Welcome, welcome, welcome to The Deep Dive, the
show where we cut through the noise and get right
to the good stuff. You know that feeling, right?
You're scrolling or driving or maybe watching
a show and a song comes on that just absolutely
gets you. It's poignant. It's powerful. Hits
you in that deep resonant place. But maybe you
don't really know the full story behind the band
or the artist. Well, today we're diving headfirst
into one of those stories. And trust me, it's
a journey you're going to want to take. I'm talking
about a band whose music has, well, quite likely,
soundtracked significant emotional moments in
your life without you even consciously realizing
it. Picture this. A crucial turning point in
a gripping TV series, maybe a breathtaking scene
in a dramatic film, or perhaps even a commercial
that sticks with you long after it's over. I
am willing to bet with absolute certainty that
you have heard the funeral. by band of horses.
Oh, absolutely. It's one of those, isn't it?
It is absolutely everywhere, right? An almost
ubiquitous track that has become a true cultural
touchstone. Yeah. It often serves as the quintessential
gateway to understanding their distinctive sound,
that incredible kind of intoxicating blend of
soaring indie rock, grounded southern rock, and
heartfelt folk rock. Yeah. That mix is what really
gives them their unique appeal and, well, their
enduring quality, I think. So today's mission.
should you choose to immerse yourself in it,
is a comprehensive deep dive into band of horses.
They're the American rock band that first formed
way back in 2004. But more specifically, we're
really focusing on the undeniable singular driving
force behind it all, singer -songwriter Ben Bridwell.
We're gonna meticulously trace their journey
from those raw early Seattle beginnings. We'll
navigate through the often turbulent labyrinth
of numerous lineup changes. And there were many.
Oh yeah. We'll celebrate their remarkable musical
milestones, yes, including a coveted Grammy nomination,
and truly understand how they've not just survived,
but thrived. How they've maintained their enduring
presence in the ever -evolving music scene right
up to, well, pretty much today. And that's precisely
our goal for you today. Consider this your definitive
shortcut to being genuinely thoroughly well -informed
about band of horses. We've meticulously sifted
through stacks of articles, deep research papers,
and our own extensive notes to extract only the
most important nuggets of knowledge and insight.
Our aim is to give you a truly comprehensive
understanding of their unique journey, their
creative challenges, their resounding triumphs,
and their lasting impact on the landscape of
modern rock. We want to connect those sometimes
disparate dots, offering you those incredibly
satisfying aha. movements, you know? Yeah, putting
the pieces together. Exactly. And ensure that
you walk away from this deep dive feeling thoroughly
informed with all the crucial context, but never
ever overwhelmed by just like tons of information.
Right. So with that in mind, let's unpack this
fascinating story. I. The origins. From Seattle
to a southern sound. 2004, 2006. OK, let's unpack
this indeed. We're starting at the very beginning
with the architect of it all. the man himself,
Ben Bridwell. Born Benjamin Bridwell on April
25, 1978, in Irmo, South Carolina. But what's
truly striking, looking at his early life, is
this immediate sense of movement and, well, independence.
By the age of 16, he already left home, making
this significant move all the way to Tucson,
Arizona, to live with his mother. Wow, 16. That's
young to make such a big move. It really is.
What do you think that early independence and
relocation tells us about Ben Bridwell's inherent
drive? It suggests a restless spirit, doesn't
it? Oh, absolutely. A kind of inner compass that
always sought new horizons, perhaps. That early
nomadic experience moving from South Carolina
to Arizona at such a formative age, it absolutely
sets a precedent for his resilience and adaptability.
These are traits that become incredibly significant
later on. Right. When we look at the band. Exactly.
When we observe the constant flux within band
of horses, it speaks to a comfort with change
or maybe just a necessity to navigate it, which
would become a defining characteristic of his
entire career. This wasn't a kid afraid of striking
out on his own, you know, and that fearlessness
would permeate his artistic and entrepreneurial
endeavors later. And his early connections were
so foundational too. Yeah. While he was in Tucson,
And later when he moved to Seattle, he was working
alongside people who had become key figures in
his musical journey. People like Matt Brooke
and Jen Champion. They were even selling pizza
together at one point. Can you imagine the future
Grammy nominated artist slinging pies? It's a
great image, isn't it? It really is, and then
later working in a bar together. It's interesting
how those seemingly casual, everyday interactions
often become the fertile ground for major artistic
partnerships. What's your take on that? How do
those shared life experiences influence the trust
and chemistry needed for a band? Well, it's an
insightful observation. What's fascinating here
is how those seemingly small everyday interactions
form the bedrock for significant artistic partnerships.
These aren't just casual acquaintances. They're
the people he's sharing life experiences with,
whether it's the grind of selling pizzas or the
late nights of bar work. That shared history,
those common struggles, and the trust built in
those non -musical environments. They're absolutely
invaluable when you're embarking on a creative
venture. Yeah, something that demands deep collaboration
and vulnerability. Precisely. It creates a bond
that goes beyond just shared musical taste. It's
a deeper connection. But Brandable wasn't just
working odd jobs. He also dipped his toes into
the music industry pretty early on with an entrepreneurial
venture. He founded Brown Records in Seattle.
Right, his own label. Yeah. And his initial intention
for it was incredibly humble, almost refreshingly
so. He saw it as just a stepping stone, his words,
a way to press like a thousand CDs, get them
into local stores and maybe onto local radio
and give bands material for shows, all with the
hope that maybe a real label would pick it up.
So not aiming for world domination from the start.
Not at all. So Brown Records was a kind of crucible
for him, wasn't it? An early taste of the immense
pressure that comes with not just artistic ambition,
but also entrepreneurial responsibility. Absolutely.
And this is a key insight into Bridewell's character
that we see resurface later. He himself later
reflected that Brown Records got a lot busier
than I ever imagined and basically went out of
control. He said he ended up cracking under the
pressure and temporarily abandoning the label.
Wow. Yeah. So this early experience provides
such rich insight into his aspirations, initially
quite altruistic, you know, wanting to help unheard
artists, but also the unforeseen overwhelming
challenges of running a business, especially
where, as he put it, people's livelihoods were
resting in my hands. That's heavy. It is. It
shows an early, maybe even naive, ambition that
was quickly tempered by the harsh realities of
the industry. This struggle to balance creative
support with business demands, it definitely
shaped his understanding of artistic control
and responsibility for years to come. Speaking
of connections and musical apprenticeship, his
journey really took a significant step forward
when he joined Carissa's Weird. Ah, yes. A legendary
Seattle band in its own right. Totally. He initially
replaced their drummer Robin Perringer, who had
left for Modest Mouse. Another big name connection
there. Right. And then Bridwell later transitioned
to bass guitar. So this wasn't just a brief stint.
It shows his adaptability and a genuine willingness
to learn different instruments and roles within
a band structure. His time with Carissa's Weird
is truly a foundational chapter. It illustrates
his deep commitment to music itself, rather than
being fixated on just one specific instrument
or role. He wasn't just a drummer, then just
a bassist. He was absorbing the dynamics of band
life, the craft of songwriting from different
perspectives, and the art of collaboration. Learning
the ropes. Exactly. This learning curve and adaptability
are crucial for understanding how he later navigated
the constant lineup changes in Band of Horses.
And it's a fascinating full circle moment, isn't
it? that Robin Perringer, the drummer he replaced,
would actually rejoin Breadwell's band years
later. Yeah, we'll get to that. So, Carissa's
Weird eventually split in 2003, which became
a pivotal moment for Breadwell. And it was Matt
Book. his old friend and collaborator. From the
pizza and bar days? Exactly. He stepped in and
helped Bridwell learn guitar and actually begin
songwriting. So this is the shift. This feels
like the crucial moment, doesn't it? Where Ben
Bridwell truly steps into his own as a front
man, finding his distinct voice and starting
to write his own material. Absolutely. It's the
crucible moment. But what's remarkable is that
Brooke, his longtime collaborator, apparently
recognized it immediately. He saw Bridwell's
raw talent wasn't just blossoming, it was demanding
to lead. Brook himself later expressed immense
pride, saying he felt maybe Carissa's weird was
holding him back all this time. Wow, that's quite
a statement. It is. And he said Bridwell took
the ball and ran with it. It speaks volumes about
their shared history and mutual respect that
this transition was so seamless, yet so profound.
This is truly the origin story of Band of Horses,
with Bridwell stepping forward into the spotlight.
And then came the band's initial formation in
2004. At first they were just called horses.
The lineup was Chris Early on bass and Tim Meining
on drums. Simple enough name. You'd think. Yeah.
But as often happens in the Wild West of band
names, they quickly ran into a snag. They have
to change it to band of horses. after discovering
a long -defunct band featuring none other than,
wait for it, actor Don Johnson. Get out! That
Don Johnson, Miami Vice? The very same. Apparently
his old band was re -releasing material, so yeah,
band of horses it became. That's hilarious. But
also, yeah, a very practical necessity in carving
out their unique identity in a crowded musical
landscape. Right, you don't want that confusion.
It's a great example of the unexpected practical
hurdles that can shape artistic endeavors, even
something as seemingly simple as a band name.
Imagine trying to explain to fans that this horses
is not that horses. The extra two words made
all the difference in defining who they were.
So with the name settled, we get to their debut
album, Everything All The Time, which came out
in 2006. How did they first catch the attention
of the industry? Because they got picked up by
Sub Pop pretty quickly, didn't they? They did.
They gained early crucial attention by opening
for Iron and Wine in Seattle. This proved to
be a pivotal opportunity as it led directly to
interest from Sub Pop Records. And Sub Pop for
anyone who doesn't know is legendary. Absolutely.
A kingmaker in the Pacific Northwest indie scene
known for its keen ear for talent. Nirvana, Soundgarden,
The Shins. The list goes on. Their endorsement
was a massive signal of quality. And actually,
as a precursor to the album, they released a
Tori P in 2005. They sold it at shows and on
Sub Pop's website. That's smart. Yeah, it acted
as a perfect testing ground for their sound and
helped build that early crucial buzz before the
full album dropped. They recorded everything
all the time in 2005 with producer Phil Eek.
another Seattle indie stall work. Known for his
work with built -to -spill Fleet Foxes. A great
choice for them. Yeah. And Bridwell had quite
an ambitious vision for it initially, didn't
he? I read he wanted an ELO -sounding record,
like Electric Light Orchestra, with strings and
keyboards and synths. Wow, that's not quite what
we got on the final album, is it? Not really.
It sounds quite different. It does, and this
reveals an early artistic tension and compromise
that would kind of recur throughout their career.
Bridwell had this grand, almost orchestral vision,
but ultimately they opted for a more raw approach,
as he put it. Which probably worked out better
for a debut maybe. Quite possibly. That decision
likely shaped the band's early identity significantly,
leaning into a more organic, immediate, and intimate
sound that resonated powerfully with audiences.
It's a fascinating insight into the push and
pull of a visionary's grand ideas versus the
practical, often more raw, execution that sometimes
defines a band's initial success. The album featured
that original four -piece lineup. Bridwell, Mynig,
early and broke. But interestingly, Sarah Cahoon
also received drumming credits. Yeah, suggesting
some collaboration beyond the core, maybe some
shared studio time or different takes. The album
was released on March 21st, 2006. It actually
saw some minor chart success early on in Scandinavia,
particularly in Sweden and Norway. Interesting,
hinting at that early international appeal. Exactly.
But the real game changer, the first single that
truly catapulted them was, of course, The funeral.
Indeed. The significance of the funeral just
cannot be overstated. It became their breakthrough
track. It was widely adopted in, well, everything.
Numerous television series, films, video games
and advertisements. It really was everywhere.
Still is sometimes. It essentially became a poignant
cultural touchstone. Its melancholic beauty,
Bridwell's really distinctive vocal delivery
and that swelling, almost anthemic quality. It
made it incredibly versatile for emotional moments
across various media and performing it on the
Late Show with David Letterman further cemented
its status and introduced the band to a much
broader American audience. Even though, ironically,
Matt Brooke had already left the band by the
time they played Letterman. Right. Which brings
us to the early lineup volatility. Exactly. Tim
Meinig and Chris Early, two of the original members
on that first album, departed soon after the
album's recording. Brighwell explained it pretty
bluntly as a personality clash. He said, all
of a sudden I was with two guys I didn't really
even know. They were nice guys, there just wasn't
a personality match. What's fascinating here
is how early this pattern of lineup changes begins.
It starts almost immediately. It establishes
Ben Bridwell as the undisputed core of the band
from the get -go, and it highlights his specific
need for a certain kind of chemistry within the
group. It wasn't just about playing the notes
right. Exactly. This isn't just about musical
skill, but about the interpersonal dynamics that
make a band function, especially under the intense
pressure of growing success and constant touring.
For Bridwell, the match had to extend beyond
just talent. And then Matt Brooke, who was such
a key figure, you know, from the Chris's Weird
Days and instrumental in Band of Horses formation,
he also left before that Letterman performance.
What was his perspective? Why step away from
what was clearly becoming a breakout success,
especially given their deep history? Brooke's
explanation offers valuable insight into that
dynamic of creative control and personal ambition
we talked about. He stated that he'd never really
given the commitment to be a formal member, viewing
it more as a spur of the moment arrangement.
He genuinely felt it was 100 % Ben's project.
Wow. Yeah. And he desired to see what else I
could do, which led him to form his own band,
Grand Archives, who also signed to Sub Pop, interestingly
enough. So no bad blood necessarily. It's different
paths. Seems like it. This clearly illustrates
that even close collaborators recognized Bridewell's
singular vision and leadership from the outset.
Brooke respected that vision, but wanted to forge
his own path rather than simply contributing
to someone else's. So, with Meinig, Early, and
Brooke out, new touring members were quickly
brought in to fill the gaps for the shows. Joe
Arnone came in on guitar and keyboards, Rob Hampton
on bass and guitar, and Creighton Barrett took
over on drums. A quick regrouping to keep the
momentum going after the album's release and
the funeral taking off. Exactly. And then a pivotal
personal decision for Bridwell, which really
impacted the band's identity. He decided to relocate
the entire operation from Seattle. Where did
he go? Back home. Yes. Bridewell made the significant
decision to move the band from Seattle, where
it all started, back to his native South Carolina
before they even recorded their second album.
Why the move? His reasoning was deeply personal
and very compelling. He said, we were touring
so much that nowhere was really home. So I figured
if I'm going to come home after these long stretches
of traveling, it would be nice to be around my
family. That makes a lot of sense, actually.
It does. This move wasn't just geographical.
It was about personal grounding, reconnecting
with his roots, and finding a stable anchor amidst
the chaos of touring life. And this undoubtedly
influenced the band's evolving identity and sound,
subtly infusing that Southern rock and folk rock
sensibility more deeply into their aesthetic.
It really solidified that band of horses could
be wherever Ben Bridwell called home. Two, finding
their footing. Critical Acclaim and Evolving
Lineups, 2007 -2009. That personal connection,
that grounding, certainly makes sense when you
listen to the band's aesthetic evolve. Moving
into 2007, before the release of their second
album, the band kept up an incredibly active
touring schedule. They were all over Europe and
North America. Keeping the buzz alive. Yeah.
And with that touring came, surprise, surprise,
more line -up adjustments. Joe Arnone was out.
And they actually expanded to a six -piece for
the tour. Matt Gentling from Archers of Loaf
came in on bass. Another great indie connection
there. Definitely. And Robin Perringer, yes.
Robin Perringer from Modest Mouse and Chris's
Weird return on guitar. The full circle moment.
Right. And Ryan Monroe joined on keyboards. What's
truly striking here is that continuous search
for the right musical synergy, even as they were
gaining traction and building a solid fan base.
The return of Robin Perringer is a fantastic
detail, highlighting the tight knit community
of musicians Bridwell operated within and his
willingness to bring back trusted collaborators.
And the inclusion of Ryan Monroe on keyboards
also proves to be incredibly significant. He
becomes a long term fixture in the band, contributing
to a more expansive, textured sound that would
really define their next phase. So this period
shows Bridwell still experimenting, right? Constantly
refining the live and studio configuration to
achieve the sound he was hearing in his head.
Exactly. Always searching for that perfect synergy.
Their second album, Cease to Begin, was released
in October 2007. It was recorded in Asheville,
North Carolina, fitting with the move south and
once again produced by Phil Eek. Ah, so some
important continuity there with Eek behind the
board again. Yeah. The core recording trio for
this album featured Ben Bridwell, Creighton Barrett
on drums, and Rob Hampton on bass guitar, with
Ryan Monroe specifically credited with playing
keyboards. This suggests maybe a tightening of
the creative unit for the studio work, perhaps
a core group where ideas were most effectively
translated into a cohesive sound on the record?
Could be. And Cease to Begin proved to be a major
breakthrough in the U .S. It wasn't just building
on the buzz of the funeral, it solidified their
artistry. It reached number 35 on the Billboard
200, which was a significant achievement for
an indie rock act back then. Huge jump. It also
continued their international success, charting
well again in Norway, Denmark, France, and Sweden.
So their global appeal was definitely growing
beyond just that one big single. And the critics
liked it too, right? They did. The critical acclaim
followed suit. Pace Magazine voted it the ninth
best album of 2007, and Rolling Stone placed
it at 47th. Respectable rankings. Yeah, this
wasn't just a sophomore slump. It firmly established
them as a critically respected and commercially
viable force. The album itself, while still having
that raw edge, introduced maybe a greater warmth
and expansiveness. You can really hear Monroe's
keys filling things out. Definitely felt like
a step forward, maybe more mature. And the song,
No One's Gonna Love You, became their first European
hit single, reaching number 22 in Denmark. That
helped expand their reach beyond the massive
shadow of the funeral. Give them another calling
card internationally. Exactly. And with this
success, the lineup started to solidify even
more, didn't it? Which, given their history up
to that point. is quite a feat. It absolutely
did. Following the album's release and its burgeoning
success, Ryan Monroe officially became a permanent
member. They also recruited the talented Tyler
Ramsey on guitar and vocals, and Bill Reynolds
came in on bass. This brought Band of Horses
back to a robust six -piece lineup. Okay, so
who was in this seemingly stable lineup then?
Alright, so you had Bridwell, Creighton Barrett
on drums, Ryan Monroe on keys, Tyler Ramsey on
guitar vocals, Bill Reynolds on bass, and Rob
Hampton was still involved on guitar bass around
this time too, though he'd depart later. This
particular configuration would prove to be the
most stable for a significant period, marking
a really crucial step in their evolution. A bit
of breathing room, maybe? Perhaps. And notably,
Tyler Ramsey often performed solo as the opening
act before the band played live. Oh, interesting.
Yeah, showcasing the individual talent within
the group and offering audiences an extra layer
to the experience. It was an early glimpse into
the wider creative energy simmering within the
band. This newfound stability clearly paid off
on the live circuit. In 2008, Band of Horses
made appearances at some of the most prestigious
festivals globally. We're talking Glastonbury
in the UK. Ah, sick. Teasing the park in Scotland,
the legendary Bridge School benefit concert organized
by Neil Young in California, and the Roskilde
Festival in Denmark. That's a huge step up, isn't
it? These aren't just club gigs. These are major
international stages. Totally. It showcased their
growing renown and their ability to command much
larger audiences. Indeed. These high profile
festival appearances are a clear indicator of
their accelerating ascent. It demonstrated that
their music resonated on a grand scale. allowing
them to connect with massive diverse crowds.
Playing these iconic stages not only bolstered
their reputation, but also exposed their unique
blend of indie and southern rock to an even broader
international audience. Right, solidifying their
status as a major touring act capable of captivating
thousands. Exactly. It's a testament to the power
of that stable lineup finally finding its stride
and delivering consistently impactful live performances.
Three, the Grammy nomination era. Infinite Arms
and Expanding Horizons, 2010 -2011. Okay, now
we move into what many consider their commercial
and critical zenith, leading up to the album
Infinite Arms in 2010. Producer Phil Eek announced
back in May 2009 that he was recording their
third album again in North Carolina. Back with
Eek again, seems like a winning formula for them.
It did seem to be. Interestingly, Ben Bridwell
actually mentioned an initial title, Night Rainbows,
during their 2009 summer tour. Night Rimbals,
okay. Before the eventual reveal of the title
Infinite Arms in March 2010, it gives us a little
glimpse into the creative process, doesn't it?
how album titles and perhaps even the whole direction
can evolve. It truly does. Those initial title
mentions and then the eventual change, they hint
at the creative fluidity and potential shifts
in direction that happen behind the scenes. It's
a reminder that even established artists are
constantly refining their vision, allowing ideas
to gestate and transform. This period, however,
also saw continued lineup challenges, reinforcing
that ongoing theme of Bridwell as the constant.
Who left this time? Rob Hampton departed prior
to recording. And there was a Swedish guitarist,
Ludvig Boss, who joined briefly but then left
by March 2010, so he ultimately didn't appear
on the album. Wow, still churning even as they
were hitting their stride. It underscores how
persistent the challenge of maintaining a perfectly
consistent lineup remained for Band of Horses,
even as their star was truly beginning to rise.
Despite those shifts and the ongoing churn, Infinite
Arms was recorded by what seemed like a more
stable five -piece lineup. Bridwell, Ramsay,
Reynolds, Bear it. and Monroe. Right. That core
group really seemed to gel for this record. This
sounds like a period of more settled collaboration,
at least in the studio, which often translates
into a more cohesive album, wouldn't you say?
It certainly seemed that way. That stable five
-piece configuration allowed for a greater degree
of artistic cohesion, a shared vision that really
shines through on the album. Infinite Arms saw
a massive worldwide release between May 14 and
19, 2010. And it wasn't just through major labels
like Columbia and Fat Pop. Hang on. Didn't Bridwell's
own label get involved here, too? Yes. Significantly,
it was also released through Bridwell's own Brown
Records. Through Return of Brown Records. Exactly.
This marked the successful relaunch of his label
on a much larger scale. It indicated a renewed
commitment to that entrepreneurial spirit and
maybe a desire for greater artistic and business
control, applying the lessons learned from his
earlier experiences. That's really interesting.
Where did they record it? The recording locations
were Echo Mountain Studios in North Carolina
and Perfect Sound Studios in Los Angeles, so
a blend of regional intimacy and maybe some LA
industry polish. And crucially, the album was
self -produced by the band, with additional production
from Philiac. Ah, so taking more control in the
studio, too. Definitely. It indicated a mature
confidence in their own sound and direction.
The band really went all out on promotion for
this record. Yeah. In April 2010, they performed
a full set for the WDR TV show Rock Palace in
Germany. A big deal in Europe. Yeah. And they
made a high -profile appearance on the BBC television
series later, with Jules Holland in the UK. They
promoted infinite arms with new songs like Compliments,
Factory, and N .W. Abt. What was the immediate
impact of those kinds of high visibility appearances?
The Jules Haaland appearance in particular had
an immediate and palpable effect. It really demonstrated
the power of traditional media even then. Get
this. Their two earlier albums, Everything All
the Time and Cease to Begin, actually entered
the UK albums chart for the first time after
that performance. Wow. Years after they were
released. Exactly. Incredible for back catalog
albums. More importantly, Infinite Arms itself
debuted at number 21 in the UK, which was their
first top 100 hit there. And it absolutely surpassed
Cease to Begin in the US by debuting at an impressive
number seven on the Billboard 200. Number seven.
That's huge. This was undoubtedly their commercial
zenith, a moment where critical acclaim and mainstream
success really converged. And to top it off,
an outtake from the album, a song called Life
on Earth, was even used on the soundtrack of
the Twilight Saga film eclipse. Oh yeah, the
Twilight soundtracks were massive. Huge. Released
in June 2010, it further broadened their audience
to a massive global demographic that might not
typically seek out indie rock. That's incredible,
hitting a commercial peak and getting that kind
of widespread recognition across all these different
platforms. And they didn't just stop there. They
truly expanded their horizons that year with
extensive global touring to support the album.
Their 2010 tour was absolutely massive. It spanned
Europe, North America, Australia, New Zealand
and Japan. They weren't just headlining smaller
venues anymore, they were also opening for major
acts like Pearl Jam on their Midwest and East
Coast tours. Wow, opening for Pearl Jam. Right.
And for Snow Patrol in Bangor and Glasgow, this
exposed their music to even larger audiences,
plus they played at numerous high profile festivals.
SXSW, Sasquatch, Splendor in the Grass in Australia,
Summer Sonic in Japan, Puckle Pop in Belgium,
Reading and Leeds in the UK, ACL Fest, Farm Aid.
Just hitting all the big ones. Yeah, pretty much.
This incredible global reach and presence at
such diverse iconic festivals really cemented
their status as a significant international act.
It showed they could appeal to a wide array of
music lovers from different backgrounds and preferences.
The album itself, Infinite Arms, was widely seen
as their most ambitious and polished work to
date. How would you describe its sound compared
to the earlier stuff? Maybe blending their signature
sound with a newfound sense of grandeur? often
cited for its lush arrangements and powerful,
anthemic qualities. Still them, but bigger maybe.
And amongst all that intense touring and promotion,
they even managed to release a unique cover.
On October 7, 2010, Band of Horses released their
version of CeeLo Green's Georgia. Ah, yeah, I
remember this. It was CeeLo's version of their
own song, No One's Gonna Love You, wasn't it?
Bit meta. Exactly. And Brynwell had a deeply
personal and nostalgic explanation for covering
CeeLo's take on his song. He connected it to
his family's roots in Georgia, the Georgia Bulldogs
football team, and how the state had always been
a second home of sorts, with many family members
there. Oh, that makes sense. He even mentioned
their annual New Year's Eve shows in Atlanta.
It was released as a seven inch vinyl split single.
Which is a cool old school format. This anecdote
beautifully illustrates how deeply personal experiences
can directly inspire artistic output, even in
a roundabout way like this. It's a fantastic
example of an artist connecting their art to
their own life, family history, and even specific
cultural touchstones like football. Yeah, it
adds a crucial humanizing layer to the band's
work. And shows Bridwell's willingness to share
that personal side, deepening the listener's
connection to his creative motivations. They
also pushed creative boundaries with their music
videos around this time. On November 16, 2010,
they premiered the video for Dilly. Now, while
previous videos were often collections of still
photographs, Dilly was different. It was a full
-on narrative video. Right, a proper music video.
Shot in the Mojave Desert by Phil Endelman. And
here's the kicker. It was exclusively premiered
on IMDB. IMDB, the movie database. Yep. Apparently
it marked the first time the website had ever
premiered a music video. Wow, that's unexpected.
A smart promotional move, though. Totally. And
the content itself was pretty surreal and memorable.
It featured a troublemaking motorcycle gang with
sequences of them dancing in formation and even
killing people by shooting them with nothing
more than a pointed finger. Okay, definitely
memorable. What's fascinating here is the band's
innovative approach not just to music but to
visual storytelling and promotion. Partnering
with IMDb for an exclusive premiere was a clever
forward -thinking move. It showed their awareness
of evolving media platforms and how to reach
audiences in new, unexpected ways. The surreal
and memorable imagery of the video itself also
highlights a willingness to embrace the unconventional,
creating a distinct visual identity that resonated
with the song's energetic, slightly unhinged
quality. Yeah, it showed a band comfortable with
artifice and humor, maybe contrasting with the
earnestness of some of their other work. And
the accolades for Infinite Arms just continued
to pour in, solidifying its place in their discography
and in the music scene that year. The album received
a Grammy Award nomination in 2011 for Best Alternative
Album. A truly significant career milestone that
placed them firmly on the mainstream radar beyond
just the indie world. That Grammy nod is huge
validation, isn't it? Placing them firmly within
the alternative music landscape's elite. A real
signal they were a force to be reckoned with.
Absolutely. It also found its way onto several
prestigious best albums of 2010 lists. Cue magazine
had it at hashtag 21, NPR listeners voted at
hashtag 15, Filter magazine put it at hashtag
10, and Pace magazine ranked it hashtag 42. Consistent
praise across the board. Yeah. Not to mention
the song Laredo was placed at number 28 in Rolling
Stone magazine's top 50 songs of 2010. Laredo
is a great track. It is. Even Dilly itself as
a single was a minor hit on the Belgian singles
chart in Flanders. This period truly represents
their peak in terms of industry recognition and
critical acclaim. The consistent presence on
year -end lists across diverse publications further
emphasizes the album's widespread appeal and
impact. It shows that Infinite Arms wasn't just
a commercial success, but also resonated deeply
with critics and listeners alike. It proved the
band's artistic merit and established a benchmark
for their sound and ambition that would inevitably
shape their subsequent work. and they kept that
momentum going. They continued their extensive
touring well into 2011 and 2012, capitalizing
on the success of Infinite Arms. This included
a European tour in early 2011 that notably featured
a major show opening for Foo Fighters at Wembley
Arena. Wembley Arena with the Foo Fighters, that's
a massive stage to share. Huge. They had a brief
U .S. tour after that, then more European festival
appearances. They were even scheduled to support
Kings of Leon on their U .S. and Australian tours.
Another huge tour pairing. Yeah, although the
U .S. West Leg was unfortunately canceled after
only three shows. Kings of Leon cited exhaustion.
Uh, the perils of stadium touring. That happens.
Yeah. But Band of Horses kept pushing forward.
They undertook their first ever South American
tour in 2012, further expanding their global
footprint. This relentless touring schedule highlights
the momentum they had built and their unwavering
commitment to reaching fans worldwide. The Kings
of Leon cancellation is an interesting anecdote
though. It illustrates the unpredictable nature
of touring at that level and the physical demands
it places on artists. But despite setbacks like
that, the band's ambitious push into new territories
like South America shows their enduring ambition
and desire to continually expand their audience.
It reinforced their global appeal and proved
their resilience in the face of logistical challenges.
Yeah, it showed that Band of Horses was determined
to take their music wherever it was wanted. Now,
beyond band of courses itself, Ben Bridwell was
also quite active with collaborative ventures
during this period. He wasn't just focused inward.
He contributed a George Harrison cover, Your
Love is Forever, to a Starbucks entertainment
compilation album called Sweetheart in 2010.
Starbucks compilations, right. Interesting platform.
He also duetted with Courtney J on a cover of
the Jesus and Mary Chains, Sometimes Always,
for her 2010 album. These collaborations really
showcase Bridwell's versatility as a vocalist
and his willingness to step outside the band
of horses framework. It demonstrates that his
unique voice with its distinctive blend of fragility
and power was in demand across different projects
and genres. Yeah, establishing him as a respected
figure in the broader music community, not just
within his own band. Exactly. These smaller projects
allowed him to explore different artistic avenues
and keep his creative juices flowing, you know.
And he also made guest vocal appearances on some
pretty high profile tracks, didn't he? He was
on starting over from Macklemore and Ryan Lewis's
huge album, The Heist. The Heist. Wow, that was
everywhere. Yeah. And he was also on two tracks
opposite and Accident Without Emergency from
the Biffy Clyro album Opposites. Biffy Clyro,
big UK rock band. Very different vibe for Macklemore.
Absolutely. His contributions to those tracks
really highlight his diverse appeal and the distinctiveness
of his vocal timbre. Working with Macklemore
and Ryan Lewis put him in a very different sonic
landscape, reaching a more pop -oriented hip
-hop audience and showcasing his ability to adapt
his mode of style. Right. Unexpected, but it
worked. Meanwhile, the Biffy -Clyro collaboration
cemented his credibility within the alternative
rock scene, demonstrating his ability to lend
his unique sound to more aggressive or experimental
rock contexts. It further solidifies his reputation
as a versatile and sought after vocal talent
capable of elevating a wide variety of musical
contexts with his signature delivery. Four, Navigating
Change, Mirage Rock and Acoustic Explorations,
2012 -2013. Okay, moving into 2012, things shift
again. Ben Bridwell. announced in April that
their fourth studio album, titled Mirage Rock,
was scheduled for a late 2012 release. And here's
a big change. It would be produced by Glyn Johns.
The Glyn Johns? Wow, that's a legendary name.
Led Zeppelin, The Rolling Stones, The Eagles,
The Who. Exactly. This was a notable change in
producer after working so consistently with Phil
Ake. What does that signify when a band makes
such a significant shift, especially to someone
with John's pedigree? Well, a shifting producer,
especially to someone like Lin Johns, often signals
a conscious desire for a new sonic direction,
or maybe just a fresh perspective. After self
-producing Infinite Arms, with Eek's help, and
working extensively with Phil Ick on the previous
records, bringing in John's suggested they were
looking to evolve their sound. Maybe aiming for
something different. Perhaps. Maybe even a more
classic rock organic feel, given John's background
with those iconic bands from the 60s and 70s.
It's usually a deliberate artistic choice to
explore new territory to prevent stagnation and
to challenge themselves creatively by stepping
out of their comfort zone. They gave fans an
early preview in June 2012 with a video for a
new song, Dumpster World, which they shared via
Facebook and YouTube. Then they announced the
September album release. The album title Mirage
Rock was confirmed on July 10th, along with a
track listing and artwork. The debut single Knock
Knock was released on July 9th, 2012, and the
album itself followed on September 18th. How
did it do? Did it match Infinite Arms? Commercially?
Maybe not quite the same peak, but both Knock
Knock and the subsequent single Slow Cruel Hands
of Time were minor hits in Belgium. Ah, Belgium
again. They have a loyal following there. Seems
so. This period shows them embracing modern digital
promotional tactics, using video previews and
social media to build anticipation. Which was
becoming pretty standard practice by then. Right.
And while the singles were maybe minor hits,
their consistent charting in European markets
like Belgium demonstrates an enduring and loyal
international fan base that continue to eagerly
support their new material. Yeah, showing that
their appeal definitely stretched beyond just
the US and UK. Mirage Rock itself, how would
you describe the sound? Did it reflect that Glyn
John's influence? I'd say it leaned into a more
polished... maybe Root's rock sound. A bit cleaner,
perhaps? A clear departure from the raw indie
rock of their debut, reflecting Johnson's production
and the band's evolving musical maturity. The
music video for Knock Knock, released in late
August 2012 and directed by Jared Eberhardt,
had a really creative concept. It simulated old
-fashioned nature documentaries featuring the
band members being captured like animals to be
studied. Huh. That's pretty unique and quite
a humorous take on the band's presence, isn't
it? Like, they're this strange species. It's
a wonderfully inventive visual concept that really
sets it apart from typical performance -based
music videos. The idea of the band members being
captured and studied adds a layer of surreal
humor and maybe even introspection. Fitting for
a band often praised for its evocative lyrics
and sometimes introspective themes, it's a memorable
visual that shows their willingness to be playful
and artistic in their video work, injecting personality
beyond just, you know, looking cool playing their
instruments. And Bridwell himself offered an
insightful comment on the filming location. He
tied it back to their early work saying, It seems
fitting that we'd finally get to shoot a video
around Salt Lake City as we've got a song that
pays tribute to the area called The Great Salt
Lake from our first album, Better Late Than Never.
Ah, nice connection. That subtly links back to
their origins, showing a continuity of themes
and inspirations across their discography and
a nice nod to their early fans who'd remember
that track. Then in 2014, we saw a band of horses
explore yet another side of their sound with
Acoustic at the Ryman. Ah, the live acoustic
album. A classic move. Yep. This 10 -track live
album was recorded over two nights in April 2013
at the Historic Ryman Auditorium in Nashville.
The Mother Church of Country Music. Recording
there is a statement in itself. Totally. It featured,
as you'd expect, stripped down versions of some
of their best known songs. Recording at the Ryman
aligns perfectly with the more folk and southern
rock elements of their sound, doesn't it? It's
like giving a nod to the American musical tradition.
And offering stripped down versions of their
songs allowed listeners to experience their catalog
in a new, much more intimate way. Yeah, it really
highlighted the raw strength of the songwriting
and Bridwell's distinctive vocals without all
the full band arrangements. It demonstrated a
significant versatility and confidence in their
material, proving that their songs could stand
on their own merit in a stripped back setting.
They also supported it with a 13 -date run of
acoustic performances across the US, which actually
concluded back at the Ryman itself. Nice. Bringing
it home. Yeah, it further solidified their connection
with audiences in a more intimate storytelling
context. It was a moment for fans to truly connect
with the essence of the songs, I think. Ben Bridwell's
collaborative projects continued during this
time as well, constantly expanding his artistic
reach beyond the main band. He teamed up with
Sam Beam of Iron and Wine. Oh, another great
pairing. Yeah. To release a covers album called
Sing Into My Mouth on July 17, 2015. That was
a highly anticipated and incredibly well -received
collaboration. It brought together two really
distinct but somehow complimentary voices in
the indie folk scene. Both artists are known
for their introspective, emotive songwriting
and unique vocal styles, so their combined effort
on a cover's album allowed them to pay homage
to their influences while creating something
entirely new and beautiful. Yeah, it was a lovely
record. It highlights Bridwell's strong network
and mutual respect with other artists, showcasing
his ability to blend his style with others while
exploring new interpretations of classic songs,
really shows his artistic curiosity and generosity.
And he also contributed two tracks, Unlikely
Force and Tara, to the supergroup project BNQT's
first album, Volume One, which came out on April
28th, 2017. BNQT, right, that had members of
Midlake? Franz Ferdinand, granddaddy, quite the
lineup. Yeah, he clearly enjoys these diverse
musical ventures outside of band of horses. Indeed.
These side projects are crucial, I think. They
not only demonstrate his wide -ranging musical
interests and his ability to contribute meaningfully
to different creative visions, but they also
reinforce his reputation as a versatile and sought
-after musician within the broader indie and
alternative communities. Keeps things fresh for
him, probably. Exactly. It's a way for him to
explore different creative avenues and expand
his artistic footprint beyond the primary vehicle
of Band of Horses, keeping his own musical palette
fresh. The recent years, Departure returns, and
things are great. Do not have 15 present. Okay,
now we come to their fifth studio album, Why
Are You Okay?, which was released in 2016. This
album was produced by Jason Little and the band
Grandaddy. Another interesting producer choice.
Little has such a distinctive sound. Yeah, and
it was released through Rick Rubin's American
Recordings and Interscope Records. Wow, Rick
Rubin's label and Interscope, those are some
highly influential names and major labels to
be associated with. Signals a significant investment
in the band's future, doesn't it? Absolutely.
Working with Jason Lytle, known for his atmospheric
and often melancholic indie rock sound with Grandaddy,
and releasing through Rick Rubin's American Recordings,
a label synonymous with iconic artists across
genres, signifies their continued appeal to highly
influential figures in the music industry. It
suggests a desire to continue evolving perhaps
drawing on Little's distinctive production style
to infuse new textures and sonic landscapes.
Yeah, maybe a bit more atmospheric. Possibly.
It speaks to the band's sustained relevance and
their ability to attract top -tier talent and
distribution, reaffirming their place in the
contemporary rock scene. The album itself, Why
Are You Okay?, was often characterized by a more
expansive, dreamy sound. Richer in layers and
introspection, perhaps subtly departing from
the more direct rock of Mirage Rock. But 2017
brought some significant internal friction bubbling
up to the surface, and very publicly. Tyler Ramsey
and Bill Reynolds, who had been key parts of
that most stable lineup for nearly a decade.
The Infinite Arms era lineup, basically. Right.
They announced their departures. Tyler Ramsey
made his announcement on his personal Instagram
account on May 1st, 2017, and Bill Reynolds followed
suit the very next day on his Facebook page.
These were very public announcements from long
-standing members. These public announcements
were a huge turning point, especially considering
how stable that lineup had been since the cease
to begin era. It really felt like the end of
an era for what many fans considered the definitive
band of horses sound. Yeah, the fans quite surprised
I remember. However, what's crucially fascinating
here and truly sheds light on Bridwell's assertive
leadership and the internal dynamics is his later
counter narrative. Years later in 2022, he publicly
disputed Ramsey's and Reynolds's claims that
they quit. Oh, what did he say? He stated instead
that they had instead both been fired from the
group. Fired? Wow, that's different. It's a starkly
contrasting perspective on a major moment in
the band's history, isn't it? It reveals internal
friction that was far more complex than just
a simple, amicable departure. It highlights Bridwell's
decisive control and maybe the intensity of creative
relationships within the band. It's a powerful
revelation about the unseen pressures and disagreements
that can occur even in successful groups. That's
a powerful revelation and really changes the
narrative of those departures, doesn't it? It
frames Bridwell as a leader making tough calls
maybe for the band's direction. So with Ramsay
and Reynolds gone, whether they quit or were
fired, how did the band continue? They must have
had tour dates liming. They did. When touring
resumed on May 18th, 2017, just weeks later,
Band of Horses immediately brought in replacements
to keep the momentum going. Richard Fitzpatrick
joined on guitar. And notably, bassist Matt Gentling
returned to the fold. Matt Gentling? Hang on,
wasn't he the guy from Archons of Loaf who toured
with them way back before Seize to Begin? The
very same. This illustrates a pattern, doesn't
it? Familiar faces returning to the band. Perhaps
reflecting Bridwell's trust in a known network
of musicians or maybe the unique demands of working
with his vision and within the band's evolving
sound. Interesting. Did Fitzpatrick's kick around?
Nope. Fitzpatrick was subsequently replaced by
guitarist Ian McDougall. So more changes? It
shows the continued almost cyclical nature of
lineup changes around Bridwell. It's a testament
to his singular vision driving the project forward
through all permutations really. OK, fast forward
to 2022, and we get their sixth studio album,
Things Are Great. This was their first album
with Matt Jemling back on bass and Ian McDougall
on guitar. And interestingly, it was described
as a return to their earlier work and the kind
of raw ethos that lies at the heart of Band of
Horses. The Back to Basics album description?
Pretty much. What does that mean in practical
terms for the sound, do you think? And how did
it resonate with fans after the more expansive
Why Are You OK? That description is very telling.
It suggests a conscious effort to revisit their
foundational sound, the more direct, earnest,
and maybe less embellished approach of their
first couple of albums, like everything all the
time, and cease to begin. It felt like a deliberate
move to tap back into that original energy that
made them so appealing initially, especially
after the more lush and dreamier production of
Why Are You Okay? So maybe more guitar -driven
again. Exactly. For fans, it meant a return to
powerful guitar -driven anthems and Bridwell's
signature emotive vocals front and center, maybe
with less of the sonic ornamentation. The album
was released on March 4th, 2022. However, you
guessed it. Another change. Just prior to its
release, the lineup saw yet another change. Ian
McDougal, who played guitar on the album, exited
the band. And in late January 2022, just before
the Albert dropped, Brett Nash was named as his
replacement on lead guitar. Wow, that really
reinforces the band's ongoing evolution in its
composition, literally up to the very moment
of releasing new material. It showcases Bridwell's
unwavering commitment to the band's sound, or
at least his vision for it, even if it meant
constant personnel shifts right up to the wire.
And the changes didn't stop there, bringing us
right up to very recent developments, basically
current day. Keyboardist and guitarist Ryan Monroe.
A really longtime member, integral to their sound
since the early days. Exactly. He's been notably
absent from the band's shows, starting with a
short U .S. tour in March 2025 and continuing
into their ongoing summer U .S. tour right now.
That is a significant recent development. Monroe's
keyboards and guitar work were so integral to
many of their hits, especially from Cease to
Begin through Infinite Arms and beyond. He was
a huge part of that stable lineup. Yeah. And
his absence from recent group promotional photos
has also raised questions among fans about his
future with the band. Though no official announcement
has been made as of yet. Not as far as we know.
It indicates that even the most stable foundational
elements of Band of Horses can be subject to
change, underscoring the dynamic nature of this
project. Yet, despite these ongoing personnel
shifts, the band keeps going. Incredibly, yes.
The band continues its creative output. They
just released a new single on July 30, 2025.
Wow. That demonstrates a remarkable resilience,
doesn't it? An unwavering commitment to making
new music, regardless of who is standing beside
Ben Birdwell on stage or in the promo photos.
The band truly is a constant state of becoming,
it seems, says Ben Birdwell. The constant force.
And that really brings us full circle. Back to
the core of this deep dive, doesn't it? The unwavering
constant through all these changes, all these
albums, all these tours, all these shifting members.
Ben Bridwell. He's the eye of the storm. He really
is. He is the band's founder and the sole continuous
member since 2004. His presence truly is the
consistent anchor through all of Band of Horses'
evolutions and lineup changes. He is, without
a doubt, the gravitational center. Bridewell
isn't just the singer, he's a multi -talented
visionary whose fingerprints are on every single
aspect of the band's identity. His comprehensive
roles within the band include lead vocals, guitar,
pedal steel, keyboards. You play pedal steel
too. Apparently so. And he's also the primary
singer -songwriter, a record producer, and a
multi -instrumentalist. This highlights his central,
indispensable contribution to the band's distinctive
sound and identity. He is the sound of band of
horses. That voice is unmistakable. Exactly.
That unwavering voice and lyrical core gives
the band its consistent character, even as the
instrumental backdrop changes around him. It's
a testament to his singular vision that the band
retains its lessons, regardless of personnel.
And we can't forget the journey of Brown Records,
his early entrepreneurial venture that we touched
upon. We talked about his initial struggles,
how it became busier than I ever imagined, and
how he felt he cracked under the pressure of
people's livelihood. Right. The first attempt
didn't end well. But it made a comeback for Infinite
Arms, didn't it? And with what seemed like a
renewed purpose. It did, and this is a truly
important arc in his personal and professional
story, I think. The label's relaunch for Infinite
Arms reveals Bridwell's renewed philosophical
approach. One perhaps tempered by past struggles,
but driven by a deeper conviction. He explained
it by saying, now I've just heard that call again.
A lot of artists are unheard that I think I can
try to help with. So still wanting to help other
artists. Exactly. It demonstrates a consistent,
maybe even altruistic, motivation for supporting
other artists even while successfully leading
his own major band. It wasn't just a business
venture for him anymore. It felt like a deeper
calling. It showed a sustained passion for fostering
talent beyond his own. This second iteration
of Brown Records seems to represent a more mature,
grounded approach to his entrepreneurial spirit.
He understands the weight of responsibility now,
but he's still driven by the desire to lift up
other voices. And on a more personal note, which
often ties directly into creative output, Bridwell's
also a family man. He married Elizabeth Rae McCann
on April 4, 2009, and they have four daughters,
Annabelle, Ivy, Birdie, and Georgia. Four daughters,
wow. Sharing details of his personal life, particularly
his family, adds a crucial humanizing dimension
to the artist and helps us understand his motivations
better. It connects directly back to his earlier
decision to relocate the band to South Carolina,
remember. That desire for personal grounding
and to be around his family amidst the incessant
demands of touring. Right, wanting that anchor.
Precisely. This balance between leading a successful,
often volatile band and maintaining a stable
family life undoubtedly impacts his artistic
output. perhaps infusing his lyrics with themes
of home, love, and the passage of time. It provides
a strong foundation for his enduring vision and
resilience, showing that the core of Ben Bridwell
is as unwavering in his personal life as it seems
to be in his musical career. His journey truly
embodies the band's spirit of adaptation and
perseverance in the face of constant change,
doesn't it? With his family often serving as
his anchor through it all. Outro. And that brings
us toward the close of this incredible deep dive
into a band of horses and the remarkable, often
turbulent journey of Ben Bridwell. From those
raw Seattle beginnings, you know, fueled by pizza
and shared dreams. Ha, the pizza days. And the
breakout success of everything all the time.
And that iconic, truly ubiquitous track, the
funeral. through the critical acclaim and that
huge Grammy nomination for Infinite Arms and
their continuous evolution with albums like Mirage
Rock, Why Are You Okay, and most recently, Things
Are Great. What stands out through it all, unmistakably,
is Ben Bridwell as the unwavering constant. He's
the singular creative force navigating constant
lineup changes, artistic shifts, and personal
growth to keep the band's distinctive sound alive
and evolving. It's a true testament to his singular
vision, his undeniable talent, his entrepreneurial
spirit, and just his sheer perseverance that
Band of Horses has not only endured but remained
incredibly relevant for over two decades now.
It's really quite something. Consistently delivering
music that resonates deeply with audiences worldwide?
His ability to adapt, to lead, and to continuously
find the right collaborators, even if they change
frequently to bring his vision to life, is truly
remarkable. So as you reflect on Band of Horses'
two decades, marked by this constant core and
these ever -shifting collaborators, maybe consider
this. How much does a foundational, unwavering
artistic vision like Ben Bridwell's really drive
a band's identity and longevity? And how much
is that identity shaped, perhaps subtly or maybe
significantly, by the unique contributions of
all those musicians who join and depart along
the way? It's a great question. What does this
tell us about the very nature of creative projects,
especially collaborative ones, and the necessity
of adaptation in the face of constant change?
Something to think about.