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Kyle Daniel, What’s There to Say?

What’s there to say when you’ve conceded to the hardships of life? Kyle Daniel wrestles with this question throughout his sophomore EP, aptly titled What’s There to Say? Delivering his message via bright melodies and a wall of electric guitar, Daniel navigates the trials and tribulations of being a working musician, failed relationships, being surrounded by addiction and growing up in modern-day America. Wearing his heart on a tattered sleeve, he pairs everyman lyricism with a rusty vocal akin to Blackberry Smoke, Will Hoge and Chris Stapleton, bristled with a warm guitar bravado. It comes as no surprise that he’s road-dogged as a guitarist for Clare Dunn, Jimmy Hall and Casey James, as well as opened for the likes of Jason Isbell and Miranda Lambert. These are rich, authentic stories told from the perspective of someone who’s wrestled with the ups and downs of being a touring musician.

His new project carries with it tremendous gravitas, particularly in a time when truth is under the microscope. Daniel draws upon the uncertainty of an ever-evolving music scene, currently in a state of transition especially in the age of streaming. “You learn to take the victories as they come and be proud of those,” he says, considering the weight of his new music and the past year of his personal life. “Born to Lose” ignites the set from inside out, as he turns his gaze on the taboo topic of addiction and its omniscience in our everyday lives.

“I tried to start digging through all of the shame in hopes that I’d see her again,” he sings, the yearning in his soul spilling over onto gold-flecked guitars. The instruments crash against each other like rolling thunder, and it’s both a cathartic sigh and a mountain cry.

“I wondered what it would feel like to be completely down on your luck and feel like there’s nothing you can do about it or nobody to help you. In the title itself, you feel like you were damned from the time you popped out into this world,” he says. Within the song’s shiny structure, borrowing from classic rock as much as contemporary country, he observes such tragedies as the opioid crisis but veers on the side of uncompromising empathy. “I wanted to bring awareness to it without being completely negative in that respect,” he stresses.

It is from such a caring viewpoint that Daniel has approached much of his work, whether it be music-making directly or working behind the scenes. Born and raised in Bowling Green, Kentucky, he was instilled early on with a diligence for an honest day’s work and never giving up. Through much of his youth, he played on various traveling all-star baseball teams, but an accident in his freshman year of high school left him with a broken femur — and idle hands.

He picked up the guitar to pass the time and was instantly struck by the power of music.

He spent three months honing his craft and later formed his first band. “By default, I had to learn to sing. Nobody else wanted to sing because they were too timid,” remembers Daniel, downplaying his own raw abilities as a natural-born storyteller. When that endeavor ended, he founded a trio called the Kyle Daniel Band at 17 and went on to win the Southern Kentucky Blues Challenge. He was given the opportunity to head to the International Blues Competition, held in Memphis, Tenn., and placed in the finals.

Feeling the buzz of success, he initially opted out of college and took off his first year to explore music on the local scene. “But my dad was like, ‘You need a backup plan. Not everybody can be a freaking rockstar,’” he says. He put his guitar away and sought a music business degree at Middle Tennessee State University. “I felt like a piece of me was missing at some point and decided to put together a college band,” he says of The Last Straw, a blend of outlaw country, blues and southern rock. They soon caught the attention of the industry and snagged opening gigs for Jason Isbell, Blues Traveler, and the Black Crowes.

Following college, Daniel focused his attention on using his business degree and accepted a merchandise manager position for a Los Angeles group called Vintage Trouble. Through his work, he gravitated toward artist management and went on to rep a band on the road with Taylor Swift for the global Red Tour. “I absolutely got annihilated,” he recalls. “It was not my bag.”

He soon left his tour manager gig, and not a week later, he received an unexpected call from Wet Willie’s Jimmy Hall, who was seeking a guitar player for his upcoming tour. “I hadn’t played for three or four years really,” he says. “So, I put myself through boot camp to start playing with him.” Daniel toured around the country with Jimmy Hall for about a year before landing on Casey James’ tour, a risk he took that later led him to nab a slot playing guitar with Clare Dunn, and opening gigs with Bob Seger, Miranda Lambert, Lee Brice, and Chris Young.

A new cycle of life came his way, and he made his way back home where he worked with a group called Jericho Woods. But feeling dissatisfied creatively, Daniel stepped back from collaboration and spent the next few years concentrating on finding his own songwriting voice, penning hundreds of songs in that time. He worked his way around Nashville and linked up with such titans as Brent Cobb, Dave Kennedy, Channing Wilson (Jason Eady, Luke Combs) and Seth Rentfrow, a force of nature who would soon become vital to Daniel’s many solo artistic endeavors.

“It took every single step of the way for me to be ready for this type of career and well-versed in music both in front of and behind the scenes,” says Daniel, whose career was nearly derailed completely last spring when he had extensive surgery on his left ear. Four and a half hours post-op, he awoke and soon discovered things were much worse than he thought after speaking to, his doctor. “The doctor said if I had waited another month, I would have been completely deaf in my left ear. An infection had eroded two of the bones in my ear, and I couldn’t walk by myself for two weeks after the surgery.”

The fighter that he is, Daniel was in the studio cutting his new EP just under two months later. What’s There to Say? is pressed with unwavering perseverance, gritty urgency and viscerally-charged brokenness that quakes at his core. His voice is even more self-assured than on his 2018 debut, which landed on the iTunes Country Chart and was written about three times in Rolling Stone County. With such standouts on the new record as “Somewhere in Between,” in which he laments feeling stuck in second gear of his life and career, and “God Bless America (Damn Rock ‘N Roll),” a ‘70s-inspired arena revolt against the system, Daniels illustrates a colorful blend of tales backed by a rollicking beat.

While the first EP was made quickly, this time Daniel was far more tedious with the process and made sure he got it exactly how he wanted it.

What’s There to Say? captures a special moment in time for Daniel as he looks to build on the momentum built and praise garnered in 2018. This EP is lightning in a bottle; a readily-accessible, deeply relatable culmination of his years of surviving each and every challenge life has thrown at him, and it’s the perfect vessel for Daniel to break out in 2019 and beyond.

“He’s making vital country-rock.” – Rolling Stone

“Rousing…a rallying cry.” – Wide Open Country

“One of the most exciting emerging artists in Americana & Roots music.” – DittyTV

“What’s There To Say? shall soon catapult the artist into realms occupied by the prestigious musicians he’s previously collaborated with.” – Glide Magazine

“Pretty damn great…a force to be reckoned with.” – Americana UK

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Yesterday’s News

LA’s Grand Canyon’s music pierces through the confusion of today’s world while holding true to the influences that have created some of the most iconic songs of all time. Fronted by singer/songwriter/guitarist Casey Shea and vocalist Amy Wilcox, the six-piece ensemble seamlessly draws from such classic influences as Pink Floyd, Buffalo Springfield, Bruce Springsteen, Tom Petty, and Fleetwood Mac to create a modern take on classic rock. 2018’s critically acclaimed LP Le Grand Cañon was praised by BBC 2, Rolling Stone Country, AXS, Ditty TV, PopMatters, Wide Open Country, and Paste. The latter said the band had “the kind of hooks that lesser songwriters would give their i-teeth for.” If that record was their ode to the 70s, their new EP Yesterday’s News interprets the sounds of the Reagan 80s with the same socially heightened framework of that era’s 24-hour cable news cycle, only now the lens is social media. The songwriting of Shea and guitarist Joe Guese emerges just as potent and relevant as ever. 

Misleadingly upbeat, “Yesterday’s News” begins unpacking the flame-out of a past relationship but soon nosedives into larger issues of socio-political turmoil and governmental control. “I don’t want to be buried / In the fine print on the back of page two / I’m sick and tired of losing / Time after time,” he sings, also positioning the working musician’s life to try to be heard. His voice is swollen and sore from screaming into the echo chamber, but the Springsteen jangle assuages any feelings of impending doom and gloom.

“This music is definitely a darker sound. Maybe it has something to do with the political climate of the world, I don’t know,” considers Shea. These songs, among the dozens that the band has written, were created in late 2016 through 2017, and the sonic shift from their previous work can clearly be heard. Producer Jamie Candiloro (REM, Willie Nelson) broke in his home studio with “High Time,” a straight-down-the-middle rock emission with a Mark Knopfler-crafted vocal. “We wanted it to be a bit more of a rock-centered thing over the previous music, which was more country-rock. We were wanting to err on the side of rock ‘n roll,” says Shea.

“It Is What It Is” is a spacey, synth-laden “desert-rock” song that tears through the stratosphere of betrayal with an icy edge. “I’d be a fool to believe you ain’t what I need / But you won’t find me back down on my knees,” barely escapes his lips. Moments later, all the misery busts from his chest and rolls right off his tongue. The sting hangs in the back of his throat, and Shea soon realizes the necessity of such treachery. Later, an acoustic reworking of Guns N’ Roses’ “November Rain” bookends the new EP with an outpouring of unrestrained heart, a final motion to allow the past to burn his skin before he lets it fall away.

“21st Century American Man,” running nearly seven minutes, is positioned as the backbone of the record, a soul-burning ode to what it means to be American in these trying times. Musically, the band strikes at a much darker, more ominous texture to their work to unlock a richer exploration of humanity and ever-elusive truth. “I do not choose to be a common man,” Shea howls on the psych-rock habitation, somewhere in the wastelands of political divisions and the bedeviling work of their formidable influences. “Turn on the TV / LA is burning / They say there’s nothing, nothing to see,” he swallows the images flooding his senses, gravely resigning to his own inescapable helplessness.

The members of Grand Canyon, which include Jon Cornell (bass), Darice Bailey (keys/vocals), and Matt Bogdanow (drums), in addition to the already mentioned Shea, Wilcox and Guese, have collectively sold millions of records, toured the world in their own bands and as sidemen, appeared on countless daytime and late night shows, and had songs that set the scene in numerous television shows and movies. They have graced the stage with everyone from indie folk hero Daniel Johnston to Thai pop sensation Palmy to Celine Dion, played in the SNL house band, and recorded with everyone from Rod Stewart to Linda Perry. They have worked in the studio with Mike Deneen, Brendan Benson, Jamie Candiloro, Dave Schiffman, Steve Albini and more. 
Yesterday’s News is a contemporary take on the kind of music that people always go back to. Grand Canyon have created new shades of a classic sound while still pushing boundaries. In an era of computer-made, beat-driven music, Grand Canyon is the antithesis of modern pop music. However, by focusing on musicianship and timeless songwriting, and drawing on the inspiration of the classic sounds and arrangements of the past, it is the kind of pop music that will be wafting through the canyons for a long time.

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“Grand Canyon’s music pierces through the confusion of today’s world while holding true to the influences that have created some of the most iconic songs of all time.” -Glide Magazine

“Arcane stories and gripping guitar hooks form the basis of Grand Canyon’s “It Is What It Is,” proving yet again that rock music truly never died.” – Atwood Magazine

“A band that taps the rich vein of electrified American music.” – LA Times

“The Yesterday’s News EP follows Grand Canyon’s 2018 debut album Le Grand Canyon, its songs again mining an amalgam of rock and Americana influences — including an acoustic remake of Guns N’ Roses’ “November Rain” and an expansive epic of its own called “21st Century American Man” in addition to the Reagan-era inspired title track.” – Billboard

“Earthen hooks and infectious rhythms that would produce fitting anthems for any backroad.” – PopMatters

Publicist: Rachel Hurley

“I can’t say enough about Rachel and the team at Baby Robot.  This was the best experience I’ve ever had with a PR company.  They worked their asses off and consistently went above and beyond, not only getting us great write-ups and features, but also showing up to shows and posting vids and pics of the band.  They treated us like they were fans and made us feel part of their family and not just another paycheck.  They are a rare exception in the industry.  Thank you Rachel!!” – Casey Shea

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DL Rossi, A Sweet Thing

You can’t rush recovery. Americana-blues man DL Rossi learned that the hard way in the wake of a very painful divorce. On the verge of burning out completely, he turned to music as a way to cope and confront his past. His new album A Sweet Thing is a cathartic emission of everything he thought he knew about life, himself and what it meant to process such overwhelming heartache.

Despite it all, or perhaps because of it, he’s amassed an impressive resume. His first BIG break was when he became a member of the Free Credit Score band. Yep. You remember that commercial – right? He has also shared stages alongside such acts as Better Than Ezra, Liz Phair, Mayday Parade and Citizen Cope and made appearances on the George Lopez Show and at the Sundance Film Festival.

Rossi has weathered the unimaginable, including a bout with testicular cancer, and those crippling, yet necessary, experiences have only equipped him with the resolve to take his brokenness and make damn good music. “I lost a lot / But I also lost myself / Doing things I never thought I’d do,” he teeters on the brink of sadness and regret with “Better.” In between gently-wavering guitar tremolo, ethereal keyboards and a slow-burning melody, he makes a charge against himself that there’s no better time than the present to change. His tipping point came at a crucial moment in his life when booze and women were only delaying the inevitable crash. “I started letting myself down in how I was acting,” says Rossi, whose voice seems to crackle under the fire. “I was getting in this pattern of going out, getting drunk, meeting people and going on a date.”

“Right around this time last year, I had gone on a string of dates, and I just acted like a complete asshole. That was not me,” he says. Previously, he had never been one to overindulge and fly off the rails, but his misery charted a one-way train to hell. “Something was happening to me. The freedom I was allowing myself, which was a good thing at first, got to the point where I needed to get my shit together.”

Years before pursuing music, he displayed a curious disposition for adventure and often gave himself permission to trust his instincts. Youngest of three siblings, he was homeschooled and raised in a predominantly Christian household. His father played countless shows in the local bar scene around Metro Detroit, and once a month, his buddies came over for off-the-cuff jam sessions of old Beatles and Chicago records. At just 11 years old, Rossi’s older brothers started a band, and the seeds were planted for Rossi’s ongoing love affair with music. “I was the little brother hanging out at all their shows,” he recalls wistfully.

Later, at 15, his parents bought him a drum kit, and he soon took lessons. After only a few short months, he hopped onstage with his brothers’ band after the former drummer departed. But it wasn’t until he turned 18 that Rossi’s artistry really began to blossom, and he started to come into his own as a storyteller, exercising his penmanship with much of the band’s material. He stayed with the group for five years, and even though they received several offers from smaller record companies, released two albums and an EP and felt the high of local fame, their time was up.

Rossi remained involved in the church for a time, started doing his own music and attended college. Alongside his oldest brother and other players, he mounted a new project called the Victorious Secrets (Later the name was changed to “The American Secrets” for legal reasons) and went on to win a local Fox Sports affiliate song competition. They also tried their hand at writing a jingle for the national Free Credit Score ad campaign. Sailing through the online submission round, they boarded a flight to Los Angeles to shoot a commercial. They were then selected to become the face of the brand for a one to two-year commitment. As a result, they made several TV appearances, including on the George Lopez Show, and played gigs at SXSW. They eventually landed on Mayday Parade’s Fearless Friends Tour.

During such exciting artistic endeavors, Rossi’s health took a dark turn. He was diagnosed with testicular cancer at 27. Following a recording session at NYC’s legendary (and now-defunct) Magic Shop, he returned home for surgery and was laid out for almost two months afterwards. The cancer was fortunately discovered in stage one, and it proved to give him the jolt he needed to focus his attention on his solo music. “I realized I wanted to do more than what I had been doing. I really wanted to start writing my own music and see if I could do this,” he remembers.

He released his self-titled album in 2013, but his church community didn’t take too kindly to such a brash, punkish record that sought to question his religious beliefs and upbringing. “I released the record and got completely booted out of the worship community. They were friendly but passive-aggressive about it,” he says. “Some people didn’t like it; others didn’t care. Some thought it could be threatening to some people. It was the first time I was choosing to be honest as a songwriter.”

Nearly two years later, he underwent a nervous breakdown that shattered his love of music completely. “I got super depressed and suicidal, and I decided to give up music and try to get my life back together. I stopped playing and got a job at a Starbucks. I would play drums here and there if I could make money.”

He got married soon after, but it, too, was short-lived. “In the first year of marriage, shit hit the fan,” he admits, “and all of a sudden I was writing songs to cope with my life.”

A Sweet Thing is not only wrapped snugly in post-divorce trauma but also in a new-found appreciation for life itself. “I called my mom, called my dad / Let ‘em know I made it,” he weeps, his tears flowing profusely down his face. “This Road” opens the record with a soul-shattering story about his close encounter during a deadly shooting at Opry Mills Mall in Nashville. “I was there in the food court when it happened. There was a wave of 80 people running and screaming, ‘Run!’” he recalls. When the stampede made it out to the parking lot, no one could escape as all the exits had been closed.

So, he kicked up gravel. “I walked down the freeway to get to a point where an Uber would actually want to pick me up. There was a weird moment when I was calling my family and saying, ‘Hey, none of you know what’s happened, but I just have to call and talk to somebody,’” he continues. “It was a bit of a lonely experience for me. Coming out of a divorce, there was a moment where I was like, ‘Oh, something shitty could have happened to me, and the only people I have in my life right now that I want to call are my family, and they didn’t know where I was today anyway.’”

Rossi’s gutting performance sets the tone for the entire record, evoking a ghostly Townes Van Zandt-like quality. The heaviness in his heart spills out onto the record in spades, but A Sweet Thing is never overwrought or too grim. Rather, it’s as much an emotional release for the listener as it is for Rossi.  

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“Heartbreaking melodrama with a lonesome soulful cry…a natural storytelling ability…one of the new roots Americana voices to be heard in 2019.” – Glide Magazine

“D.L. Rossi bares his soul on his forthcoming album.” – Wide Open Country

“Searingly sincere songwriting.” – PopMatters

“A shuffled country ballad carried by a vibrant rhythm section and layered acoustic and electric guitars.” – Americana UK

“Refreshingly real music.” – Cowboys & Indians

“Americana-flavored anthem to love that puts gender equality at the front of the conversation.” – CHILLFILTR

“Emotion-laden Americana songwriting in search of catharsis.” – For Folk’s Sake

“DL Rossi’s low vocals over piano tones are rich with sorrow and resignation.” – Americana Highways ‘

“Just the right kind of rasp to his voice that works perfect for the Americana-tinged rock-based and country-kissing music.” – Ear to the Ground

“A Sweet Thing is a cathartic emission of everything he thought he knew about life, himself and what it meant to process such overwhelming heartache.” – Folk Radio UK