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Music Music Features

Piano Man

Wyly Bigger plays just about every notable piano in town in his video, “Hello, Is That You?”, from his recently-released album, Broken Telephone.

He tickles the ivories on the spinet at Earnestine & Hazel’s and at Sun Studio, and at the grand pianos at the Peabody Skyway and the Orpheum Theatre, to name a few.

The first piano he ever played, though, was a “just a little Fisher Price kid’s piano,” says Bigger, 26.

A native of Marion, Arkansas, Bigger began picking out songs on the piano by ear when he was three. The little piano was “just a plastic, bright, and colorful thing. It probably had 10 keys on it.”

It belonged to his sister, singer-songwriter Bailey Bigger, but “she didn’t take to it at all. She could care less about it. I kind of took it over.”

Wyly’s parents bought an old piano that their church wasn’t using and put Wyly in piano lessons.

He began taking Suzuki-method piano lessons when he was 4 at the University of Memphis. “I wasn’t a huge fan of it. Just because I wanted to play by ear and I wanted to do more. Even from a long time ago I loved Elvis and Jerry Lee. That kind of music.”

Wyly even adopted the Elvis look. “For Halloween in first grade I was Elvis. My grandma sewed me a gold suit to wear like Elvis.”

Wyly Bigger (Photos: Michael Donahue)

He also began wearing gel in his hair. “I think we even got some temporary black hair dye from the party store to make it really look like Elvis.”

His next teacher made him learn music, but he also encouraged him to play by ear.

Wyly’s first public performance was playing rock-and-roll on his keyboard at Big John’s Shake Shack (now Tacker’s Shake Shop) in Marion when he was 9 years old. He continued to play there every other week when he was in high school.

He began writing instrumentals when he was about 14. “South Side of Southern,” which was “about growing up in Marion,” was his first song with lyrics.

Wyly didn’t want to sing at first. “I was terrified to sing. I didn’t like it at all.”

His piano teacher encouraged him to start singing along while he played piano during lessons.“I kind of ripped the Band-Aid off.”

Wyly majored in marketing at Mississippi State University, but he continued to play piano at night at local watering holes.

After he graduated, Wyly went to work for a marketing agency and, later, at Marion’s Sultana Disaster Museum.

But he continued to play music in public. Last July, he decided to quit his job and do nothing but music.

He began playing piano in the lobby at the Peabody, where he still plays on Mondays, Tuesdays, and Wednesdays. “The Peabody is a lot of everything. Outside of rock-and-roll and ’50s soul and R&B stuff, I also really love the old jazz standards. Like Cole Porter and George Gershwin-type songs.”

In 2020, Wyly recorded a self-titled EP of his songs. “Back in Love” — “just a story of unrequited love.” — got the most streams.

He describes the EP, which he and Bailey produced, as a “rock-and-roll Fats Domino-swing-type of thing. I had drums, bass, keys, guitar, and sax.” He recorded the EP at Memphis Magnetic Recording Co. with Scott McEwen doing the engineering and mixing.

Bailey, who sang background vocals on the EP, performed with Wyly on occasion back in the day at their church and at the Shake Shack. They’re both on the Madjack Records label.

He began recording his new album in May of 2023. “It took a while just ’cause we hired a team of musicians and we had to work around their schedules.”

The album features Danny Banks on drums, Jim Spake on saxophone, Mark Edgar Stuart (who produced the album) on bass, and Matt Ross-Spang on guitar.

The idea to have Wyly playing pianos all over Memphis “was all Landon Moore. He filmed, directed, and edited the whole video. He’s a bass player in town. He plays with Cyrena Wages and Marcella [Simien].”

One of Wyly’s favorite pianos is the grand piano at the Peabody Skyway. “I love to play that piano and picture myself up in one of the live big band dances they had back in the ’40s.”

He knocked all those piano pedals while wearing his black-and-white Royal Wind spectator shoes. “I bought those things at a thrift store in Starkville when I was in college”

And, he says, “I tell you, they’re a conversation piece. I can’t wear them without somebody saying, ‘Man, where did you get those shoes? Those are amazing.’”

Wyly likes to wear the shoes at the Peabody. “It will turn heads and maybe get me tips. Anytime I dress up, I’m typically going to wear those.”

To view the “Hello, Is That You?” music video, go to tinyurl.com/yckwu33k. Wyly Bigger will perform Friday, May 31st,
7 p.m., at Hernando’s Hideaway.

Categories
Film Features Film/TV

Music Video Monday: “Arkansas Is Nice” by Bailey Bigger

For Bailey Bigger, there’s no place like home. The Arkansan singer-songwriter has released a new single that’s all about her affection for the country life. “Arkansas Is Nice” is a smooth sip of Laurel Canyon country-folk straight outta the Ozarks. She’d like to visit California, but for now, home is where the heart is.

The video is produced by Studio One Four Three and directed by Joshua Cannon. “The most important thing to me when making this music video was that I wanted to use real faces from Arkansas,” says Bigger. “I wanted to include actual friends and family from my life growing up in Marion. After we gathered the crew, the rest almost fell into place. Josh and Mica and I chose to create an on-screen version of a time capsule of my current life here in Arkansas, and it couldn’t be more beautiful.”

If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.

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Music Music Blog

Bailey Bigger to Headline Cooper-Young Festival

The 2022 Evolve Bank & Trust Cooper Young Festival, slated for Saturday, September 17th from 9 a.m. to 7 p.m., has announced its musical lineup.

The headliner will be Bailey Bigger, backed by a band featuring Mark Stuart (bass guitar), Wyly Bigger (keyboards) and Danny Banks (drums).

Growing up in small town — Marion, Arkansas, just outside of Memphis, Tennessee — Bigger began writing and performing seriously in Memphis at the age of 14. It’s been quite a journey from that to Bigger’s debut full length album, Coyote Red, released by Madjack Records in March and featured in the Memphis Flyer‘s music column at the time.

At the time, we wrote of her strong-yet-delicate singing and evocative songwriting, with echoes of Joan Baez and similar artists. Bigger noted that when producing the album, Mark Stuart told her, “I think this record’s about you showing who you are, in a genuine, down-to-earth way.” It’s not to be missed. Visit baileybigger.com to learn more and find tour dates near you. 

Here is the complete music lineup for the 2022 Cooper Young Festival:

Memphis Grizzlies Stage
12:30 pm             Joy Dog – Danny & Joyce Green
1:30 pm               Rachel Maxann
2:30 pm               The Delta Project
3:30 pm               Jay Jones
4:30 pm               Generation Gap

Evolve Bank & Trust Stage
11:15 am             SoundBox
12:15 pm             Rodrick Duran
1:15 pm               Elevation
2:15 pm               The City Fathers
3:15 pm               Chinese Connection Dub Embassy
4:15 pm               Carlos Guitarlos
5:15 pm               Headliner – Bailey Bigger

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Music Music Features

Bigger Sounds: Coyote Red

Bailey Bigger is on solid footing now, and that’s a good thing. While some music fans hope their favorite artist will never get too comfortable, feeling that great art comes only from suffering, Bigger is here to show that the opposite is true. Her new album on Madjack, Coyote Red, is an object lesson in being secure enough to open up in one’s art and, thus, reveal something truer than ever. 

We last spoke with her upon the release of her 2020 EP, Let’s Call It Love (Big Legal Mess), and it was no accident that we characterized those songs as “confronting trauma.” Even then, her strong alto, evoking a classic era of strong female singers like Joan Baez, was in full effect, as was her ability to turn a phrase and a melody. Now, with the imminent release of her first full-length album, those qualities are more apparent than ever, with the added bonus of “blood harmonies” — that almost inseparable harmony some singing siblings share — with her brother, Wyly Bigger, who also contributes piano. She recently touched base with the Flyer to fill us in on what’s changed.

Memphis Flyer: It feels like a lot has changed since your last release.Bailey Bigger: That was released in December of 2020, and I guess we all have gone through a transformation since then. I think Let’s Call It Love was more centered on that first breakthrough, of saying enough is enough with certain aspects of your life and deciding you want to change the way it’s going. With this record, I don’t think I’ve written anything that has felt more like me. I feel like I settled into myself in these last two years, more than I ever have, and that reflects in this album. 

It’s a little more of an honest look into who I am, without all of these ordeals and setbacks fogging my mind and my heart. I’ve found myself again, but in a new form, where I can still bring back those parts of my innocence and my childhood. I’m settling into my own shoes and finding that inner joy again. I think everyone around me was feeling that simultaneously.

“Everyone” meaning the band and producer Mark Edgar Stuart?
Yeah. Mark and I have become really good friends, and I think him taking the reins really set the tone for it immediately. We had the same vision. And all the musicians he got to play on it, and Kevin Houston engineering, just set the energy for the record immediately and kind of made it this little paradise of friends. That sounds so cheesy, but it was just so fun and real and raw. I think the experience we had is captured in the music because it was really emotional, and everyone who was there experienced the same thing, which was pretty powerful.

What was Mark’s approach as a producer?
He was very hands-off. And I think we equally trusted each other. We both knew we had the same vision. So we trusted each other’s calls. He wanted it to come off as personal, as these songs of mine are, so he stepped back in all the right places. But he helped me pick out the songs, and he actually supported a lot of songs that I was down on. That gave me confidence to create what this is. I don’t think I would have chosen half the songs on the album if it wasn’t for his encouragement. He brought that outsider’s perspective.

There’s a song called “Wyly,” which is about my brother, obviously. It was a song I wrote for him in 10 minutes one night, when I was really emotional. I was kind of down on it, because I thought, “It’s one of those songs that I just spit out, that’s not refined enough.” Mark was the one who said, “No, no, no, this is the gold right here. You can’t recreate something that’s that raw.” He said, “I think this record’s about you showing who you are, in a genuine, down-to-earth way.”
Bailey Bigger and band will play a free record release show on Friday, April 1st, at Hernando’s Hide-A-Way, 8 p.m.

Categories
Music Music Features

Bailey Bigger: Confronting Traumas Through Music

What a difference a year makes. Last October, Bailey Bigger released her debut EP, Between the Pages, on Blue Tom Records (the label run by the University of Memphis), and certainly her skills as a songwriter and vocalist were obvious. Her unaffected alto, reminiscent of Buffy Sainte-Marie, was the perfect vehicle for her simple, deft turns of phrase. But now, as she is poised to release Let’s Call It Love, her first EP for Big Legal Mess Records, those songs seem a world away. It’s hard to believe she’s made such a journey with only 20 years under her belt.

Her trademark qualities are still on full display, but are now complemented with an even more refined band, assembled at Delta-Sonic Sound by producer Bruce Watson.

“Bruce brought a little bit of soul into my music,” she says. “He brought in the organ and the electric guitars and things like that that I never would’ve thought to do on my own. It’s Americana but Memphis.” She speaks the truth: With players like Mark Edgar Stuart (her mentor of sorts), Joe Restivo, Will Sexton, Al Gamble, George Sluppick, and Jana Meisner, the record represents the state-of-the-art Bluff City sound.

Adrian Berryhill

Bailey Bigger — she’s a keeper of the fire.

And yet Watson’s first pivotal move in making this record was simply rejecting her first batch of songs, forcing Bigger to come up with her best material yet. To compose the new songs, she dug deep into the turmoil she’d recently faced due to an unpleasant breakup, her grandmother’s death, and her feelings of alienation in moving from Marion, Arkansas, to the big city across the river. Now that she’s happily relocated to a farm near Marion, she’s gained some perspective on those earlier struggles.

Memphis Flyer: Was it emotionally difficult to delve into your personal backstory to create the songs on the new EP?

Bailey Bigger: Well, in my poetry-writing class, we were talking about trauma in poetry and how it’s really hard to write about traumatic experiences. You have to put yourself in that headspace again and relive it, in a way, to get those truths out on paper or in songs. And a lot of times that’s easier to just avoid. But I live for that stuff, in a way, because I think it’s one of the most important parts of the human experience, to be open and talk about things that people are afraid to talk about.

That makes for better songs, don’t you think? But is it tough to sing those songs once you’ve written them?

I think it becomes like muscle memory, in a way, performing these things live. If I were to really dig in and relive those moments every time I played it live, I don’t think I’d make it through the performances. When I was recording “Let’s Call It Love,” we cut several vocal tracks and we were like, “Yeah, that’s fine. Pitch is good.” But I was thinking, “I’m not singing this how I felt it.” And that’s one of the worst things ever, where your voice isn’t delivering what you felt. I hate that. So I said, “Okay, just one more time.” And I remember how I channeled the take that I wanted to keep. It wasn’t by thinking of the person the song’s about. I did not want to picture that person at all. I thought to myself, “Sing to the girl who is in the same place as you are. Sing to that person that it hasn’t happened to yet. She still has a chance to get out. Sing to that person that you were a year and a half ago when you didn’t see it.” So that’s what really got me to perform it the way I wanted to.

I also get that feeling from the bonus track, “A Lot Like I Do” — “I remember a girl who looks a lot like you do” — as if you’re looking back at yourself.

That was probably the hardest one for me to perform. That one still evokes strong emotions in me every time I play it live. It’s probably the most personal song I’ve ever written in my life. It doesn’t even say anything specific about what happened to me, but I think it tells it perfectly at the same time. I can’t rely on muscle memory with that. That’s a rough one. All three songs are about this transformative time in my life. But the person I was at the beginning of all those traumas is not who I am now.

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Bailey Bigger

Music Video Monday is getting hygge with it.

“Hygge” is a Danish word that means “cozy” or “comfortable,” as in “wrapped in a blanket with a glass of wine.” After the 2020 America has had, it’s something we all need. MVM newcomer Bailey Bigger is bringing it with “Weight of Independence.”

Bigger is a 20-year-old native of Marion, Arkansas who loves the farm life. “We lived in my great-grandparents’ old house. I love the community part of it. You say your name to a stranger and they say, ‘Oh, you’re Eddie’s granddaughter, David’s daughter,’” she says.

Recorded with the help of her mentor, Mark Edgar Stuart, for her debut EP on Big Legal Mess Records, “Weight of Independence” was inspired by the hardest day in her young life, when her relationship disintegrated and her grandmother passed away. The song is about gaining perspective and finding some kind of inner peace. “It let me step back and see the bigger picture. A lot of things matter way more than that breakup. I had a realization that that person was nothing in the big story.”

For the video, director Joshua Cannon captures Bigger in her rural element. It’s a beautifully shot piece that invokes the first peaceful day after a long storm.

Music Video Monday: Bailey Bigger

If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.