“The song itself kind of gives back to you when you play it for people. You can really understand the weight of a song. If it has weight, if you see people that are feeling it, or showing emotion, or telling you that they thought it meant a lot to them. That’s what makes it worthwhile to me.”

PLAYBACK:stl had time to chat with one of the Midwest’s up-and-coming singer-songwriters, Cameron McGill. Originally from Champaign, McGill is currently based in Chicago. In 2003, he self-released his first LP, Stories From the Knife and the Back, to much critical acclaim. Last month saw the release of his second LP, Street Ballads and Murderesques. Self-described, Street Ballads contains “unapologetically long folk songs…make no bones about it.” It is an introspective album showcasing McGill’s growth as a lyrical storyteller.

Interestingly, one never knows what arrangement might unfold when McGill comes to town. For example, for the Street Ballad’s release party in Chicago, McGill remarked, “Working with the string quartet should be interesting.” Whether he onstage alone with guitar, keys, and harmonica in tow, with a single accompaniment, or with a full band, his live performances are always memorable.

Discussing what aspects of performing he enjoys, McGill said, “The song itself kind of gives back to you when you play it for people. You can really understand the weight of a song. If it has weight, if you see people that are feeling it, or showing emotion, or telling you that they thought it meant a lot to them. That’s what makes it worthwhile to me.” For him, “connecting with people” while he is on the road is the musician’s real reward.

The buzz surrounding Street Ballads has been humming since early January, when two songs, “Birmingham” and “When It Could Hurry,” received honorable mentions in the American Songwriter’s lyric spotlight. As for the recording process, McGill says Street Ballads “was recorded over a period of eight days. It was quick, compared to the first record. The thing about Street Ballads is it’s all live; no overdubs. So what you are hearing is all being played at the same time.”

This approach to recording is impressive and bucks the trend in the music industry’s quest for over-processed music. Street Ballads comes across as pure and honest, with many songs tapping a “stream of conscious” without too much editing on McGill’s part. On the whole, the disc also contains more personal moments for McGill as a songwriter. “It’s Not Right” represents a sort of diary account, he said. “The song makes a lot of sense to me, as far as being honest. I hope it resonates with people.” Lines such as “I don’t want to do this/it doesn’t feel right/but it’s the right thing to do” draw in the listener as a character in the story versus an observer of the action.

Discussing the craft of songwriting, McGill speaks of the difficulties that contemporary writers face. The cold reality of needing to sell something to someone in a 30-second commercial is harsh, especially if you run over time and are perceived as “self-indulgent.” McGill has no desire for the snappy sound-bite fan. “If you come along with me, I’m going to ask for years of your life. I’m going to bring more than the 30-second spot is going to,” he promised. “It’s all about writing a good song.”

Thus, we find Cameron McGill busy creating, searching through his states of bewilderment on life, and longing for some clarity and a sense of understanding. His music exhibits “songs that are straining to be understood.” His current state of being is knee-deep in the process of searching for more to life—and hoping to find it.

With two more records planned before the year’s end, McGill is proving himself to be the prolific songwriter. Here’s hoping this troubadour walks his well-worn Chucks into your town soon. | Mary Beth Hascall

www.cameronmcgill.com 

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