With a trajectory that saw him championing environmental sustainability through his work in the solar power industry, to writing songs that harness the spirit of Americana and his Midwest roots, Nashville singer-songwriter Chris Bullinger offers his unique vantage point in his artistic pursuit.
Bullinger’s journey took an unexpected diversion when it steered him into working with solar energy, where he became a pioneering entrepreneur, leading one of North America’s most significant renewable energy ventures.
However, his calling to a life of music-making remained strong.
His Midwest upbringing and professional pursuits have influenced his lyrical and musical depth, guiding the creation of his upcoming album, Waitin’ To Be Seen, along with his newly dropped single, “How To Bleed (Castle Sessions).”
The single — along with his latest, “Roll Your Own” — are both re-imagined acoustic versions of tracks off of his 2023 album, How To Bleed.
Bullinger’s storytelling and sonic prowess are heavily influenced by folk and country pickin’ behemoths like Bob Dylan and Steve Earle among others, often tying life’s strange, mundane, and sentimental experiences together. Waitin’ to be Seen — which is a 23-track conceptual double album — offers tales of connection, introspection, and everyday pursuits as told through a raw mix of classic country, folk, and modern Americana.
We got to chat with Bullinger to learn more about him, his latest releases, and much more.
So who or what led you to pursue a life of songwriting?
I’ve been writing poetry for as long as I can remember. Then one day I was watching an old Jack Nicholson movie where he says “Why don’tcha put a tune to it?!” So I did.
You’ve got your new single, “How to Bleed (Castle Sessions),” that just came out. I see it’s an acoustic reinterpretation of a previously released track. What made you want to do this?
True that it’s a reinterpretation of a previously released track. But, to me, that track when recorded in studio was a reinterpretation of the way me and my guitar wrote the song in the first place. So the Castle Sessions sort of brings the song back to its origins.
What’s the initial inspiration and influence behind the track?
You ever experience that feeling where you’re among a crowd of people and seem to be alone? Or are just one-on-one with one of the most important people in your life and somehow seem a million miles away? I feel that way a lot. I suspect other people do too. I tried to capture that feeling in a song.
And what can you tell us about your upcoming album, Waitin’ to be Seen? Any common themes or motifs throughout?
The upcoming album, Waitin’ to Be Seen, is a double album that tells the story of a meeting between a touring musician and a new love interest, but really speaks to the broader concept of people trying to connect with one another. The songs cover the initial excitement of meeting a common soul, the struggles of maybe not really completely overlapping, and the self-realization that can lead to a reconciliation.
The album is presented similar to a collection of short stories with the Introduction: One Complete Connection presenting the general concept of what humans are seeking and the Epilogue: Offering Acceptance suggesting a resolution to finally connect. The chapters in between sing of love and sex, fighting and longing, getting it right, and fucking it up. You know, life.
Where was it recorded and who helped produce it?
Waitin’ to Be Seen was recorded at the Bomb Shelter in Nashville, Tennessee, and is the final installment in a trilogy of albums I’ve recorded there. My buddies and really cool cats, Josh Halper and Harry Luna, produced the album. Josh also plays guitar on the album. They both give me hell and hugs and brutal honesty. Which fits right in with The Bomb Shelter, a dive bar of a studio. And I mean that as a compliment.
What has been your favorite/the most rewarding part of making this album?
Really cool to hear these songs come to life as interpreted by this crew. Basically we’ve had the same core musicians, producers, engineer, and background singers for three albums recorded over three years. And we’ve kind of got our shit together at this point. The first time I ever hear the songs like you hear them is in the studio. I’ve heard them many many times previous to that, and most often with just me and my guitar. So it’s a cool process to let them do their thing with a crew that really gets them. It’s good to git got.
What does a day in the life of your songwriting process look like?
I suspect my songwriting process is not the most common approach. I don’t ever plan to write a song. I’ve never co-written. I don’t have any set time or day when I’m going to write. It almost always goes like this: me and my guitar are messing around and then a melody and words just start appearing. And almost always from the top of the song to the bottom; I don’t write the chorus or the hook first. It feels more like the song comes through me, rather than from me.
What does a dream gig look like for you?
My dream gig might be sitting in a dive bar with just me and my guitar. Or taking this current studio crew out on the road would be a blast. The Ryman would be fine. But really Jazz Fest. Could look like a lot of different venues. But I know what the dream result is: to have at least one person connect with the music.
What are one or two pinnacle moments for you as an artist?
I’ll letcha know when they happen. I love playing and singing. But I imagine the best is yet to come.
Aside from the album release rollout, do you have any other goals or aspirations for 2024? Can fans expect any touring?
2024 is gonna rock. Touring probably has to wait until next year. But really stoked about the new album and singles and videos and all that. Also got a cover of “Folsom Prison Blues” and “Matchbox” coming out on a Sun Records charity album for St. Jude’s Children’s Hospital. Mashed ‘em up into one song. Think that’ll come out this year.
And since we wrapped up our Bomb Shelter trilogy of albums, we’re heading down to New Orleans to record another album and might lay down some more cover songs while we’re cutting the next album. Really looking forward to that. New Orleans is scientific proof of the soul.
