From Minnesota to NYC: Interview with Guitarist/Singer/Songwriter Sherman Ewing

I had the pleasure of recently sitting down with NYC music veteran and one half of the singer-songwriter duo Missing Cats, Sherman Ewing, to talk music, songwriting, his longtime relationship with Jojo Hermann (other half of Missing Cats and keyboardist from Widespread Panic), and the upcoming release of his new solo EP, Cross My Broken Heart.  

Americana Lady:  Sherman, you played a gig this past Saturday night at the Mercury Lounge. How did the performance go? How was the overall experience?   

Sherman Ewing: Well, it would seem that The Mercury Lounge is one of the few remaining live music club destinations, or institutions, left in Manhattan, so that alone makes it a special place. I love the Mercury Lounge — the folks really know what they are doing. They run a smooth operation, and perhaps most importantly, the sound guy is great. In terms of the performance, it was super fun. I recently started with a new rhythm section, Rich Mercurio on drums and Brett Bass (like the fish) on bass (like the instrument). We played for about 75 minutes, which allowed us to stretch a few songs out. Everybody got to shine. We had a pretty full house of folks who overcame the freezing cold to come out, which makes all the difference. Overall experience: pretty great.

What venue in NYC do you enjoy performing in most? Across the U.S.? Do you have a favorite venue to watch live music?  

In New York, I love playing at The Slipper Room, The Mercury Lounge … Rockwood Music Hall is also great. In terms of around the US, I love playing at Tips in New Orleans. Jojo and I have played a bunch of places with Missing Cats, too. The Irving Plaza in NYC was great. The Belly Up in Aspen … but that could have more to do with being in Aspen. Tough call!  My favorite venue in New York depends on what I’m looking for, but Rockwood does such a great job with overall sound, and they always have really good, interesting stuff. Lets keep it simple: Rockwood.

Listening to your music, I hear an Eagles vibe (especially during “Cross My Broken Heart”). You have been described as soulful pop-rock and as a talented storyteller drawing comparisons to Bob Dylan. How would you describe your music?  

Boy, I like that description, for sure. I guess, when I write something that I think is good, it tends to be coming from a place that is honest, perhaps somewhat revealing of struggles that I have. Often in a story, I hope that it has a certain empathy that people can grasp on to. No one has ever compared me to John Hiatt. I love that guy, and he is definitely a huge influence. 

Artists all want to stand out and be unique, but is there anyone you would compare yourself to, stylistically? Any of your contemporaries that you relate to?

I love John Hiatt, and I think that some of my music shoulders up to him. I love a lot of the music that is out there these days. Band of Horses is one of my favorites, The Black Keys, The War on Drugs.  

Bay Uno recently opened for you, How do new artists influence your music or just inspire you in general? Do you think you can gain as much from them as they can from you experiences?  

Yeah, Bay is great. I actually saw his new video, which was really cool. He is a super creative guy. It’s funny, a lot of my friends that I grew up with are now professionals with kids, and busy as can be. One of them recently said to me (and I’ve heard it before) that there isn’t very much good music out there. Anybody who says that just isn’t looking. There is so much great new music. I love hearing it. The truth is, I am in awe of a lot of the new music. And, while nothing really specifically inspires me to write a certain way, it has to seep in and influence in subtle ways. I love hearing about something and buying it. I love buying new music and there is so much good stuff.  In terms of people gaining from my music, I have never really thought of anybody gaining from my “experience.” Funny. 

Do you have a dream collaboration?  

Well, I love writing with other people. I’ve written with some great people — Jojo Hermann, Tom Marshall, Anthony Krizan. The Missing Cats’ Larry Brown, Amen sessions had a parade of amazing folks. John Randall (produced) Mike Mills, Luther and Cody Dickinson … for a guy like me, I’ve been really lucky. But I guess John Hiatt would be great. I would also love to write with Trey Anastasio — that guy is amazing.

Which song took you the longest amount of time to write? The shortest? Can you talk about your writing process? How would you describe a typical studio session? are all the sessions similar? Do you write with your band?  

Hmm, I do a lot of my writing with Anthony Krizan, who is producing my soon-to-be-released EP. I often come up with an idea – a riff and a few lines, melody, maybe some lyrics. Then he and I will get together and build the song, often gibberish lyrics at first, and then polish up the lyrics after that. It just seems to work out that way. A lot of songs come from ideas that I jotted down years ago. “Cross my Broken Heart” probably started out as an idea in the late ’90s and I just finished it. You never really know how it’s going to happen.

Another one of my new songs, “Lonesome Soldier,” just came together so quickly – the lyrics just happened. I wish it was always that simple, but unfortunately that is rare. I prefer recording with a live band. The basic tracks for my last solo CD, Single Room Saloon were recorded live in a weekend. I had Dylan’s rhythm section (George Recile on Drums and Tony Garnier on Bass), which was super exciting for me, a dream come true. After the basic tracks were done, [we] added overdubs and vocals. There were actually several songs that still were in need of lyrics when we recorded the basics. There is a song called “Marilyn” that I wrote with Tom Marshal. I think I had the first line when we recorded the song. We then spent a good amount of time finishing up the lyrics — actually a really good amount of time (it actually held the whole thing up for a while). But at the end of the day, that was one of my favorite tracks, so it was worth it.  

Do you have any pre-show rituals?  

Not really, other than standard stuff like vocal warm ups, drink warm tea, do a little stretching, maybe for mid-song high karate kicks. I like to be alone pretty much, work on the set list. I guess those all would be considered rituals.

How would you describe your image as an artist? Is that important? Does the green velvet jacket have any particular meaning?

Well, the green velvet jacket is just something that I saw, and actually didn’t wear for quite a while. It’s pretty bold! When I did finally wear it, a friend or two said, “Damn, that’s cool!” So, I break it out on special occasions. In truth, I’m best when I don’t try to hone an image. When I try, I usually fall dreadfully short of the mark. I’m better off staying away from plots and plans. I love Jojo. He is just who he is. What you see is what you get. I think being oneself is the best anyone can be. (Deep thought for the day.)

Are some songs more significant than others?   

Some songs are more meaningful than others, to me. What is really gratifying is when someone you don’t know comes up and tells you that one of your songs is meaningful to them. That’s a pretty wonderful thing.

Is Missing Cats an ongoing venture? Can you talk about your relationship with JoJo Hermann?   

I could go on for a bit about my friendship with Jojo. He is definitely a brother to me. I have been blessed with some amazing friends, who are also amazing people, and amazing musicians. Jojo has been a wonderful friend and a great collaborator. We wrote songs a long time ago — before there was Widespread Panic. He came to me after being on the road, got wind of some of what I was up to, and asked me to come open up for him on a solo gig he was doing. I asked him if he would be up for writing a song with me, and he of course said yes and then he thought it would be fun to make a record. So that happened, then the tour in 2012 — it was a great experience, and a pretty good CD, I must say. He and I are going to be performing as Missing Cats during Jazz Fest at the Down On The Bayou Concert, to Benefit the NOLA Musicians Clinic. That’s something Jojo started and has put together for five years now, I think. He might come down and join me for a set sometime this spring, then we always talk about when we are going to do the next Missing Cats record. We hope to write a bit this year, and maybe record next, but who knows, we are both so busy. But I certainly will drop everything if the opportunity is presented.

How did growing up in Minnesota influence your musical tastes and performance style?   

I don’t know if it did, really. I love all music, and have been influenced by all of it. I think that growing up in my particular family probably influenced my songwriting a lot. When I moved to New York in my teens, New York was much different and I kind of learned from being on the streets a bit. I’d say that influenced me more that growing up in Minnesota. Dealing with some early losses, finding the value of love and friendship … those are more the things that I’d say influenced my writing. That being said, some of my favorite music is from my home state. The Replacements, Dylan, Husker Du, The Suburbs. I love all those Minnesota home-growns. 

You are a very talented guitar player. Are you self-taught? Did either singing or guitar come first, or did they develop together?   

Actually, I am self-taught. However, Anthony Krizan plays all the good stuff on most of my recordings. He is amazing. He is a jack of many trades — plays bass, keys, drums, and produces. I am very fortunate that our paths crossed many moons ago.

What is the next project that fans can look forward to? Are you performing again soon here in NYC?   

I have a number of things coming up. I have two booked gigs in NYC. On Friday April 24, I am doing a late night set at The Rock Shop in Brooklyn after the Widespread Panic Show. I am going to do some of my own songs, and then do a set of Missing Cats with my band and maybe a guest or two. Those after shows are a lot of fun — usually a lot of folks out, looking for a good time.   

Then on April 11, I will be having an EP Release Party at The Bowery Electric. It’s been a bit since I released something, and I am really happy with the way these songs came out. It’s always fun to play new stuff. Actually (I am moving backwards), I am going to be writing and recording in New Orleans later this month, and doing a little acoustic show at a little venue called The Fair Grinds Cafe. Then, on April 30, I will also be doing a few Missing Cats songs with Jojo at the Down on The Bayou Concert to Benefit The New Orleans Musicians Clinic in New Orleans, which is right during JazzFest. Jojo has been putting on that benefit for the past five or six years and it’s always a super good time. On top of that I have some out of town dates coming together in Boston, DC, Philly, and Vermont. So I’m going to be keeping myself busy and hopefully out of trouble.