Pigeon Spins Featuring an Interview with Bill Barlow

Out of Obscurity marks a defining moment in Barlow’s artistic evolution — a 23 track odyssey where Pop, R&B, rock, and blues collide with a confidence and clarity that could only come from an artist stepping fully into his prime. As his fourth and most accomplished project to date, the album showcases a songwriter and vocalist unafraid to stretch across genres, emotions, and eras, pulling listeners into a world where vulnerability meets swagger and storytelling meets sonic ambition.

Interview with Bill Barlow

(•)> What does the title Out of Obscurity signify for you personally and artistically?

For quite a while, I have been working on writing and producing music, largely in a vacuum. But when I was working on this album, I received several messages from folks asking me when I would have something new. To me, this didn’t just signal that I was on people’s radar, but that what I am doing really matters to people. Professionally, I felt the turning point.

(•)> With 23 tracks spanning Pop, R&B, rock, and blues, how did you approach weaving such diverse genres into a cohesive album?

I always approach a song emotionally first. What musical style best evokes the feeling that I am writing about, and how can I convey that feeling to the listener?

(•)> How has your songwriting and vocal style evolved compared to your previous projects?

My style originally was pretty simple. I did not yet have the experience or the talent to produce tracks that could fully express what I was trying to say. Now it’s a coordination between songwriting, recording, and mixing. I will go back and re-write sections of a song so that they flow together better. That back and forth really produces a much better musical experience.

(•)> Can you talk about a few tracks where you felt you really pushed your creative boundaries?

I had a more fully produced version of Frustration originally. And while the track was good, it didn’t convey the raw emotion of what I was saying lyrically. In this case, more (instruments, voices, textures) wasn’t better. Less was more. Stripping down the track opened up the vocal so you can feel like you are standing on that cold Manhattan street facing disappointment.

On Merry Goes Around Me, it was the opposite. In order to tell this story, I needed more textures and more instrumentation. I used every post-production mixing skill that I have until I had to learn some new tricks. There is a transition near the bridge that was just so award-sounding. I had to record, mix, and move the guitar and drums so that that went away.

Another Million Miles is a track I wrote for my wife. The original version was just plain bland. I experimented and taught myself some new musical skills to re-write the entire melody. She has always liked the song, but now we both love it.

(•)> How do you balance vulnerability and swagger in your music, especially across such a large body of work?

I guess that’s just my personality. I approach everyday life, while being serious, with some level of sarcasm. That is my coping mechanism. I am a lot less vulnerable when I am speaking with people, but give me that tablet and out comes the real me. All of it.

(•)> Were there any particular moments during production that felt pivotal in shaping the album’s identity?

When I was in the middle of mixing Gonna Fly, I knew this was going to be something special. That track should not work. Lyrically, it doesn’t follow the traditional convention, musically its 3 different styles in one song, and yet somehow it collides to become something I am truly proud of.

(•)> How does Out of Obscurity reflect your personal growth and experiences leading up to this release?

I am evolving as a writer and an artist. This is reflected in my songs. The songs focus more on my emotional evolution, and the album reflects a serious artistic evolution. I hope that comes through.

(•)> Did you have a specific audience or listening experience in mind when crafting this album?

I don’t sit down to write to my audience. I actually write to myself most of the time. Sometimes that is worth sharing. The closest I ever got to “crowd producing” was on By Special Request. I played loads of tracks for fans, friends, and family members, and the ones folks liked the most made the album. But I write all of my songs, then and now, to myself first.

(•)> How do you want new listeners to connect with this album versus long-time fans?

I think my long-time listeners have grown to understand that genre is a moving target for me. I’d like new listeners to listen with an open mind and understand that if you had to put me in a categorical box, it would be labeled “From the Heart”. My songs tell stories, convey emotions that we all feel, and can relate to. Find the one that makes you say, “Yeah, that’s me!” and we will have a connection. Believe me, there is something in there for everyone.

(•)> Looking forward, how does this album set the stage for the next chapter in your music career?

It’s a weird thing to say, but I start working on my next album the day the current album is released. Sometimes a bit sooner. I can say, as a sneak peek, that I continue to learn and grow professionally, and that will be noticed on my next release. I am producing more of what I’m known for, but at a higher level each time. I am looking to collaborate with some established folks who may participate in some tracks. That is very exciting for me.

(•)> That's all, Folks! Check out Bill Barlow on the Pigeon Opinion Playlist