Interview: Get to Know Stillwater Lines

Get to know Stillwater Lines with James Brodie

What first got you into music?

I would always be hearing music in Mum's house and Dad's house as they both loved a wide variety of music and I would always be near the CD player or the Vinyl player just listening when it was on (when not being a chaotic toddler or a crazy kid). Those are my first memories of listening to music as a fan (lots of Robbie Williams but lots of other things too like Bruce Springsteen, Queen, country music, rock music, 80's music, and lots of other weird bits and bobs).

How would you describe your music to someone who hasn’t heard it before?

I write songs of hope for people of all walks of life as we cross a bridge together (regardless of where it's going or what you believe). The songs provide a place where you can come and belong as you are and grow on the journey that we're going on together with the songs.

Was there a defining moment when you realized music was your calling?

When I was 16 growing up in Te Aroha and seeking help for some major stuff going on with my mental health, my counselor and a mentor that I had at Future Te Aroha both started encouraging me to get a journal and write things down. They said it didn't have to be long, and it didn't have to be short. It just had to be enough. That was a big thing for me to be able to just write it down. Those things eventually became songs (even if some took over 14 years to come to the light). And that brings us to where we are now. In that moment with the notebooks and the things that have happened since, a lot has happened but without Future Te Aroha, getting help for my issues, or the wise mentors and counsel around me I wouldn't be where I am now.

Where do you find inspiration for your lyrics or melodies?

Usually, I’m not trying to write a new track when they come so I always carry a notebook with me and write down lyrics, melody ideas, and bits that could be helpful as I go about day-to-day life. After I’ve collected some rough sketches of the songs, I’ll write the rhythms and basic instrumentation to send off to the vocalists I’m working with and once I get their parts back, I’ll write some of the lead instruments and melodies around their contributions so it ends up with this kind of world you’re stepping into when you listen to each song. I’ve tried to write songs on purpose but usually they’re not very good so I just let it happen naturally and that often is when I write at my best. When I land on something and it sounds somewhat familiar, it’s usually a happy accident when you stumble on something that’s been heard before (unknowingly) but interpreted in a new way. Captain and The Kid’s guitar melodies were actually inspired by old lullabies Dad used to sing to me when I was young and for whatever reason one of them came to mind and I turned it unknowingly into the melody of the song. I can’t remember what the lullaby was called now but I remember him singing me to sleep and exploring his record collections growing up and that sparked a generous amount of the love I have for music today. Which is quite fitting as Captain and The Kid was written about the very last conversation I ever got to have with my Dad so that brings up some special moments even for me (with a hint of Bruce Springsteen’s influence on the track too just to put a nice bow on it). I’m really happy they’re creating new memories for you too, whatever they may be.

How do you balance personal expression and creating something your audience will love?

The goal has always been to engage culture in conversation about the light and darkness in life, using words and melody to talk about some of the hardest things we feel while still being human at the core of the stories the music has to tell. I want the music to be human, real, and honest at the root of it all (even with my faith worked into the mix). I think people can tell when what you're singing and what you're doing is fake and not authentic, so I lend my personal life (emotions, experiences, lessons, faith, and things related to those things) to make it more real and relatable for the audience (without preaching or telling you what to think or feel).

What has been the most rewarding moment of your career so far?

Getting back in the studio after my previous projects dissolved and I was almost killed in a car crash in Auckland. There was a long time in that recovery where I thought that might never happen again (and I was sad about it but trusting God to do whatever he was going to do). It was a slow process and not everything came back on overnight, but I remember walking back into that creative space with a sense of calm, gratitude, peace, and an eagerness to get back into things slowly and as I was able. That felt good.

Are there any specific milestones you’re working toward in your career?

Right now, my main focus is to finish the 'Yellow' album that's coming out early next year and road-test it with a short run of acoustic shows. After that, let's see what happens.

How do you prepare for a show or tour?

Right now, I'm spending at least 2-3 hours a day working on the song that I'm going to road test in the acoustic shows over the rest of the year and looking after what voice I have (an airbag to the throat does not help a voice that's already not the best and two years on from that it can't do what it needs to do easily so I have to really work on that). But these will be the first big shows in a while outside of very short runs and occasional one-off things so I'm looking forward to giving what I can to the audiences that are coming and sharing the stories behind the songs of the Yellow season of my music.

What’s the most unusual or memorable thing that’s happened to you on stage?

I don't think I can pinpoint to one thing. Even with the projects I used to be a part of in my teens and 20's, every night would have a variety of moments you could never plan for. But the work I do alongside Figjamin now helping other artists experience that feeling of playing for people and letting them have their moments as well stands out to me. I take great pride in being a part of other musos having their chance to shine their light for people to see. One memory that does come to mind is last year in Matamata, there was a little boy who was watching me play and was absolutely amazed. I noticed this between songs and invited him to come and sing Twinkle Twinkle Little Star with me and come say hello. That moment sticks with me and a lot of those human moments are what make the shows I play what they are.

Can you tell us about your latest project or release?

The songs on the Riverlights EP are part of a larger body of music called 'Yellow' that have documented different seasons of my life sung with the help of session singers who have taken my place on the vocal front, allowing me to focus on the music and enjoy life a bit. I can’t wait for you to get the first taste of what God, and I have been working on for the last few years. It’s been an interesting season to experience.

Are there any collaborations in the works you’re excited about?

Because I am ermm...... vocally challenged, every song becomes a collaboration. (Trust me when I say this, nobody wants to hear me sing). You really don’t. I had an OK voice for a while but I can’t possibly hit the standards needed to do this kind of thing now (especially since the crash in 2024 that almost killed me- the head knocks and the airbag to the throat alone messed that up pretty bad). So, when I started writing the songs and got a clear idea that they would become something, I reached out to vocalists who I think could carry the songs well and from there I would send them the tracks to sing on and go from there. As far as collaborators I'd like to work with- there's a long list of people I want to get in the room with and write/record/collaborate with. Currently, none of them are on this album (everyone has to start somewhere). But I love going into a room with a singer and trying new things. That's how most of these songs were written and created with the authenticity and emotion that they have. And as long as that's in the room, there's only a short list of artists I would not work with. But the wish list and the dream collaborations are always on my mind should the chance ever arise.

What message or emotion do you hope people take away from your music?

That's not for me to decide. I have no clue what people should feel about the songs I write. I know that I write from a place of hope through all different seasons of life (including the hard ones and the messy ones) and I am not perfect, but that's the heart of what these songs want to say. What people want to interpret it as and what those songs become to them after they go into the world is outside of my hands.

Who are you listening to right now?

Right at the moment I'm typing with you while listening to mixes for the first Stillwater Lines album 'Yellow' (and there's 16-18 songs to listen to here) so that's taking up a wide range of my listening capability. But outside of that, I'm listening to a wide range of things. Celtic music, Christian Music, Georgia Lines (The Guest House and Rose of Jericho are among her best work), We Are Messengers (Halfway Home is shaping up to be a good one), Jon Toogood (his Last of the Lonely Gods album is amazing), Cat Stevens, and still a lot of that earlier music I would listen to growing up like Robbie Williams, Queen, U2, Springsteen, and things along those lines.

How do you see your music evolving in the next few years?

Each different season of my music has a colour attached to it. Right now, we're in the 'Yellow' season of music and this season has been difficult but fruitful. Every story has to start somewhere and while this start has been bumpy and chaotic, it's a start. In the next colour or season, I'm looking forward to growing more as an artist, trying new things, exploring ideas that haven't been explored yet while still keeping to the heart of what Stillwater Lines music is, and just putting one foot in front of the other.

How do you handle the balance between commercial success and artistic integrity?

I try not to think about it. Coming back to what we were talking about earlier, the songs I've been writing since 16 didn't have to be long, and it didn't have to be short. It just had to be enough. And that's still the mindset I write with today. Your songs are not like your children; they're more like your parents. And they don't like being ignored or taken in a direction they don't want to go in. They also get disappointed when you don't listen and end up making dumb decisions that cost you later on. So, the song gives the direction that we're going in. What I am more mindful of now is not just making it all about me and leaving the songs

What’s next for you? Any upcoming projects, tours, or surprises?

I am doing a small number of acoustic shows in New Zealand from now till early next year. After that, we'll see what happens. My voice isn't the best and I've had issues with it ever since the crash (getting my voice good enough to staying consistent) which makes singing on the albums and in the shows really tricky. After that I may realistically have to find a singer and such to keep playing live so that way I don't diminish the songs because I can't do them justice. In the meantime, the Riverlights EP (with guest vocalists) is out now on streaming sites and the things with the 'Yellow' album (that the EP is sharing a sneak peak of) coming in early January. More on that to follow soon.

Anything You'd Like Your Fans to Know.

This is something I’ve been saying a lot but it rings true more and more day by day, but it’s OK not to be OK and it’s alright if you’re not alright. The sun still shines on rainy days. These dark patches are just moments and the storms will pass. The lights will be shining bright tonight even if you’re walking with broken pieces in your hands. And whether you walk with God or not, life will get better and you are worthy of love and being loved. Whatever that looks like to you. Just keep putting one foot in front of the other and things will be OK.

Riverlight | Stillwater Lines