Jerrod Niemann believes life is just way cooler if you make music part of every aspect of it.
“Think of all the restaurants we went into that had music or your car or working out or whatever it might be,” he said. “So I just was saying ‘Hey, tell everybody, it doesn't have to be our music, just let music be a part of your life.'”
In fact, “Free the Music” is more than just the title of his recently released sophomore album. It is the country singer-songwriter's mission statement.
“In Nashville, labels don't usually have a whole lot of faith in new artists, especially to use their road band on their albums,” Niemann said in a phone interview this week from Music City. “Since we had that rare opportunity, I thought it'd be fun to challenge myself and, of course, all the guys I play with to really dig deep and try to see what we could come up with.”
For the follow-up to his chart-topping 2010 Sea Gayle/Arista Nashville debut “Judge Jerrod & the Hung Jury,” Niemann, 33, dug bedrock deep into country music history and came up with a surprisingly adventurous 12-song collection that fuses country, rock, honky tonk, Dixieland jazz and reggae. The funky title and opening track encourages people to “free the music/you gotta free your mind/it's party time,” and Niemann said he hopes listeners do just that — particularly when they hear horns on every track and in his live show Friday at the Diamond Ballroom.
“You know I love the history of country music more than life itself, to the point that I made this album so I could argue with anybody to the point of what is country and what's not,” he said with a laugh.
“In 1938, Bob Wills and his Texas Playboys brought in horns to country music when he invented Western swing. So I thought, ‘Wow, it's crazy to think that horns were in country music 10 years before the pedal-steel guitar that we all think of as the epitome of country music was even invented.'”
With “Free the Music,” the Kansas native — who considers himself “half-Okie” since his mom hails from Hooker — and his band favored classic country instruments like acoustic bass, acoustic guitars and fiddles. But his sophomore effort thrives on cross-genre experimentation, from the jazzy horns on “Honky Tonk Fever” to the Beatlesque Mellotron on “Get On Up.”
“For everything we did that was crazy, we tried to offset it with something organic to kind of just try to yin and yang it, you know,” he said.