely detrimental to the history of the Granary area and what makes the Granary so special. We view it as an essential piece of our history and culture that we are proud to be partners in helping to preserve.”

The purchase of Kilby is another feather in Blaser’s cap of Granary Area acquisitions, which have included the Post District, Granary Square and the historic Pickle & Hide building next to the music venue. According to Building Salt Lake, all of Blaser’s projects in the area focus on adaptive reuse, rejuvenating local businesses, artist workshop spaces and other community hubs. Plans for the 2.3-acre Kilby Court development will follow suit as Blaser aims to reconfigure existing industrial and residential spaces into a cultural haven. Read Building Salt Lake’s full coverage here. (And let’s hope Blaser keeps his promises.)

Meanwhile, while you anticipate and work the angles on 2025 tickets, reminisce with our 2024 reviews and coverage. 

Find images from the 2024 Kilby Block Party Below.

Photo credit Natalie Simpson @beehivephotovideo

Blind Pilot - 2024 - Photo by Mitch Manning

Review: Blind Pilot at Commonwealth

By Music

It’s hard for me to be even the slightest bit objective about a band like Blind Pilot. Maybe that comes from seeing them a lot over the years and being too familiar with their staggeringly great output. Maybe it’s because hearing them blend vocals and play banjo so well live makes it feel like being wrapped up in my warmest blanket. As far as experiences go, let’s face it: the vibe they create could hardly get any cozier. Anyone there last night could attest to that truth.

And maybe we all expected them to sound as incredible as they did Sunday night at The Commonwealth Room anyway. It’s as if they never suffered a single misstep or played one wrong note from start to finish. But after being absent from these parts for so long (and probably many others) and now in the thick of promoting their first new album in nearly a decade, Sunday night’s sold-out performance felt like a welcome-back celebration.

When the five-piece played “The Story I Heard” (and you know that one even if you think you don’t; it’s the song with the line about Jojo jumping a Utah train), it’s tough to imagine it getting a better reaction anywhere else thus far on their tour. A state mention goes far in these parts. Include us in a song, and we will remember it. We’ll even prove that by singing along with you so loud that we won’t need to borrow any of your microphones.

On a night that felt right in many ways, the band still managed to surprise, too. When Dave Jorgenson magically appeared in the back of the venue during “Things I Cannot Recall,” blowing dutifully on his trumpet at all the times he should have, it felt like a bit of magic got shuffled in along with the price of admission. Besides, horns need not be confined to the stage. That alone was an added reason for joy on a night allowing for plenty of that stuff.

Read our interview with Blind Pilot here.

The Black Crowes performed at the Eccles Theater in Salt Lake City on Nov. 19, 2024. Photo by Nathan Christianson

Review: The Black Crowes at The Eccles

By Music

If Chris Robinson of The Black Crowes were to have suddenly started his own cult in the midst of showing off how well he can still sing and gyrate at the Eccles in Salt Lake City last night, chances are good we’d have followed whatever path he’d led us down.

If there’s one thing those touring as the self-proclaimed Happiness Bastards (after their 2024 album of the same name) wanted us to believe in, it was the joy accompanying good music.

But instead of being invited into their new religion, we were willingly baptized in a lot of the familiar and a sprinkling of the new. Far from being labeled a nostalgia act, The Black Crowes, who initially formed in 1984, appears to be experiencing a career second wind. It’s a good spot to be in.

In a set that lasted 18 songs strong, Chris, brother Rich Robinson, and the rest of their eight-member band set their own proverbial fire Tuesday, helping prove that age needn’t much exist in the land of straight-up rock and roll. While naysayers say the genre is fast fading, it’d be hard to prove that to anyone who took in last night’s performance.

Owning up to a voice that sounds every bit as whiskey-soaked and decades aged as it ever did, Chris sounded as comfortably at home and extra incredible on favorites like “Twice as Hard,” “Sometimes Salvation,” and “Sting Me” as he and the rest of his band ever have. (Side note: Those background singers really helped tie it all together.) The newer songs match the ones that have come before, too. This bodes well.

By the time the one-song encore was presented in all its glory—a speedy run-through of Ellmore James’ “Shake Your Moneymaker” that had everyone on their feet and dancing on both balconies and throughout aisles—a final truth seemed more than obvious: the band better already be planning their return. A mostly filled Eccles theater of believers is probably already demanding it.  

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Blind Pilot at Commonwealth- Photo Fawn DeViney

Interview: Blind Pilot at Commonwealth

By Music

In the ever-evolving landscape of pop music, the announcement that a band is going “on hiatus” often doesn’t bode well for their future. So for Blind Pilot fans who had watched seven years go by without the release of a new album, the likelihood of the group reuniting appeared slim at best. Blind Pilot will play The Commonwealth Room on Sunday, Nov. 24, 2024.

All that changed earlier this year with the release of Blind Pilot’s fifth album, “In the Shadow of the Holy Mountain.” The Portland-based indie-folk band, known for their intimate storytelling and lush instrumentation, emerged from their extended break with a renewed spirit and a transformative approach to making music. And no one was more surprised by that than the band members themselves.

“It feels miraculous that this all came about the way it did after so many years of trying,” said bandleader Israel Nebeker, who’d reached the point where he didn’t know if there’d ever be a fifth album. For the first time in the band’s history, he’d found himself at a total loss when it came to writing new Blind Pilot songs.  

“I read a lot of books on writer’s block and did some therapy around it for quite a bit,” he explained in this early November interview. “But I don’t think writer’s block really felt like what I was going through. It wasn’t like I was sitting there at my writing desk and banging my head against it. I could write; it’s just that the songs didn’t want to come through the way that they typically do.”

After years of trying, Nebeker came to a realization. The type of songs he’d been trying to write wouldn’t work for Blind Pilot. But they could for a solo project. So he set about making a deal with his muse and the songs that were just out of reach. 

“I said, ‘Okay, how about if this is a solo album, I won’t censor you,’” the singer-songwriter recalled. “Whatever you come through as, I’ll bring you through, and I will take care of you. I won’t expose you to the scrutiny of anyone. You’ll just be mine. And that’s when the songs started coming again.”

Nebeker soon found himself writing enough material to record his own album, which he aims to release next spring. But the solution to one dilemma had led to the creation of another.

“At that point, I had a very tricky problem on my hands,” he said. “I had to go to my band and say, ‘Hey, thanks for waiting, like, five years for me to write another album. I have one. But it’s a solo album, not Blind Pilot.’ And I didn’t want to deliver that message to them.”

 As it turned out, he didn’t have to, thanks to a lucid dream that made perfect sense, at least for a moment. “The thought was, just write a Blind Pilot album in a month, and whatever comes through, you can just give that over to the band and it’ll be easy,” Nebeker said. “And I thought, ‘Yeah! That’s the solution!’ And then I woke up and thought, ‘What am I crazy? How am I going to do that?’”

But he did, and the band found itself back in the studio with an album’s worth of songs and a reputation to live up to. Inspired by artists ranging from Joanna Newsom and Gillian Welch to Bright Eyes and Neutral Milk Hotel, they’d progressed from the stripped-down charm of 2008’s “3 Rounds and a Sound” to the more expansive arrangements of 2016’s “And Then Like Lions.” Then “In the Shadow of the Holy Mountain” became their most significant leap yet, and in more ways than one.

The most significant shift for Nebeker was learning to let go of his need to “protect the songs” and be involved in every aspect of the record. This change in mindset led to a more collaborative and adventurous atmosphere in the studio. 

“I wanted to focus on the band as its own living entity, and less about the songwriting part of it” Nebeker said. “I said this time I’m just the songwriter and the singer, and that’s my only role. And that sense of respect and trust started to create a real camaraderie, this feeling of adventure where everyone was kind of magically invested in everything we were doing.”

The adventurous approach was complemented by producer Josh Kaufman’s exploratory methods in the studio, which captured the essence of live performances while pushing the boundaries of the band’s sound. That expertise allowed for spontaneous creativity, resulting in unexpected transformations of songs like “Just a Bird,” which gained its uptempo drum beat in the chorus during the recording process.

The group, which is now on tour promoting the new album, also took advantage of the fact that they were recording in a century-old church that had been converted into a studio, adding a unique ambiance to the sessions. That was particularly the case on the song “Coming Back,” which was recorded in darkness.

“The reason I asked to turn the lights off,” Nebeker said, “was because there was something about that song in that space where I only wanted to hear it. I didn’t want to be reminded of anything visual. I just wanted to be with the piano and my voice in that large, grand space.

“It’s not that I’m into the religion thing,” he added, “but I do love intentionally meaningful spaces, whether it’s a dojo or a yoga studio or a church or a temple.”

Or, for that matter, a mountain, like the holy one that gave the album its name. Nebeker saw it in a vision during a shamanic drum journey to northern Scandinavia, where he sought to reconnect with his ancestral lineage. 

“I think that traveling, especially when it’s off the beaten path, is definitely something close to a spiritual practice,” Nebeker said. “Right now, it’s very easy to be afraid of what’s foreign and unknown. But when you put yourself out there vulnerably, I have found that people show up and repeatedly prove that everyone wants the best for each other.”

Blind Pilot played The Commonwealth Room in Salt Lake City on Sunday, Nov. 24, 2024. Read Salt Lake magazine’s review of their performance here.