Daniel Romano with guitarist Kay Berkel. Photo by Sebastian Buzzalino
If you’re an artist making music in the current genre-obsessed landscape, there are several ways to stomach the world’s insatiable desire to categorize and over-categorize your work: you can ignore it. You can play into it. You can Taylor Swift-it, declaring the end of one era and the start of another. Or, like Daniel Romano, you can just go ahead create your own.
Mosey. Merriam-Webster defines it as “to walk or move in a slow and relaxed way.” Romano, however, sees it to mean both everything and nothing at all.
“In reality, it’s an excuse to not belong to any particular club,” he says, a few days before he heads to SXSW. “It’s supposed to work as a safety mechanism. And obviously it doesn't work, because comparison is the name of the game.” Two years ago, Romano was fed up with the state of country music – bro’d out and watered down, he started calling what he did “mosey” as a way to align it less with the radio-friendly truck-drivin’ mantras and more with the slow crooning, storytelling-driven culture of classicists like Hank Williams Jr.
But Romano — who got his start in a punk band and eventually put out several traditional country records but never declared himself to be anything but an evolving artist playing with different styles and influences — morphed again. He started to write new songs that paid more attention to complex worldplay and lush instrumentals than anything twangy, inspired by... Sign In to Keep Reading