Words by Jonathan Stout
For listeners who avidly follow modern DIY indie garage rock, David Nance is a well recognized name. From collaborations with underground legends like Simon Joyner, to covering entire classic albums by other artists, to backing up singer/songwriter Rosali – to say that Nance stays busy is an understatement. But with his new record, David Nance & Mowed Sound, Nance uses the extra exposure provided by Third Man Records to switch things up, hone his sound and create a new version of his patented rock n’ roll for the masses.
Off Shelf: What brought you to Third Man for the newest release?
David Nance: Ben Swank at Third Man has always been a champion of ours and very kind to us in the past. I took a leap and reached out to him and, surprisingly to me, he accepted. Very grateful for everyone at Third Man.
OS: You release prolifically on your Bandcamp page. Will your contract with Third Man prohibit that in the future or do you plan to continue similarly with DIY releases as well?
DN: No, they have been very supportive of our scrappy existence.
OS: What drives you to create and release as rapidly as you do?
DN: I like making music and I like writing songs. It’s what keeps me sane and how I make sense of the world. Always trying to get it “right” but never getting fully there. I like to think I’m close to making something truly good, but I’m probably not the one to ask.
OS: Is there any criteria that goes into the consideration of what albums you wish to cover in full? How long does it usually take to complete these tribute albums? Do you have a favorite?
DN: They’re very of-the-moment projects. I know it when it feels right. Really anything is fair game and I’m down for a challenge. The most time I’ve put into one is a week, but I’ve banged out an album in a weekend once or twice. Melanie’s “Candles In The Rain” is far and away my favorite and has become the benchmark by which I measure all others.
OS: Although Mowed Sound still sounds unmistakingly like you, there’s a slight sense of sonic restraint in comparison to some of your more freewheeling self-releases. Was it a conscious decision to make a slightly more subdued, less noisy album?
DN: Absolutely, we wanted to make something new to us. That’s always the goal! Evolve. What’s the point in making the same record over and over again? The wild guitars will be back on the next album for sure, but they needed to be stabled for a bit.
OS: There is a lot of pressure put on musicians nowadays to be digital content creators, creating far more than just music to keep audiences’ attention. Although you have an Instagram, a lot of your success has come from word of mouth and classic DIY channels. Do you feel growing pressure to follow other contemporary trends of promotion moving forward or are you confident in continuing as you have?
DN: I should probably be more active on the social media shit but it’s painful being on there. I hate posting pictures of myself. My face doesn’t sell records. [laughs] I can only do my own thing and hope it resonates with others. I feel fortunate that some people dig it.
OS: What are the biggest differences between your time spent in L.A. versus Omaha? What brought you back to Omaha?
DN: I never played music when I lived in L.A.. I was out there supporting my wife, Anna, in her artistic endeavors. She’s the true artist in our relationship. I can only speak to being a musician in Omaha. I thrive off of isolation and I’ve got enough of a crew of incredible collaborators; Kevin Donahue, James Schroeder, Sam Lipsett, Pearl Lovejoy-Boyd, Dereck Higgins, that it never gets lonely. My youngest sister, Angel, died and I wanted to be close to what family I have left. I miss her all the time.
OS: I’m so sorry to hear that. Speaking of the importance of family, you’ve recently become a father. Has becoming a parent affected your relation to music at all? Did reflections of this experience show up at all in the content of the new album?
DN: Albums take a long time to come out now. This one took so long – we conceived and celebrated my son’s first birthday before the album was released! Being a Dad has fully changed my relationship with music. I’m a lot more intentional about how and when I write. Usually late at night and quietly. I’m busy working and hanging with my family most of the time now. I love being a dad, though. My kid rules.
OS: There is a timeless quality to much of your music, rooted in classic rock and folk. Since vintage comparisons are a little bit easier to trace, I was wondering if there is any contemporary music that also inspires you?
DN: Tons! Weak Signal’s got to be one of the best bands going today. Tobacco City is incredible. Aaron Dilloway. SZA. Bill Orcutt – especially the “The Anxiety of Symmetry” and “The Entertainer”. Glyders. Emily Robb. Ryan Davis. Headroom. Mountain Movers. Fetty Wap. Arbor Labor Union.
OS: You’re a very busy artist, who always seems to be preparing another release. Are you planning any other releases for this year?
DN: Nothing yet but the year is early and I work on whims!
OS: Do you have any tours or upcoming shows that you’d like to share with our readers?
DN: Mowed Sound will be out there, in the wild, supporting Fruit Bats on the West Coast in May, some gigs with Rosali in the midwest/south in July and we’re working on a proper East Coast run in September.