Your musical style is described as “New Alternative” or “New Alt,” blending influences from various artists across genres. How did you go about crafting your unique sound, and what aspects of those influences resonate most in your music?

There is an aspect of my songwriting that has been able to attract and retain some of the very best players and my sound has always developed organically from their contributions. We consistently give wide latitude to the musicians to express themselves. I cannot ever recall telling a musician what to play other than encouraging them to express themselves fully. Occasionally, my producers will set some parameters but this is very rare. The result of this approach is a sound that is both unpredictable and very difficult to define and a catalog of music that does not fit neatly into any one genre. Sometimes I sound like Johnny Cash, sometimes I sound like Mark Knopfler, sometimes I sound like Lou Reed, sometimes I sound like Leonard Cohen, sometimes I sound like Warren Zevon, and sometimes I sound like an untrained vocalist with no regard to pitch; other times I sound smooth and compelling. This is feedback from the last 15 years and does not necessarily reflect my opinion of myself. My approach has always been to focus on the story and the emotion. What I am writing about is real and serious to me and while there is some humor and some irony, I am mostly writing from a difficult place that is wounded and sedate. So those artists above-referenced all of whom have influenced my work, resonate with me in that special way in that their songwriting and delivery is personal, unique, and authentic.

You’ve had a diverse and storied career as a criminal defense attorney before transitioning into a full-time pursuit of music. How did your previous career experiences shape your songwriting and storytelling approach?

The experiences of my earlier career as a criminal defense attorney have undoubtedly woven their way into my art. Having tried over 120 cases to verdict, I was able to develop and refine an ability to create and deliver a succinct and persuasive theme that includes strong elements of humanity and passion. I am not sure whether that ability translates into being a better songwriter but I am as inseparable from my experiences as much as I am a sum of them. And dealing daily with issues as profound as guilt and innocence have made an impression on my state of mind and, consequently, my art to the extent that I tend to be serious, gritty, and edgy….perhaps too much so.

With an impressive 34 recorded tracks in the last 20 months, you are clearly prolific in your songwriting. Can you share your creative process and how you maintain the balance between quantity and quality in your music?

I started playing the guitar at age 40 after being inspired by a young guitarist who I saw playing live with so much soul that it was almost like a conversion experience. So I bought a guitar and taught myself a few chords. At the same time as I was learning to play I started to write. The guitar playing and songwriting arrived suddenly and unexpectedly at the same time late in life. Songwriting is not something that I work at or labor over. When I have the time and the inspiration I pick up my guitar and play and often write. But it is not something I can plan or conjure on demand, nor is the creative process something I ever force or coerce. There are just some moments in life where I feel an irrepressible desire to render, to express, to write. So when one considers what is the balance between quantity and quality my answer is I do not know. I don't ever seek balance; it is not even a consideration. My guiding principle is being certain that my creative process is always authentic and, through this authenticity, establishing integrity such that my art can be taken seriously.

As a songwriter, you’re described as a storyteller who weaves slivers of life into your songs. Can you give us some insight into the themes and experiences that inspire your songwriting, and how you aim to connect with your audience through your lyrics?

It has been said that art comes from suffering. Regrettably, I know this to be true. Those emotional elements that create inspiration in the main come from deep wounds to a troubled soul. I write as a catharsis and to recover and, to some extent, to survive. Most artists have a hypersensitivity to the world and they feel things strongly. What bothers me deeply may barely register with others. Because of this hypersensitivity, I exist almost always in a troubled state of mind. Recently, a major label considered my catalog. And while they did not sign me or reject me (they are considering my new release) they did identify that the demographic for my music was trauma victims. What to make of that? And while that was initially very difficult to accept, after thinking about it, I realized it was the best compliment. Because indeed, I am a trauma victim writing to other trauma victims and, while my wounds are not visible they are, nonetheless, real and severe. They are both of a private and professional nature and are laid bare thought my lyrics. It is not uncommon for someone in the audience to cry during one of my live shows - especially when I play Father’s Eyes. Nor is it uncommon for an audience member to be moved when I play Tell Me. So I do feel validated and now it’s a matter of reaching more people as my music gains traction in the marketplace.

Moving from Central Pennsylvania to New York City in 2021, you connected with musicians and started performing regularly. What has this transition meant for your musical journey, and how has it influenced your growth and evolution as an artist?

I decided to transition out of the law and into music full-time during the Pandemic. Part of that decision involved me relocating to New York City in an attempt to become integrated into the music community. Soon after I arrived I enjoyed incredible good fortune in that I was introduced to some of the very best players who began contributing mightily to my creative process. After a few months I began rehearsing, recording and performing with Conrad Korsch on bass (Rod Stewart et al), Stan Harrison on sax (David Bowie, Duran Duran et al), Brian Delaney on drums (New York Dolls, Melissa Etheridge et al) and Oz Noy (Force Majuer et al). These guys became my band and have been very supportive throughout. So one day I am a practicing criminal trial attorney in rural Central Pennsylvania and the next day I am creating music with some of the most talented players in the city, writing, rehearsing, recording, performing and basically living in a dream state wondering how did I get here. Does that sound odd? It is all true and as they say truth is stranger than fiction. I am living proof that anything is possible - go for it.