All parts of the Nashville music scene were disrupted due to the pandemic, including the work of the producers and songwriters'. But for them, it was never 'Oh, I guess we'll just have to wait.' It was always, 'Let's see what we can do.'
Stephanie Quayle.Congregating in person for concerts is out of the question this spring and for the foreseeable future, so music fans have gotten used to watching performers livestream from home. What's less obvious is that segments of the Nashville music community that work out of view have been equally resourceful in finding virtual stopgaps during lockdown.
"It was never, 'Oh, I guess we'll just have to wait.'"Quayle affirmed appreciatively."It was, 'Let's see what we can do.' I love that sort of mentality."On a Monday afternoon in late April, Quayle and Kline were joined on a Zoom meeting by Christine Hillman, the A&R rep from Quayle's independent label, engineer Aaron Chmielewski and guitarist Adam Shoenfeld, all of them but Quayle in Tennessee.
Even so, they were in for a somewhat halting process. Without engineer Chmielewski physically present, Shoenfeld was juggling: He'd reach toward his screen to unmute himself on Zoom, consult with the producer and engineer, turn the app's audio back off again, check the chart he'd made to guide him through a song, cue up the track and, finally, start playing.
Eventually, he executed a swooping, circling lick, punctuated with brisk note-bending. He hadn't seen Quayle register her appreciation of his shredding by playfully crinkling her nose and making devil horns with her hand, so Kline, who'd been texting with Hillman and Quayle while Shoenfeld played, filled him in:"She sent melting faces in the chat."
In our subsequent interview, Quayle laughingly described a conundrum she hadn't anticipated:"What do I do with my hands on camera? I kind of had that moment while Adam's playing his heart out, like, 'Man, I've really gotta make sure that my face doesn't say anything I don't want it to say unintentionally.'"
"So we started messing with this little track," Wallace told his co-writers."It's a little feel-good thing. I was just thinking about stuff, like 'We can't be together. We're social distancing.' A covert way of saying all that, making it more of a lost-love song or something. Call it 'Closer To Me'?"
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