Nathaniel Rateliff: “Sometimes I just want to wallow in the darkness”

Setting eyes on Nathaniel Rateliff reminds you that tradition can sometimes feel as refreshing as anything. Ensconced deep in an armchair, nursing his whiskey jar through a thick thatched beard, whilst engaging in warm, gentle conversation with his broad, Mid-western accent, he perfectly embodies the conventional troubadour aesthetic. In the context of a modern wave of fresh-faced folkies, the authenticity of his demeanour is doubly striking.

And you wouldn’t want it any other way. For the roots of this man’s ability extend far beyond mere image – spend an evening with the aforementioned tipple and the oaky, sozzled heartbreak of Rateliff’s three full-length records, or even better, the intensely compelling presence of his live show – for hard evidence. His ability is in bringing traditional folk imagery, be it the tatty brakeman and his old time revivals, or the first three-fingered step into stupor, with the muck and mire of everyday struggle. These worlds meet in the music of Rateliff – a man of simple means, and simple wants – who inspires in his rich, rustic folk the nostalgia of another time, and the desperation of a man pushing through in the present.

Having experienced the honesty of his songcraft, and the geniality of his personality in the dimly lit atmosphere of the pub, Rateliff initially seems reticent to share directly. But just like his songs gently unfurl their textured tales, so does Rateliff betray his wit, warmth and wisdom. As the phased swirl of an organ in soundcheck dies away, we discuss taming negativity, a rural upbringing and his new soul band – the Night Sweats.

I wanted to start with the cover for your latest record, Falling Faster Than You Can Run. I’m torn as to whether the hands in the photograph are moving towards each other, or pulling away? In the context of the record, it feels like it might be the latter?

I think it’s supposed to be someone that’s reaching out, for sure. Though there’s supposed to be a feeling of distance between them – the woman’s pulling away, and the man’s still there.

Does that reflect the record? A reaching out? The music’s not wholly pessimistic, but there’s a lot of negative experience going on?

Well, I don’t feel like I’m trying to reach out musically. I don’t want there it to feel like there’s a negative attitude. Even if the songs are slightly depressing I still want there to feel like there’s hope.

What themes did you find yourself returning to when you were writing this record?

There’s a lot of loneliness in it, and there was when I was writing it too. I was on the road a lot, alone, and a lot of it came down to feeling isolated and alone, even when you’re surrounded by people.

There seems to be a lot of reference to a higher, abstract struggle – where a wider perspective meets your personal, every day life?

It definitely deals with a lot of the struggles I’ve had over the last few years. I guess when writing it I’m not exactly trying to keep it so self-focused, but also not trying to make a big point about the rest of the world either. I’m just writing the songs because I feel like I have to write them. It’s not a big social thing! I mean, I wish I could write songs like that – but I haven’t yet.

You’re a pretty hard-working live performer, and it’s how many people find your music and fall in love with it. What do you feel you’re communicating live?

I wouldn’t want it to be just depressing. Sometimes it feels kind of funny – so I guess all over the place, because I’m all over the place. What I’m hoping for is that people don’t just feel depressed, but leave feeling good – hopeful, or something.

You often switch out from a deep, personal song and then crack a joke. Are you aware of that contrast?

I don’t really worry about it – it’s just part of me. I like to keep things honest, and as close to me as possible.

Would you say that ability to cut through the darkness with humour reflects your personality?

Sometimes – though sometimes I just want to wallow in the darkness. Some of the shows can be like that too. It can depend on what I feel like. I guess that’s a bit unprofessional, but it is what it is…

{pagebreak} Any tricks of the well-honed live folk musician you’re at liberty to share?

I don’t really have any tricks! I feel pretty calm and confident on stage – like I’m where I’m supposed to be up there.

What determines success for you? You’ve got quite a cult following, but never broken into the mainstream necessarily.

Succcess to me would be just to be able to continue, with a good following of people who want to hear what I do, and that I can keep on putting out the records that I want to make. That I don’t really have to cater to an audience.

Does your upbringing in rural America still have an effect on you and your songwriting?

Well I’m still there really – even if I live in the city, I’m not a city kid.

Did you have much religion and church around you when you were growing up? Parts of the new record seem to have a sort of hymnal quality to them.

Yeah, I had a pretty religious upbringing. That part of the world is a lot like that. Though I’m definitely not religious any more! And that warmth wasn’t intentional, that’s for sure.

I noticed that you use nylon strings live – which reminds me of a specific type of songwriter, someone like Willie Nelson etc. Are these the musicians that you aspire towards being like?

I really respect Willie as an artist, but I really love Leonard Cohen, and he’s always played nylon strings. But I started to use them in writing, on a classical guitar, because it was the only guitar I had that worked. It wasn’t really me trying to do anything stylistically, it was just the only thing I had lying around!

How about your modern day compatriots – who do you see as your contemporaries?

I mean, I love Bill Callahan, and Bon Iver’s great. I haven’t been very good at listening to new stuff. Father John Misty, Pearly Gate Music, that kind of stuff.

Do you see yourself as a traditional “folk” musician then?

You know it’s funny, I’m not really part of that whole “folk” scene and up to date with who’s out there and who’s doing what. I don’t really see a lot of folk performances either.

Your first instrument was drums. Does that influence you as an acoustic musician?

Well it gives me pretty good rhythm. And drummers like to play with me ‘cause I have good timing.

What about the Night Sweats ?

Yeah, that’s been a load of fun. We’ll hopefully record a full length record in the Spring, but I don’t know when it’ll come out. I’ll definitely get that done though, and possibly I’d really like to do a 7” at some point. Just for the hell of it.

How do you approach writing for, and being in a band, rather than a more solo based musician, differently?

It’s really a different show, and I feel like a different person on stage. Playing rhythm guitar solos and dancing around – I just go out and play the show, and if people aren’t into it, they can fuck off. That’s kind of the attitude – we just want everybody to have a good time! It’s more of a kind, and I feel more of a character myself doing that. It’s still a part of me – I mean I love to dance. In terms of writing, a lot of the recordings that I have now is me playing all the instruments. Though I don’t know how to play horn instruments, so…

Falling Faster Than You Can Run is out now Mod Y Vi Records.