A Chat with Chris Bullinger (22.08.24)
Blending poetic lyricism with moving melodies, singer-songwriter Chris Bullinger can ensnare your senses with his music. We speak to the US-based artist about his new music video ‘Payin’ Dues’, video concepts, albums and influences.
OSR: The music video for ‘Payin’ Dues’ looks like a cross between stop-action with found objects and the animated interludes in Monty Python’s Flying Circus. What gave you the idea to take an approach like this to the video?
Bullinger: I worked with Andrew Knives on a ‘Kiss You Bye-Bye’ from the previous album, How to Bleed, and I was really blown away by his work and his vision and mind. Once I had a sense of that psychoactive collage, I let my mind run with it a bit and thought it would be great for ‘Payin’ Dues’.
OSR: Do you have video concepts in mind when you write songs?
Bullinger: I generally have a succinct observation in mind that expands throughout to fill up a song. So there’s an image or notion or thought but not a video. Once complete, though, the songs often present a story or vision that lends itself well to video.
OSR: When we first heard the song, we didn’t immediately think circus, yet the setting for the video works perfectly. Was the idea of a circus in the back of your mind when writing the song or did you think of it later?
Bullinger: All my songs are set in a circus! Not true. But in some ways, not far from the truth. The song really started as this notion of being close to someone but in a wandering way. So the travelling circus, after the fact, really became a perfect setting.
OSR: Did it take long to get the stills of you and Sheridan Foody that you wanted for the video? Did Andrew Knives ask for more shots or retakes once he had begun making the video?
Bullinger: We had a storyboard in place before the photoshoot so we sorta knew what images we wanted. Of course, Andrew Knives hadn’t seen the stills until after the shoot, and no one except Andrew had seen the roughs of the video. So we kind of took a chance to see how it would all come together. Andrew didn’t need to ask for more shots; he just used his magic to manoeuvre and manipulate the images and background.
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OSR: Tell us about the Nashville Repertory Theater that you “raided” for costumes. Do you have a personal connection with the theater or was it simply the one that was available?
Bullinger: The Nashville Repertory Theater is a regional theatre that brings art to live performance. I did not have a personal connection prior to raiding the costumes, and the Theater was most generous to allow us to do so.
OSR: How long did it take you to find the costumes you wanted? Did you know what you were looking for or were you inspired by what was there?
Bullinger: It’s amazing how many costumes the Theater has. Sort of had an idea in mind but wasn’t sure what we were gonna find. Once we saw it though we just sort of knew. And then of course the photographer and Andrew Knives were able to get the best out of it.
OSR: Was it freeing to go with an animated approach to the video as opposed to live-action?
Bullinger: I really enjoy the animated approach. Many of the videos I’ve released are animated. This collage approach is pretty cool to bring the creativity of animation but also mix in some photos where I’m doing something other than playing a guitar. I love playing guitar, and I’ve released those videos too, but it’s fun to mix it up.
OSR: Do you enjoy making videos in general? Did you enjoy making this?
Bullinger: I really enjoy the creative process, including making videos. The video process allows me to take a whole new look at or listen to the song. When I write I usually work from a distinct observation, and the story just unfolds as I write the words and melody. The video process follows later, and often results in a different take on the song, such as the circus setting for ‘Payin’ Dues’.
OSR: Your last album How to Bleed has a very rootsy feel to it and it sounds like something you cut with a core band. ‘Payin’ Dues’ feels more open with horns and a piano and a jazzy kind of vibe. Is your music moving in a different direction?
Bullinger: One thing I’ve learned about my music is that it can do a lot of different things. I don’t try to force it in a new direction, but How to Bleed is definitely more roots rock than the songs on Waitin’ to Be Seen, which has a more chill vibe. We’ve got keys on every song, and horns on a few of them. I suspect you’ll hear more horns on future albums.
OSR: As a songwriter, do you think of arrangements as you are writing the song or does that come later during the recording process?
Bullinger: I usually write a song front to back. I don’t often write from a hook or a riff. So the basic form of the song is generally complete once I write it. After several times through on guitar, I’ve got the general tone and vibe. As far as instrumentation, though, and even tempo and the full arrangement, yeah, a lot of that process comes together in studio. And that’s really a great collaborative process. In many regards, the first time I hear the song the way the listener hears the song is in the studio. I get to hear it for the first time all over again.
OSR: We heard a Tom Waits influence in ‘Payin’ Dues’ but we could be wrong. Who are some of your musical influences?
Bullinger: Tom Waits. Yeah. Love his music. If what I listen to most influences my music, then he’s right at the top of the list. Bob Dylan, Willie Nelson, The Rolling Stones. Old stuff. Timeless stuff. The stuff that defined it.
OSR: Are there certain artists you go to when you want to focus on the craft of songwriting?
Bullinger: When I’m listening I’m learning. I don’t mean I’m concentrating on it. More absorbing whatever I’m hearing. And it all jumbles around and someday might churn out in a new form. I don’t really lean on any one artist but allow it all to jumble together.
Many thanks to Chris Bullinger for speaking with us. For more from Chris Bullinger check out his Facebook, X (formerly Twitter), Instagram and Spotify.
