Nicki Bluhm: Home Team

image credit: Hayden Bilson


Five many years back, Nicki Bluhm improved just about everything she could modify. Immediately after a 10 years of marriage, the singer-songwriter filed for divorce, set her band, The Gramblers, on indefinite hiatus, packed up her existence and headed east, leaving at the rear of her beloved Northern California dwelling and lighting out for a new beginning in Nashville. She settled in Tunes Metropolis and went back again to operate, channeling her raw feelings and heartache into her 2018 solo album, To Rise You Gotta Slide. Now, Bluhm returns with her next stage forward—exploring the liminal space among broken and rebuilt, honoring the hope and healing she found at her new deal with, Avondale Travel.

Bluhm was West Coastline through and via, increasing up in the outer Bay Space city of Lafeyette, Calif. As a gifted, aspiring twenty-some thing singer-songwriter in the San Francisco scene, she achieved Tim Bluhm, the frontman for area favorites The Mom Hips. Nicki caught Tim’s ear as much as she caught his eye. He presented to deliver Nicki’s tunes at his residence studio. In 2007, she married him. In 2008, he engineered and created her very first album, Toby’s Music.

The Mother Hips frontman, just about 10 many years her senior, became her mentor, her cheerleader, her collaborator and her trustworthy critic. Alongside one another, they conceived Nicki Bluhm and The Gramblers—Nicki fronting a sextet that at first showcased guitarist Jackie Greene and ALO’s Steve Adams on bass. In 2011, they issued their abide by-up, Driftwood, and, as a few, turned out an album of duets. Then, there have been the “Van Sessions.”

The idea was simple—the group filming alone performing protect music although driving in their touring auto. A rendition of Corridor and Oates’ “I Just cannot Go for That (No Can Do)” turned into a viral feeling, tallying up above a million hits and ushering Nicki and The Gramblers into the national conscience.

By 2015, nevertheless, there ended up difficulties. Amid the launch of the album Cherished Wild Missing, Tim remaining the group and the couple divided. Two many years later, Bluhm positioned The Gramblers on the shelf and formally divorced Tim. For the first time in her occupation, the singer was certainly on her have.

Any probable comfort from the tightknit Bay Location songs scene she aided build was, now, much too familiar. “There was so substantially overlap with Tim and me. I preferred to start out over” Bluhm says. “Before I even arrived in Nashville, I altered my mobile phone selection. I only desired to be in contact with the men and women I desired to be in touch with.”


Bluhm had recognized that she desired to relocate to Nashville for a whilst. She had close friends in the region and hoped to tap into the city’s expansive co-writing procedure. Going into her new property on Avondale Drive, the previous Gramblers chief rapidly fell in really like with both equally the Tennessee rain and the rolling Southern hills as they grew lush and green.

But, a perception of loneliness continue to colored her refreshing start out. She missed getting normal dinners with her family members. Most of the individuals she knew in town ended up usually absent, out on tour. “I recall sitting on the entrance porch, and my only close friends have been the cardinals and the squirrels so I would sing to them.”

Bluhm uncovered solace, as she constantly has, in writing. She tackled the percolating harm of her divorce, leaping into recording classes in Memphis for To Increase You Gotta Slide. She embraced therapy, a system credits with encouraging her to decide on only relationships that fill her cup. “The globe is tough,” Bluhm suggests. “There is no shame all-around inquiring for or seeking aid.”

Even following the “divorce” album, she nevertheless experienced lingering, unprocessed thoughts. She also saw palpable indications of positive adjust going on. Her songwriting inspirations ended up emerging from a extra introspective, hopeful location, infused with healthful doses of compassion and forgiveness. As properly, she was acclimating nicely to Nashville and the city’s positive aspects.

“I love the group. I appreciate the vitality,” Bluhm suggests. “It’s grow to be me locating my own hearth the light inside of me. I wanted to obtain that from within. It is turn into a more authentic voice.”

Bluhm retained a journal, archiving her ideas on her phone’s voice memos. Continue to, she wrote in real-time, permitting the muse of the minute lead her. “Typically, I do not genuinely maintain back nearly anything. The tunes replicate my inner workings. It’s a catharsis for me to write.”

Her household on Avondale became a spot of solitude. The undiluted ache from her breakup felt fairly exorcised via the inventive course of action. Following a 10 years, she was also single all over again and navigating the new buy of the dating earth.

It was perplexing and international all the new apps, swiping and fast rejection. Experience particularly nervous, Bluhm determined to change the working experience into a tune, “Friends (How to Do It),” that questioned the age-aged issue: Can a man and a girl be just good friends?

The tune turned out to be the very first of the 10 tunes that inevitably finished up comprising Avondale Push, which was written and tracked about a three-12 months extend. As she wrote, Bluhm started to mend. And although she wasn’t finished comprehension the earlier, the singer was becoming additional at peace with it and starting off to see the benevolent and straightforward outcome of these days turning into tomorrow.

“Things switching interpersonally— it requires time for that to unpack and do the job by means of. It was inescapable that there would be some residual course of action going on on this report,” Bluhm says. “Time usually helps make factors greater. Emotions are impermanent. Conditions are impermanent. The more mature you get, the far more you arrive to realize: ‘This as well shall pass.’”

The reference is not Bluhm’s only nod to her sense of spirituality. She states she normally asks her “higher power” for patience and have faith in. And she understands that all of this is the function she has to do.

In her relationship, Bluhm inspired herself by seeking to make Tim proud, to satisfy an expectation. “I was variety of residing another person else’s desire,” she states. “What I’ll say, in a nutshell, is that Tim was an vital mentor for me. He taught me a large amount of factors. He was not a very good husband.” As distressing as it was, she admits, the severing of the connection has been very good for her expansion.

As Bluhm finds a comfortable stability between her do the job and own lifestyle, some of her questions have morphed into acceptance. Inside the placid and reflective lope of “Juniper Woodsmoke,” Bluhm sings a hanging line, made even additional penetrating by the slightest of breaks in her voice as it rises in toughness: “Though we may perhaps hardly ever, at any time settle the rating/ It don’t issue due to the fact it won’t be what it was ahead of.”

“People have their have reminiscences of points. Folks have their personal truths. I may possibly genuinely believe that my real truth and they could seriously imagine theirs. We’re never ever essentially going to concur on what the truth of the matter is,” Bluhm claims. “It lends to this concept of forgiveness. Forgiveness only will take you—on your facet of the street—to occur to an understanding, to appear to a far more processed spot exactly where you can forgive. It does not have to include things like the other human being. It can happen in your own internal landscape.” ***

At the album’s main are Bluhm’s explorations of her inner landscape. Musically, they are unpinned with a self-confident stride that implies brighter times forward. There’s a sly, ‘80s new-wave defiance infiltrating the direct track, “Learn to Appreciate Myself,” and a throwback, ‘60s soul vibe entrancing on “Love to Spare.”

Still, Bluhm didn’t restrict her inventive purview to her personal associations. The album’s 2nd 50 percent delves into narratives of abuse and reckoning—within modern society, in the new music marketplace and in the wake of the #MeToo movement. In simple fact, the existing cultural and political zeitgeist immediately influenced the incisive authentic “Mother’s Daughter.”

Seeing Christine Blasey Ford’s revelatory testimony against Supreme Court nominee Brett Kavanaugh, Bluhm was specially moved by Blasey Ford’s braveness. She posted her assistance on social media.

“I don’t forget wondering, ‘Wow, she put herself in the line of fireplace. This is a big callout,’” Bluhm says.

But, when a male friend’s response was to issue her support, she recognized that the exact same fight for the truth was destined to repeat alone over and in excess of once more.

Bluhm rewatched an Anita Hill documentary. The similarities she observed concerning Hill and Blasey Ford’s tales appalled her. “If we can’t imagine what they are stating, we have a issue,” Bluhm suggests. “I really don’t believe in terminate tradition, but I do consider in people today acknowledging when they’ve built a blunder, proudly owning up to it and accomplishing improved.”

She is also fast to issue out that the new music biz can do superior, way too. A decade ago, she operated from the state of mind that individuals ended up intrinsically very good. She felt secured. Her perceptions radically shifted when functioning on To Rise You Gotta Slide.

On the lookout for a producer for that file, she met her share of what she phone calls “toxic folks in power,” that went so significantly as to stall the album’s launch. She figured out to issue motives to quit anticipating persons to believe as she does. “I’ve had abusive relationships in my lifetime, nevertheless none bodily, I’m satisfied to say,” Bluhm claims. “But the psychological manipulation, the psychological manipulation, is certainly abusive. I have no more home in my daily life for abusive interactions. The only romantic relationship I’ll keep that feels abusive is with the music industry.”

For Avondale Drive, Bluhm surrounded herself only with constructive forces. She counts the album’s producer, Jesse Noah Wilson, and Kai Welch—who assisted with vocal output and co-wrote various songs—as trusted advisors. Ironically, for a touring artist, she also credits the pandemic with aiding her alongside.

In March of 2020, when COVID-19 put the live performance market on ice, Bluhm outfitted Avondale with more than enough gear to lower demos of her most up-to-date music when waiting out the lockdown. “We started monitoring and we had been like, ‘This truly appears amazing.’ We recorded the bulk of the history there.”

All of the Bluhm’s pals, who had been intended to be on tour, ended up a lot more than eager to give some distant assistance.

Bluhm and Wilson right away started off sorting through their collective Rolodex. They recruited bassist Jennifer Condos and a bevy of drummers centered close to the county: Los Angeles musician Jay Bellerose, Austin reisdent Richard Millsap and Nashville transplant and Dr. Pet member Eric Slick. They also welcomed contributions from Karl Denson, James Pennebake and Erin Rae, between others.

“Every time we acquired a track [sent back], it was like Christmas morning dropping it in, and just getting, like, ‘Damn, which is wonderful,’” Bluhm states.

She tapped her neighbor and dear pal, A.J. Croce, to not only source vocals and guitar but also to co-write “Love to Spare.” For his distinctive rhythm-guitar tactic, she called on The Wooden Brothers’ Oliver Wooden to grace “Friends (How To Do It).” Bluhm tracked her vocals about three days at Compass Records’ studio, with Wood becoming a member of her for a cheeky, in-person duet.

Wood’s friendship with Bluhm dates again almost 10 decades, when they 1st bonded on the pageant circuit. “The track we did was gentle and enjoyable. There is humor designed into that music,” Wood states. “I received the vibe that she’s on the other side of some turbulence. It surely exhibits up in her every day stature as very well as her songs.”

The ultimate observe Bluhm wrote for the album was “Wheels Rolling.” It’s a fantastically fitting closer, a glimpse, as she suggests, into this last transect of her life—a entrance porch, place jam sure to make sure you the cardinals. Yet again, lyrically, she asks a question, but this time, by the stop, she also has an response: “Quit on the lookout out and get to wanting in.”

“My key purpose is to figure myself out as a human so that I can like myself since I have acquired to are living with myself for the relaxation of my lifetime. If you don’t like yourself, you’re in issues,” Bluhm states. “My internal critic is pretty powerful. And it is often a vulnerable time when I set out a history. It’s my real truth. My reality has been explained to. And I think the output is truthful and reliable to me.”

In August of 2021, Bluhm moved to Madison, a close by suburb. Nonetheless, she’ll usually have the album to immortalize her time on Avondale Travel. And she has very little but gratitude for her initially household in Nashville. “I could cry considering about it. It was just the most extraordinary area to land, surrounded by so numerous type men and women. I truly obtained my power back there.”