Featuring catchy hooks spawned from some of the more magnificent songwriting that I have heard this year, Jon Lindsay delivers a powerful yet funky ode to originality with his new single ‘Zebulon’, from the album of the same name, dropping it tomorrow as an early Christmas present to the best of audiophiles everywhere.

'Zebulon' cover.
‘Zebulon’ cover.

About Jon Lindsay
‘Zebulon’ happens to artfully tackle systemic bigotry—from the bigot’s point of view, no less. A sonic departure from Lindsay’s 2016 modern pop/rock opus ‘Cities and Schools’ (via File 13 Records), Lindsay describes the “Zebulon” sound as “sort of this psychedelic gospel pop”. While the vibe is indeed reminiscent of late-era George Harrison and Warren Zevon, and the horns, keys, congas and infectious hooks are in step with pop masters of the 1980s like Steve Winwood, something entirely new is happening here.

Lindsay (self-described as “way, way left”) wrote the song based on a true story. One night last summer, he accidentally wound up in rural North Carolina, playing music on a farm at the going away party for a farmer’s daughter, who was heading off to a northern college in the fall. Lindsay knew very little about the situation heading into the evening, but there was a lot of narrow-minded languages and odd ideas voiced that night, much of it by the farmer himself. Some of this is echoed in the song.

“I didn’t want to just skewer a guy like this with some preachy, easy tune,” explains Jon Lindsay, “I wanted to put a more three-dimensional character sketch together that got at the undercurrents of why this person felt like his whole world was getting away from him. Maybe it would help me understand how these things happen? I just tried to imagine how somebody could turn out so hateful and seemingly not realize it even a little bit.”

Having recently relocated to Brooklyn, Jon Lindsay is an experimental rock/pop artist and producer originally from North Carolina, where his musical roots run deep. He got start his start on the national stage as the keyboardist and backing vocalist for Charlotte’s Benji Hughes (Merge Records), and independently released his first solo EP (the finely-crafted, lo-fi and literary ‘Magic Winter & The Dirty South’) in 2009. Label and publishing deals quickly followed with Chocolate Lab Records and North Star Media, and Lindsay went on to drop the critically-acclaimed 2010 debut LP ‘Escape From Plaza-Midwood’, supported with extensive full-band tours of the USA.

Since then, Lindsay has thrived as a solo artist, touring internationally and releasing powerhouse LPs ‘Summer Wilderness Program’ (2012) and ‘Cities and Schools’ (2016), two more EPs and an assortment of singles. Many of these feature major collaborators like Grammy award winner Rhiannon Giddens. Lindsay’s catalog reveals much genre-bending exploration, with the constant glue being Lindsay’s instantly recognizable vocal style, textured yet focused production, and often wry songwriting, ranging from intensely personal confession to multiple character portraits plucked from the American berserk.

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Paste Magazine probably nailed it best, referring to “Lindsay’s trademark, almost paradoxical combination of energy and melancholy” while praising ‘Cities and Schools’ as “one of the gems of 2016”. Sync licensing also found this music featured on TV shows like “Haven” and “Jane by Design” and national broadcast campaigns for Jeep, Sheetz and other brands. In 2013, he co-founded (with Caitlin Cary of Whiskeytown) the NC Music Love Army—a large collective of progressive artists creating ‘protest music’. Apart from writing these songs, he served as producer and music director. The Love Army’s roster included Chris Stamey, Hiss Golden Messenger, American Aquarium, Chatham County Line, The Love Language, as well as members of the Black Crowes, The Mountain Goats, and Carolina Chocolate Drops. In all, they put out 13 politically-charged original releases on their own label. In 2017, the Love Army’s song ‘We Rise’ was licensed for the film ‘The Rape of Recy Taylor’, for which Martin Scorsese was the executive producer.

Slated for worldwide release on December 22, this track features a ridiculously funky horn arrangement from Matt Douglas of The Mountain Goats and drums by John Howie Junior.

‘Zebulon’ will be released via all the standard online stores and streaming platforms, and also can be pre-ordered via Jon Lindsay’s Bandcamp. His 2018 plans are also rounding out with a tour schedule that kicks off February 10 at Cat’s Cradle in Chapel Hill, NC and an expected album release later in 2018.

“One of Charlotte’s premiere musical poets… One of the best to come out of the southeast over the course of the decade”
– Performer Magazine

“A gripping song that cleverly challenges systemic bigotry with a believable vocal, great hooks, infectious refrain and excellent production”
– The Spill Magazine

“Smart, empathetic and endlessly interesting”
– Paste Magazine

“PowerPop at its finest”
– Consequence of Sound

“Killer hooks and a palpable sense of nostalgia for summers past”
– Magnet Magazine

“Comes as close as any release in recent memory to rendering what it means to be alive”
– Shuffle Magazine

“Sugar rush… Catchy to the extreme”
– Indy Week