Joy williams and john paul white dating
I was like, "OK, I'm going into this room with somebody named John Paul White." I had no idea what I was walking in to.After about half an hour of getting-to-know-yous, he started plucking at the guitar.The Southern Gothic folk duo put out two celebrated albums before their frosty breakup.White was unfailingly diplomatic at the time but now looks only to the future.In November, the duo abruptly canceled a European fall tour, announcing an indefinite hiatus with an ominous statement citing “internal discord and irreconcilable differences of ambition.” It was a shocking admission for a duo comprised of two singers who, before meeting at an antiseptic Music Row songwriting session for a pre-fab pop-country group, spent a decade as fledgling solo artists: Williams as a marginally successful Christian pop singer from California, and White as a Jeff Buckley-esque Southern alt-rocker from Alabama who’d lost a major-label deal.“Success, and things that you’ve worked so hard for your whole life — you have to be careful not to lose yourself in the midst of it,” Williams says, looking back on a whirlwind two years that included a chart-topping D. The self-titled album builds on the stark, harmony-heavy, acoustic-based vocal-guitar sound of its predecessor, broadening and electrifying it to include drums, distortion and studio-orchestrated swells of sonic, emotional grandeur.Standouts include yearning ballads like “Dust to Dust” and the uncharacteristically anthemic “Eavesdrop.”Despite its star-crossed, foreboding lost-love requiems like dark lead-off single “The One That Got Away” and dramatic, suggestively grim cover art (a black-and-white photo depicting a billowing pillar of smoke), the album boasts hook-heavy tracks with Lady Antebellum-worthy monster choruses that have Top 40, Americana and country chart-topper potential written all over them. I don’t think that it’s never going to happen, it’s just I don't know if it’s going to happen right now.”And then there’s the larger question: Will the Civil Wars’ story even have a third act at all?“I am 100,000 percent focused on this project, my family, the record label, and the studio. I wasn’t sure I wanted to do this at all anymore so it’s interesting that it has become so rich.” From his Jeff Buckley-style runs at the end of “Hope I Die” to the gritty yelps on the barnstorming “Fight for You,” he sounds unleashed. The schedules wouldn’t line up, so I hired a fiddle player from Lafayette and a guitar player from Tuscaloosa.
And with the album locked and loaded, and a growing worldwide following of fans eager to consume it, resolution still seems a ways off for the estranged duo. “If John Paul and I can find a place to meet in the middle, I believe that there could be a future for the band,” she explains. I would be open to trying to mend the bridges that I think we both burned. It takes two.”White, who lives with his wife and kids in rural northern Alabama, near Muscle Shoals, has pulled a J. Salinger, keeping quiet about the new album’s upcoming release and the band’s uncertain status.Still, the gorgeous material, by turns heartbreaking and life-affirming, steals the spotlight. I can concentrate on emoting instead of praying I get every chord right.” The Civil Wars interpreted songs as disparate as Portishead’s “Sour Times” and Michael Jackson’s “Billie Jean.” Audiences should expect covers, but White is tight-lipped about titles. People may not realize how great a song is when the production is so amazing.White promises a fleshed-out sound for his upcoming tour, which begins in New Orleans and covers a half-dozen states before he heads to the U. I tend to gravitate towards those and strip ’em down.” Metallica and Megadeth (“I was an 80s kid,” White says with a laugh), but now he listens mostly to bluegrass and vintage country like Moon Mullican and Tex Ritter. “I’ve had a hard time finding things that really blow my skirt up, for lack of a better phrase.” As a musician from the Quad-Cities, Southern rock was everywhere. On the Tennessee-Alabama state line, you have to be able to play that stuff.” Regional pride birthed Single Lock Records, his label with partners Ben Tanner of Alabama Shakes and Will Trapp.At the time Williams said: “I would be open to trying to mend the bridges that I think we both burned.It takes two.” Now, she is finally ready to let go.
“You can’t have that much tension without something changing and it did,” she says when we meet at a private members’ club in London.