By: Rick Landers
Interview by: Cody Sikes
Chris Robertson – Photo credit: Mike Rodway
Black Stone Cherry grinds it out with muscled working man’s rock , with diesel fueled lead guitar riffs from Chris Robertson.
Wind the clock back to the days when rock was unadorned, when it was ground in the dirt, unwashed and full of spit and vinegar and you get the idea of BSC’s musical roots.
Robertson’s guitar work blasts away alongside his mates like the powerful licks of Lynyrd Skynyrd, Free, Bad Company and his name merits comparisons to the raw progress of Paul Kossoff, Leslie West, Waddy Wachtel, Martin Barre, Randy Bachman who play(ed) with their six-strings unadorned without platoons of pedals.
Play it straight, play it hard and play it loud.
Black Stone Cherry’s most often called a Southern rock group, and if we’re going to stick them in a rock genre, that makes a lot of sense. The group grew up together hanging out with the Kentucky Headhunters.
As much as Chris’s vocal and guitar styles are cooked Southern, that raw power of a six-string where lead guitarists hold down the fort comes from musicians who love the sound of a raging locomotive. Tether that rage to roots of down-home soulful lyrics and melodies and you begin to feel the grip of Black Stone Cherry, as it pushes you up against a wall.
Let’s pause for a moment, and listen.
Since Black Stone Cherry formed in 2001, the group has counted coup on a series of albums from their first self-titled debut album to their most recent, The Human Condition, released in October 2020. The “Again” lead track was a pre-release that again raised the bar for modern Southern rock. Later their 2011 album, Between the Devil & the Deep Blue Sea, launched hard hitting, “White Trash Millionaire”, as well as “Killing Floor” and “Let Me See You Shake It.”
The gravity that pulled the group together in the beginning, was the friendship of Chris with drummer, John Fred Young, the son of John Young of the formidable Kentucky Headhunters. The two would later pull in Ben Wells (guitar) and Jon Lawhon (bass) to kickstart Black Stone Cherry. The group would gain a loyal multi-generational following that continues to grow twenty years later.
When the global pandemic hit, the band experienced many of the same career bruising effects that decoupled audiences from their favorite performers. With large gatherings prohibited and frowned upon, BSC kept up their artistic pace with The Human Condition release.
Guitar International’s Cody Sikes caught up with Chris late last year and the two worked on our interview, to not only talk about life on the road for touring musicians, Black Stone Cherry’s work, the impact of COVID-19 on the music industry, but also the way ahead for all of us who dig high energy of live performances.
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Cody Sikes: Firstly, thanks for taking the time to talk to me, I really appreciate it.
Chris Robertson: Yeah, dude.
Cody: This year, for many musicians, has been a great opportunity to reconnect with the home life. How do you think readjusting to a tour schedule will feel?
Chris Robertson: Well, we have a show tonight actually and packing a suitcase for six days took me like 45 minutes. It was unreal. It literally took me 45 minutes to do something I used to do in five minutes.
I got to the bus last night and the bus call was at midnight. None of us went to sleep that night until at least 5am. There was just that excitement of being back on a tour bus.
My wife’s a nurse and I called to tell her good morning and that I hope she had a good day at work before I went to sleep. [Laughs] And I slept like a baby being able to ride down the road again, it was amazing.
Cody: Will this be a return to more regularly scheduled concerts for Black Stone Cherry?
Chris Robertson: No dude, we’re doing this one tonight and then we’re off tomorrow, and I’m going to Christmas shop to the best of my ability. I got my mask and everything ready. Then we have three shows, Thursday, Friday, Saturday that will be socially distanced.
But literally, this is the only true, mini-tour we got to do this year, so we’re taking full advantage of what it is and truly trying to appreciate it and take it all in.
Cody: The pandemic has had such a huge effect on the music industry. What do you think will be the lasting effects on live performances?
Chris Robertson: Well, Fauci came out and said the last thing that’ll happen is big stadiums filling back up again. And you can’t help but think, what’s the difference between 65 people that are sitting within six-foot proximity to 350 people in a small bar that’s crowded and closer proximity that are sweating all over each other? There’s really no difference. It’d be asinine to try to differentiate them.
But, when he said that stuff, he said the potential would be the end of the year. If that’s what it is to maintain everything safely before everything can open back to normal, that’s totally fine.
I think the biggest problem and the lasting effects are going to be on all the guys that worked on the road crew for the band, and all the bands the just could not hold on long enough, they’re going to go away.
I mean, that shit’s going to happen, there’s no way around it. There are already guys that I know personally that have worked with some of the biggest bands on the planet that are now driving UPS and Fedex trucks, because it’s been nine or ten months with zero work. And we have no true re-start date anywhere in sight.
Cody: That’s an interesting idea. I feel like this is a side of the music industry that isn’t really considered or discussed much regarding the pandemic.
Chris Robertson: Yeah, here’s the thing: radio is still going on and people are still putting out music. That’s great, but the reality of it is, especially for a band like Black Stone Cherry, we do depend on radio, but we don’t get put on the radio to the extent of number one songs.
That revenue stream really is not much. So, we make almost our entire living by playing live and selling t-shirts. That’s what it’s like in today’s age where streaming has taken over record sales. It’s an unfortunate time because not only are bands having a hard time, but the guys that make sure the show goes on everyday are the ones hurting worse.
Cody: Does Black Stone Cherry have a pretty consistent road crew, or does it often change?
Chris Robertson: Our dudes are our dudes. You know, they’re our guys from home or we hired them from people that ended up moving to where we live. We run our bus like a family and there’s no way around that.
Cody: I’d imagine that makes a much more comfortable and supportive environment for everybody.
Chris Robertson: Dude, it’s amazing, but it’s really hard when you’re in a situation like this. You wish you could do so much more. You wish you could just be able to work so they could work.
You can only do what you can do. It’s crazy man, especially with people that are basically family. Our crew is our family, so for lack of a better term, it just sucks.
Cody: Speaking of family, you come from a family of musicians. Do you think there’s a different emotional appeal to you versus someone who comes from a less music-oriented family?
Chris Robertson: I don’t know if it’s that, per se. One of my favorite quotes in recent years is something Dave Grohl said, “The beautiful thing about music is you can stand on stage and sing a song to 80,000 different people and they’ll sing it back to you for 80,000 different reasons.”
That’s the beauty of music to me, that we all get affected by it in different ways. I don’t think I’m affected any more or less than anyone else, I just think I’m affected by it the way I’m affected by it. I can remember certain key moments where music really made an impact on me.
Once when I was a little kid, I heard “That Smell” by [Lynyrd] Skynyrd and the way there was so much going on, but it was so cohesive. I remember talking about how there’s something special here.
Then fast forward to when I heard Leslie West play guitar for the first time, I immediately knew I wanted to play rock and roll guitar, not just guitar.
Jump forward a couple more years where I’m listening to a Cream record at 14-years old and “White Room” comes on. When it gets to about the second or third verse where Clapton’s going off with the wah pedal, I just started crying, because it fucked me up. It was amazing.
I still get that way every time I listen to Jimi Hendrix. I always get giddy like a kid and find something new, or just embrace it for what it is.
Cody: So, did you grow up listening to a lot of rock?
Chris Robertson: The stuff I grew up on was like classics and Southern rock, and classic country. What I call classic country is like Waylon Jennings, Merle Haggard, stuff of that nature.
To me, while I love Johnny Cash and Hank Williams, I’ve always been a fan of a bit rowdier music. And for me, Waylon Jennings and Kris Kristofferson, so many of those great dudes.
But at the same time, Charlie Pride who just passed away, to me, was such an icon; one of the smoothest and most beautiful voices in country music.
I grew up on heavy country music. My dad played in cover bands and they played square dances and stuff like that and they’d have to play a lot of old, standard country tunes. There’s such an under appreciation for a lot of that stuff, and if you listen to it and listen to the stories in those songs, it’s truly remarkable.
Cody: From the perspective of an artist in the scene for a long time now, how has the hard rock scene changed since Black Stone Cherry started in 2001?
Chris Robertson: It’s weird, man. It’s like it goes through phases, like it’ll be real heavy for a while and then it’ll get to this spot where there’s a Hendrix sound at the top of the plain for a while.
You know, the active rock world is one big evolving machine. It’s kind of the devil in itself, because the greatest thing about it is that it can constantly evolve and branch out. But, what also worries me is that when the sound evolves, bands try to imitate that sound and ride that wave out.
That’s great, a lot of bands make a lot of money doing that. But, what I love about it is, the band, we’re a part of the movement, and the movement’s made by the ones that are still on air and are still getting played.
I think it’s really just about the bands being bands, you know? One thing I am loving is that more bands aren’t using big band producers, they’re just going in and doing their records on their own. It’d be hard with producers there for years now, but it’s a band dude. A band will find their sound if they do it. I love that.
That’s why we started self-producing. We’ve produced all our own records for the last three now and it gives you the freedom to go, “We can do whatever we want to.”
Cody: That’s a good point. Is everyone in the band equally present for the production of the albums?
Chris Robertson: Yeah man, everybody sits there and gives their piece, but until all four of us go “that’s the one,” we don’t stop. We all four have to agree on it or it just ain’t it.
Cody: That’s cool, and it sounds like a great way to run a band.
Chris Robertson: To us, that’s kind of what a band is: four equal members. It takes all four of us to get on stage and make the show happen and make the songs right, so why would we be anything but four equals? I don’t know. There’s just something, and maybe it’s just who we are as people, you know that small town, simple way of life. A magic thing to us is the brotherhood, before the music even.
Cody: It sounds like you guys have some solid values.
Chris Robertson: Well, we started this band in high school, we were 16 and I’m 36 now. We’ve never had a lineup change, not once. So, I think that’s kind of a testament to the way we handle things and who we are as people.
Cody: Yeah, definitely. In what ways do you feel you and Black Stone Cherry throughout your music career, as both musicians and people? And what has surprised you the most about your growth?
Chris Robertson: I think the biggest thing is that we just continue to grow as songwriters, as individuals, as a band, and just as people in general.
My whole thing is if you’re not better tomorrow, what are you doing today? You know, what’s the point? If you’re not doing something today better than you did it yesterday, then find something else to do, or work harder at it.
And that goes for everything from waking up and fixing a cup of coffee to get your day started right up to your mental health. Just constantly working to be a better version of yourself. I think the thing that has surprised me the most is, for me personally, how much I’ve been able to just chill out.
I used to be pretty high-strung and got aggravated pretty quickly, and now I just try to let it go, it’s not a big deal, you know. Small stuff doesn’t bother me anymore, I’ve got more important stuff to get aggravated about.
Chris Robertson: This business does require patience because it is the most “hurry up and wait” business on the planet. It’s like, “get it done, get it done, get it done!” Now we have to wait six months before we can let people hear it. I’m like, “you are fucking kidding me.”
This business will chew you up, spit you out, and then step on you if you let it. And that’s not in any way me saying that to scare people in bands or people playing guitar away from doing it, just know that the music business is what you’re getting into.
The best advice I ever got was from a dear friend, of the Kentucky Headhunters. We were going up to showcase for Atlantic Records when we were about 19 years old, and we were all terrified they were going to tell us “no,” which is eventually what happened, they decided to pass on us. But Richard looked at us and said, “Listen boys, don’t prepare yourselves for a no, prepare yourselves for a yes, because that’s when your work really begins.”
I always took that literally to heart. And it doesn’t mean that you’re going to have to practice your guitar more, what that means is that’s when you have to start watching out for people to make sure their intentions are right, things like that.
You’ve got to be watching out for the best moves because there’s a whole other side to the music business. That’s why it’s called the music business, and not just music. That capital B there, man. It’s a real bitch when it wants to be. But you’ve got to make sure that the music is worth the business, and ultimately, that’s what we do.
Cody: Getting into your music now, Black Stone Cherry’s library has that intense punch that a lot of rock fans love, while also maintaining some emotionally impactful lyricism. When writing, how do you find the perfect balance between these two elements?
Chris Robertson: Generally, the music will kind of dictate the vibe of the song. We’ll sit there and someone will say, “this makes me feel like this,” or “I’m working on a line,” and that line will just spark it. We’ve been writing together for so long that when an idea sparks, we can all roll with it.
If it’s something that another person’s going through, then we’re sitting there and watching them go through it. We’re seeing it and we’re understanding it with him, so it’s a really cool way of bouncing back and forth off each other.
Cody: So, would you say that rhythm or melody sections typically form first?
Chris Robertson: It’s weird, man. Generally, it’s a guitar riff or some kind of musical idea comes first, and that’s going to be rhythm and melody. As far as talking about lyrics and vocals, those are typically the last key element of the song. There’re always parts tweaked afterwards, but for us, it starts with the foundation of the music and the last ingredient of that is the lyrics and melody.
I don’t know how it would be to come up and say, “I want to try writing a song about this,” and make music fit it. I’ve never really done that. It’s always started with somebody playing something cool and we just start the ball rolling from there.
Cody: How do you think your fans would describe your music, and what do you think it means to them?
Chris Robertson: I don’t know man, and honestly, I’m just going to leave that one open-ended. The beautiful thing to me about music and performing arts is, just like that Dave Grohl quote I mentioned, you could ask 30 different people who are going to be at our show tonight, “What is Black Stone Cherry’s sound? What does it mean to you? And how would you describe that band?” and chances are, you’re going to get 30 different answers.
Ultimately, my biggest hope is that, if you ask them “What does Black Stone Cherry mean to you,” they listen to it and hear the honesty, passion, and compassion. As far as what it means to them, you know, people send us messages and I get them personally, the band gets them.
Each member of the band gets personal messages from people. I’ve read those and some of them have really changed my life and made an impact on me, but that’s something I see as kind of sacred to the people that send those to me.
What that means to someone is what it means. For me to put that into words kind of takes that away from them, you know what I mean? I don’t know, I look at stuff in kind of a unique way, I guess.
Cody: I think that’s a really honest and respectful way to think of your audience.
Chris Robertson: Thank you man, I appreciate that. I mean, these are the people that support us and allow us to not have to get a 9-to-5 in a normal year, and for me to try and put words in their mouths isn’t right.
It’s a great question, I just don’t have a great answer for it. So for me, other than putting words in the mouths of people that either love or hate us, I’ll let them decide that. That’s the deal with an artistic person that puts their product out there. You put it out for anyone to interpret and praise or bash it however they want, and they have every right to do that.
Chris Robertson: Right now, we’re just pushing immunization, as much as we can. I never would have thought in a million years that there’d be a ten-month break on anybody’s accord but our own.
Now we’re sitting here, and we put out a record in the midst of a pandemic, and I’m so glad we did because we have received messages that the music means something to people. We’re just going to keep pushing the record and try to keep as much content flowing as we can. Ultimately, we don’t want people to forget about us. That’s the legit concern of a lot of bands whether they’ll admit it or not. Without us being out there playing shows every night, you worry a little bit for a band like us that’s not a mainstay on radio.
The new record is getting played the most we’ve ever been played, and we are so grateful. But, I still hope that people don’t forget about us, you know? [Laughs]
Cody: Yeah man. Do you have any side projects that have captured your interest recently?
Chris Robertson: No man, it’s Black Stone Cherry or bust for me. Obviously, I always got stuff set up at home, but the only other thing I do at home is photography, and I thoroughly enjoy that.
Then me and the engineer that did our record, Jordan Westfall, who is an incredible engineer and mixer, if anybody needs his services, I would highly recommend him. Check him out @westfallaudio on Instagram, the guy’s amazing. Also westfallaudio.com. But, he mixed our newest record and engineered it all. Me, him, and Jon basically work the studio that Jon owns in Kentucky called Monocle Studios.
Chris Robertson – Photo credit: Mike Rodway
We bring bands in, produce them, and have a great time. We really pride ourselves on the quality product that leaves our doors. But really, it’s music or bust for me, and when it comes to releasing music, it’s Black Stone Cherry or bust. I love going in to work with another band, but since I was in seventh grade and watched John play a talent show, me and him have been in a band together.
That was in May and I got a guitar the following June, and we played music together. Even when we wanted to beat the shit out of each other, we still played music together. Man, you’re looking at 23, almost 24 years now we’ve been doing this together. It’s pretty cool if I say so myself.
Cody: I really respect that loyalty to your band.
Chris Robertson: Let’s be honest, you wouldn’t be doing this interview with me if it weren’t for that band, and I’ll never forget that. Being a part of Black Stone Cherry is why people want to talk to me and I’m forever grateful for that.
Cody: Last question for you: do you have any advice for fellow musicians cooped up at home, waiting to get back on stage?
Chris Robertson: Stay creative, man. If you don’t have a DAW, there’s some great free ones. Garage Band, Reaper, there’s all kinds.
For being creative, I prefer Logic. It’s the simplest to just sit back and put down a guitar or bass and bring up a drummer the way you want. It’s an incredible songwriter and productive tool.
For easy use, I would recommend people either get a small interface or just record on your phone. Just find ways to be creative and try not to stall out. And that’s even hard for me, like I said before, I manage depression and the seasonal makes it worse. I have a real hard time in the late fall and winter months, but what helps me is to stay creative and that goes above and beyond musicianship.
When you stop getting inspired, learn something new, because you’ll get fired up again.
