At Under the Big Sky festival in Whitefish, Montana, earlier this month, Zach Top debuted the new song “Good Girls & Cowgirls.” Set for an official release on Aug. 21, the rollicking track will arrive on 7-inch vinyl with another new song, “Other Side of Hurtin’.”
In an exclusive backstage interview at Under the Big Sky, the Washington state country singer opened up about his rapid rise — he headlined UTBS this year — what’s in store for his next album, and why bluegrass will forever remain at the core of his songwriting and stage presence.
Two years ago, you turned heads at this festival with your own solo set and by sitting in with Billy Strings. What does Under the Big Sky mean to you?
It’s my favorite one we’ve ever played, man. I love Montana. The setting is obviously incredible. And they make it so localized. It’s not just another taco bar.
Did the response then make you think, “OK, something’s going on” with your career?
Yeah. It was, “Oh, dang. There’s actually people here that are excited to see me and they’re going to come out here in the heat of the day.” This was one of the first times I felt that. This place is special on multiple levels.
Tell us about the new song “Good Girls & Cowgirls.”
It’s a goofy, fun song, the dichotomy between what you would call a “good girl” and a little more the wild side of women. I think folks will enjoy it. The plan is for it to be on the new record. That’s next spring. We don’t have the date nailed out. Looking forward to April.
It seems like you’re in a good space.
Yeah, man. I’m having a ball. I’m very thankful for everything that’s happened to me and just enjoying it as much as I can, working my ass off to try and make it keep going and keep climbing. Everything’s gravy from here on out. I’ve done a lot more than I ever could have hoped or dreamed to do.
You started out playing bluegrass, which continues to grow in popularity. What is it about that music that is connecting with so many people?
That’s interesting. From my perspective, it’s pretty parallel to the reason that my music is as popular as it is right now. We had a long time of, at least in the country world… everything is really perfect and everything’s tuned. Everything’s pocketed just right. I think some of the soul got left behind in that. I think a lot of people finally just got to a point where it’s, “All right, we’re looking for something a little more raw and real again.” And so, bluegrass is only that. You can’t get past that. There’s nothing covering you up, you know?
You can’t hide behind anything.
No, exactly. You better be a badass on your instrument and a badass singer. And that’s all you’ve got to show people. I think it’s parallel with a lot of the country stuff. Guys like Tyler Childers, who was having a bunch of success way before I came along, and even Zach Bryan, it’s very real and raw, whether you love it or not.
People want to see a real person and a real talent.
You’re not trying to chase perfection. You’re trying to just play good music and put your heart and soul into it. People enjoy that. And that’s what bluegrass has always been to me. But then, a guy like Billy [Strings] comes along, and it’s hard to ever pinpoint something like that. I mean, he’s just a phenomenon on his own.
How much does your bluegrass background play into not only your musicality in the country world, but how you approach songs and arrangements?
It’s woven into who I am, what I am, what I do, from the beginning of writing a song. I can’t help but kind of put a little of that “high, lonesome sound” into a lot of the melodies that I write, which I think is fun. It sets me apart from a lot of other stuff that might sound [like] a bunch of the Nineties stuff. I get thrown in that box a lot, “bringing back Nineties country,” which I don’t know, I don’t feel that way. I’m just doing me, and it is sonically reminiscent, for sure. But even up against a bunch of that stuff, I think it sticks out and is way different because of the bluegrass influence.
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