By Isa Jones
By Mary Willson
By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
This Wednesday, Led Zeppelin lead singer Robert Plant returns to town with his newest backing band, the Sensational Space Shifters. The lineup features members of his early-'00s band the Strange Sensation, and has Plant revisiting both blues-rock and world-music influences; this after exploring Americana the last few years through collaborations with Alison Krauss and Band of Joy. We recently spoke with Plant about his new project and what he means by the "British condition."
Westword: After exploring Americana music the last few years, what drew you back to classic blues and world music?
Robert Plant: I have had an amazing education the last few years. The time I spent around all of those men and women was an eye-opening experience. The thing about working with musicians in Nashville is that they generally are always moving on to the next thing. Patty [Griffin] went to work on her solo record and [guitarist] Buddy [Miller] went to produce the Carolina Chocolate Drops.
I decided that I wanted to get back to something resembling a "British condition." I looked back at the Strange Sensation lineup I had worked with before Band of Joy. I called up [bassist] Justin Adams, who had just gotten done touring with JuJu. We decided to get together to try something out. It just had such a strange and unusual way about it. We brought in a musician from West Africa [Juldeh Camara], who had already been playing in the U.K...but then we stick in my voice and bring in [keyboardist] John [Baggott] from Massive Attack with his insanely powerful drum loops and crashing, crunched-up sounds.
We've got a new drummer [Dave Smith], a real good young kid who is big on the jazz scene here [in the U.K.]. It's proven to be a great passport for fun and power. I'm able to get the "R.P." voice back out there again. I don't have to be so concerned about making sure I am in harmony with anyone else since I'm mostly singing alone this time. I won't have to worry about Patty glaring at me when I fuck up this time!
Can you tell us more about what you mean by "the British condition"?
There's a historical point of reference with the people I've worked with since I began my adventures with Alison Krauss. The reference points in that world in the United States are very deep and loaded with history — whether it's the music of the Mississippi, whether it's the music that found its way into Nashville in the '40s and '50s, whether it's from the Carter Family or Roscoe Holcomb or Lead Belly.
The guys I work with in the U.K. have more of an urban British thing going on. If you compare Led Zeppelin to the U.S. bands of the time, like the Electric Flag, we were like a train wreck. We masticated American music, grabbed it and swung it around wildly, as kids do.
The British thing is to get to a different place. Artists like Tricky, Portishead and Massive Attack all came from Bristol. Three or four of the guys I'm playing with now come from that town. There's something about it that inspires a more techno way...techno elements, samples, big "fuck off" drum loops that fry you sometimes. It's a complete dynamic juxtaposition to what I was doing, but they are both equally rewarding as musical adventures.