The “Canadian country party guy,” is stripping his image and his production back down to his intimate acoustic performances and sound.
Award-winning Canadian country artist Tim Hicks has released two hot new country albums this year. Released on all streaming services on June 2, Campfire Troubadour, Vol. 2, was followed by Talk to Time, on Oct. 13. Now touring both albums on the Campfire Troubadour Tour, Hicks departs from his signature party-themed anthems and high-production live performances which have defined the past decade of his music.
Hicks introduced a unique concert experience with the Campfire Troubadour tour, allowing listeners to explore a more intimate and reflective side of his artistry as he delves into the personal narratives, inspirations, and stories that shaped his music and evolution. The tour promises both his greatest hits and the reimagining of his sound through new records.
“Every time I wrote a song on guitar, people would tell me what a great country song that was. It was irritating to me because the biggest thing going was Nirvana and Oasis and I pictured myself as a rockstar rather than anything else,” Hicks said in an interview with The Journal.
However, this era marks a significant shift for both the artist and his dedicated fanbase, offering a rare glimpse into the soulful origins of the songs that propelled Hicks to stardom.
Performing an abundance of pub gigs as a working musician for nearly 20 years, Hicks said he would consistently have audiences request songs by Keith Urban, Brad Paisley, and Eric Church. As notable names in the country music scene, he began learning and performing their music on a nightly basis.
“When I was working in bars, I would say more than half the time I was by myself playing acoustic guitar and singing and so, you know, I built an audience of people that were used to seeing me play acoustic. I wanted to kind of showcase that side of my artistry in a way that made sense,” Hicks said.
“Secretly I started turning the dial to country radio where I discovered, and I realized ‘oh my God this is where I belong.’ It took a long time to figure out where I fit as a musician,” Hicks said.
After discovering his own sound, Hicks’ career took off as the “Canadian country party guy,” he said. With songs like “Hell Raisin’ Good Time,” “Stompin’ Ground,” and “Loud,” it’s apparent Hicks’ sound situated itself among partygoers.
Hicks has been successful in this domain. In his decade of releasing music, Hicks holds four singles that have achieved Platinum status, one with Double Platinum recognition, nine Gold singles, and a remarkable nineteen radio hits landing in the top 10. One may bring to light the phrase “don’t fix what’s not broken” when hearing Hicks has shifted sound and performance style.
However, that saying holds little validity in the context of his latest records. Both albums defy the notion that Hicks original style can’t be successfully deviated from, while presenting a profound and aesthetically pleasing exploration of vivid themes.
“I’m 10 years older than I was when I put out Throw Down, and lots of things have happened. I wanted to say some different things,” Hicks said.
Talk to Time acts as a testament to eloquent lyricism about the introspection and reflection of one’s life and the desire to slow down time. This thematic richness is depicted in Talk to Time’s title track “Young & Dumb.” With poignant, captivating lyrics written by Josh Osborne, Shane McAnally, and Ross Copperman, the title track is complemented by masterfully played acoustic guitar, underscored by a robust drum arrangement allowing for the maintenance of a strong rock influence.
Similarly, Campfire Troubadour Vol. 2 introduces a collection of acoustic ballads. Among these are standout examples including “All That You Leave Behind” and “Loved them First,” both of which manifest as love songs that explore the enduring impact an individual can have on one’s life.
“Really what Troubadour became was a little bit of a departure for me. But it afforded me a place to find homes for songs that I wouldn’t normally cut on a Tim Hicks record. Troubadour gives me a chance to kind of put on a different hat so to speak and do something different,” Hicks said.
The campfire theme for both the album and the tour caught fire during the pandemic when Hicks was limited in his touring, recording, and traveling to Nashville. Feeling the pressures of isolation, Hicks said to keep his sanity his friends and family would have socially distanced campfires, inevitably, guitars would come out and music would be played.
“We’re going out to tour across Canada and this sort of idea of having a backyard fire and singing Tim Hicks songs. It gives me a chance to connect with my audience in a way I haven’t done or that I can’t do when we have a full production tour,” Hicks said.
Hicks structured the tour to have an intimacy that he hasn’t been able to showcase over the past decade due to the large production and more time focused on music rather than talking. This tour carries a structure that allows for the sharing of insights into his personal experiences and inspirations that shaped the songs performed. This adds a dimension to the performance that offers audiences a deeper understanding of Hick’s creative journey and the stories behind their notable hits.
“It’s a side that we haven’t really showcased that much over the last 10 years like it’s been pretty rockin’ and loud. Now I can stand up here with an acoustic guitar and give you the same kind of performance but in a different way.”
Hicks recently made a stop in Kingston at the Jennifer Velva Bernstein Performance Hall Nov. 16 at 8 p.m. Tickets to see his upcoming shows can be found here.
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Award-winning, country, Music, Record, tour
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