BIO

Louisiana native, Gill Landry, is a singer songwriter, multi-instrumentalist, self-styled record producer, and storyteller. A roadside photographer, dark horse painter, shade tree mechanic, and then some. He’s hustled the streets from Paris to Bangkok, eaten acid with Kesey, hitchhiked America on day labor and daydreams, performed the dingiest of clubs to the most hallowed halls on multiple continents. He’s slept beneath bridges with brothers and in the feather beds of lordy estates. He got started cutting his musical teeth in the gutters of New Orleans and after chewing up road over half of America and Europe, he started writing songs; interpreting life from the curb up. He’s released multiple solo albums on the Nettwerk and ATO labels, and was a long time contributing member to the grammy award winning band Old Crow Medicine Show. In film he wrote the narration, narrated, and was featured in “Austin to Boston” which was produced by Ben Lovett of Mumford & Sons, a documentary about a modern tour done "the old fashioned way."

Gill’s most current self titled third album was released on the ATO label, Though his influences are with songsmiths such as Dylan, Newman, Townes, Cohen, Prine, Waits, etc… his music is very much his own. As Jeff Tamarkin put it, “Landry’s too sharp a storyteller, too tuned-in a craftsman, too real, to find himself on the wrong side of suspicion. Like Tom Waits, John Prine, Steve Earle... Landry is down-to-business believable. His songs carry their own persona, and though they may be creepy and otherworldly at times and nasty and grubby at others, they’re familiar while remaining at arm’s length.”

Gill produced and recorded the album, “from a ramshackle, shanty-ass apartment on the south side of Nashville,” but was aided by a constellation of talents gathered on his travels. From Laura Marling, who duets on “Take This Body”, an urgent plea that imagines the desperate love that courses through our impermanence, to trumpeter Nick Etwell of Mumford and Sons, who plays with tasteful power on a handful of songs. Odessa lends harmonies and violin to a number of tunes, including the waltz-time love letter “Emily”, and Robert Ellis’s eloquent and understated guitar work on “Fenario” and “Bad Love” is mellifluous.

An album that anyone can relate to, and will want to listen to over and over, with their lovers. Even if those lovers are just in their minds.

 

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