.Vintage Trouble!
.Vintage Trouble!
but it’s really about where you are in the
here and now. I’ve spent many years adding
to my performance, building up so many
exterior levels and then over the last few
years, I’ve just star ted stripping it down; and
that’s what it’s been more about.
When you say exterior levels,
what exactly are you referring to?
You know, a lot of the time people think it’s
all about the outfits, the hair, about the way
you move or the way you sing, but what it’s
really supposed to be about is what’s
underneath all that. It’s great that you have
a past but it’s not better than performing in
the present.
You’ve been together a little
under a year, how did the band
Vintage Trouble come about?
Yeah, a little under ; our guitar player Nalle
Colt and I have known each another for
around 14 years.We’ve played together on
different projects and gone in and out but
never been able to lock something down
like we wanted to. Rick Barrio Dill, our bass
player is a good friend of mine who I
brought in for a session to play on some-
thing. I was like “Wow! I want that guy to
play bass”, so as soon as he was free, we
grabbed him.
Richard Danielson is our drummer ; I
had gone to a couple of late night jam ses-
sions with him through random friends in
Laurel Canyon which is a place in Los
Angeles up in the mountains. He heard me
sing and pulled me aside after one of the
sessions and he was like “Ty, one day we’re
going to make music together somewhere
and people are going be real sexy listening
to it” and he made that happen.
Ty laughs, looks to the side wall and
scratches his head, then takes a sip of his
black coffee.
Enjoying their time in London, Vintage
Trouble is looking to reside in north-west
London and become regular visitors to local
parks, to play some real music to the mass-
es – a refreshing sound, but not so submissive
to the pull of the mainstream media.
How did you find yourselves in
London?
Our booking agent, I.T.B (International
Talent Booking) brought us here because
we were chosen by HMV to be the next
best thing, and that was a great honour for
us. So we came here for that, but then luck-
ily in the week we’d been here, we played
five shows; three planned and two other
gigs. Actually, we did one more than that.
One day we opened up our guitar cases,
took out our acoustic guitars and played in
the middle of Camden market; a crowd
gathered round and we just got down with
the people and connected. It’s been a great
time in a shor t space of a week, people
have welcomed us like family and that feels
good. For me, I’ve always felt connected to
the UK; so many African American ar tists
that are doing things outside the realm of
what’s expected of us in the United States,
have come to the UK first.
It’s a place that allows you to be
BITE
MUSIC