The Head and the Heart's Tyler Williams: "We're not looking for number-one radio hits"

The Head and the Heart (due tonight at the Ogden Theatre) came together when its members met while playing open-mic nights at a pub in the Old Ballard section of Seattle and decided to join forces. The band writes earnest, hushed, folk-inflected pop songs that recall Déjà Vu-period Crosby, Stills, Nash and Young. The results are less rock-oriented, but no less well-crafted.

See also: The best concerts in Denver this weekend

Championed early on by Seattle's premier independent radio station, KEXP, the outfit ended up getting picked up by Sub Pop, which reissued its 2011 self-titled debut. On the group's latest effort, Let's Be Still, you can hear a tasteful hint of Gram Parsons's gentle soulfulness. We recently spoke with drummer Tyler Williams about how the band's rhythms boost it beyond a simple singer-songwriter band, the idea behind the album art and how the group's success has been an organic process.

Westword: You went to high school with Jonathan Russell in Richmond, Virginia. Did you play in bands together then?

Tyler Williams: Oh yeah. Nobody's ever heard of it, but we were in a band together for about three years called Silent Film Star. Basically, I would just skip class, we all lived together, and we played music. It reminded me of semi-Killers-ish type of material.

You were in Prabir and the Substitutes. That band broke up the same year the Head and the Heart solidified into a band?

Yeah, and when Jon moved to Seattle, I was looking for a way out of Richmond at the time, just to start something new and see what would happen.

What made going to Seattle attractive outside of hearing that demo?

"Down in the Valley" definitely pulled me out there. Nothing specifically about Seattle, I don't think. I had never visited. It was just that Jon had moved out there, and I'd liked the song. It was just so much more mature than what any of us had been doing back in Richmond. It was more in line with what I usually listened to at the time, which was a lot of Broken Social Scene.

How did you find Seattle to be compared to Richmond?

It was more cooperative. Everyone was kind of in it together in Seattle. Bands help each other out and it's more of a fostering vibe instead of competition. There's not that many bands, and when you get one opportunity, everybody kind of wants to go on it, and it's hard when you have small scene like that. There's a lot of bands and a lot of venues in Seattle. That's important, I think.

Did you have to make many adjustments in playing in a band like the Head and the Heart as a drummer?

It was definitely a little bit of a stretch for me, but I really looked up to the drummer from the National and Wilco. I think that just watching them for a long time and knowing their styles helped me kind of get into a more textural style of playing. More shaker-based, more percussion-based, instead of just straight drum kit.

You did an interview with Mid By Northwest, in which you said that you felt like you had to have more of an image on the East Coast.

Well, yeah, I think right now we're just a bunch of dudes with beards, and we wear whatever we want. I think that, at the time, that that was taken out of context a little bit. We weren't thinking like that at all. We were just trying to make honest music. That was our main goal.

KEEP WESTWORD FREE... Since we started Westword, it has been defined as the free, independent voice of Denver, and we'd like to keep it that way. With local media under siege, it's more important than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" program, allowing us to keep offering readers access to our incisive coverage of local news, food and culture with no paywalls.
Tom Murphy is a writer, visual artist and musician from Aurora, Colorado. He was a prolific music writer for Westword and a documenter of the Denver music scene.

Latest Stories