Nate Sheridan

Interview With Nate Sheridan

SBS:  Welcome to our pages!  Whether you’ve been here with us in some way before, or you’re brand-new to the site, it’s probably best to get an introduction from you so that we get everyone on the same page to start.  Tell us a little bit about the history of your music, and what’s happening with it lately!?!

Nate Sheridan:  Howdy there!  My name is Nate Sheridan.  I’m a singer-songwriter and session musician based in Canada.  When I’m not playing in bands like Campfire Sigh and VVonder, I’m usually working away on solo projects.  I just released my fourth album, Tales from a Dying Mind, and it’s without a doubt the project I’m most proud of to date.  It’s a deeply personal record that pulls from a wide range of influences and life experiences — I feel like it’s the closest I’ve come to capturing my voice and vision as an artist.

SBS:  Let’s talk about the before and after of where you’re currently at.  What’s something about the music that you’re making now that you don’t think you could have done five years ago, and what’s something you think you’ll be able to do with your music five years from now that you can’t do today?  How have you grown as an artist/band, and what steps do you take to continue your artistic evolution?

Nate:  I’ve gotten much better at recording over the last five years.  With each project, I learn something new — whether it’s mic placement, layering, or just how to capture a vibe.  One thing I’ve never really gotten into is recording directly into a computer using an interface and MIDI.  I prefer working on my Zoom R16 — it’s more tactile, and it forces you to commit to solid, complete performances rather than relying on edits or endless takes.  There’s something I love about the limitations — it keeps things honest.

Maybe in five years, I’ll be more comfortable on the computer side of things.  I can see the value in learning more about DAWs, soft synths, and digital production tools.  But for now, I really like the organic feel of building songs from the ground up and shaping them before they even touch the computer.

In terms of artistic evolution, I don’t really think about it too much.  I just let the music come through and follow where it leads.  The music speaks for itself at the end of the day.

SBS:  If you were to assess the overall health of the independent music scene right now, what would you say?  What are the positives and the negatives about the current state of independent music, and what do you feel like artists & bands can do to contribute to the community & help it grow beyond the music being made?  If you’re not actively looking to listen to the music of other independent artists/bands, is it really all that fair to expect anyone would listen to yours?  How do you help the scene around you grow?

Nate:  I lost my faith in mainstream music a long time ago.  In terms of quality songwriting and emotional depth, the independent scene is where it’s at.  There are so many artists out there making incredible work — deep, moving, creative music — and most of it flies completely under the radar.  Sure, there’s a lot of stuff that doesn’t land, but I honestly believe the most powerful and important art being made right now is underground.

Winnipeg’s a great example of that.  The scene here is full of wildly talented artists who are doing things their own way, without compromise.  It’s a city that quietly punches way above its weight when it comes to raw musical ability and originality.

As important as community is, for me, it’s really all about the music.  If someone’s creating something that moves me, I’ll support them.  That’s the heart of it.  I’m not interested in hype or social circles — I’m drawn to honesty, vulnerability, and craft.  I think artists should engage with other independent music not just to “be part of a scene,” but because there’s so much good stuff out there worth hearing.

Listen deeply, support what speaks to you, and stay connected to why you started making music in the first place.

SBS:  What do you consider to be the biggest accomplishment or achievement you’ve had with your music to-date?  How do you personally measure your own success – is that something that even can be measured?  Is it awards, accolades, chart position…or is your definition of success based on something entirely different?  Should success, however you define it, be something that artists are continually focused on – or is success something that naturally occurs in the course of doing what you love to do?

Nate:  For me, the completion of a project is an achievement in itself.  If I write a song and feel better afterward — like I got something off my chest or made sense of something — then that’s a success.  Whether I go on to record it, share it, or just leave it in a notebook doesn’t matter as much.  The point is expression.  It’s about making songs that feel real and honest to me.

I’ve never been interested in chasing trends or trying to write what I think people want to hear.  I make the music I want to make.  And when it clicks — when something falls into place and the emotion is there — it gives me a buzz like nothing else.  It truly is a feeling like no other.

SBS:  When you’re working on something brand-new, and something about it just doesn’t feel like it’s coming together the way that you think it should, how do you know when it’s time to give up on it, or how do you know that it’s time to dig in even harder and find a way to make it work?  Are there distinct red flags you can hear when something’s not working?  What are the signs you look for that tell you to stop forcing the material?  What would actually encourage you to keep going with the process instead?

Nate:  All the best songs I’ve written have come together fairly quickly.  There’s usually a kind of momentum to them — like the song wants to exist and I’m just trying to keep up.  If something’s really not coming together, I tend to abandon it pretty fast.  I’ve learned not to force things.  Every time I’ve tried to push through and “make it work,” it’s felt unnatural, and the end result never holds up.

I don’t like beating a dead horse.  If the creative flow isn’t there, it usually means I’m not in the right headspace, or the idea just isn’t strong enough.  I trust that if something’s worth pursuing, it’ll pull me back in naturally at some point — maybe in a different form, or maybe it just needed more time to simmer.  But I’ve come to respect that creative rhythm.  You can’t wrangle inspiration into submission — it works better when you meet it halfway.

SBS:  One of the points of general consensus in the art of making music, is that we all get our sound from somewhere…we hear what we like, then more often than not, we take tiny pieces of what we love to find our own voice & approach to go on and make music in our own way.  Essentially, what I’m saying is that it’s absolutely natural to be inspired by other artists/bands, and almost every artist/band ends up having that inspiration show up in their own work in some way, shape, or form.  What the real key is though, is retaining your own organic perspective – you still wanna be original too, right?  So how do you go about doing that?  Are there artists or bands that you know have been an influence on your style & sound?  How were you able to incorporate that influence without becoming too noticeably derivative and still be yourself?  Should we embrace and celebrate our influences more than we do?  It’s almost like we try not to admit influences exist in the pursuit of being original, but it’s like, bruh…if it’s there, we can hear it.  We all borrow something from those that came before us to some extent, don’t we?

Nate:  For me, songs often start in my head before I even touch an instrument.  I might hear a melody, some chords, maybe even a few lyrics floating around.  Then I sit down and try to work it out.  I’m not the type to just sit at a piano and start writing from scratch.  Subconsciously, I know these ideas are influenced by the music I’ve absorbed over the years.

I have a deep love for music from the ’60s and ’70s — artists like The Beatles, Bob Dylan, Elton John, Wings, Emitt Rhodes, Elvis, and so many others.  That era’s music has a certain warmth and authenticity that resonates with me.  Naturally, the music I create often carries a vintage sound, and I’m certain it’s because I’ve immersed myself in that kind of music.

But I don’t consciously try to copy them.  For me, it’s about capturing the spirit of those recordings — the rawness, the imperfections, the genuine performances.  Back then, there were no click tracks, auto-tune, or quantization.  You were hearing musicians playing together in a room, feeding off each other’s energy.  That’s what I’m always striving for in my recordings.

I’d rather my music echo the authenticity of that golden era than conform to the polished, overproduced sound that’s prevalent in today’s mainstream.  It’s not about nostalgia; it’s about honoring a way of making music that feels real and human.

SBS:  Has there ever been a time where you wrote something inside one of your songs…maybe it’s a lyrical line, or maybe it’s a riff of some kind…something that you did, where you surprised yourself?  I like to think we all have a moment or two where we can stand back and be amazed by something we created, and appreciate the fact that maybe, just maybe, we exceeded our own expectations of what we thought we could accomplish – you know what I mean?  Get as specific as you can so the fans out there know what they should be paying attention to when they hear it – what’s your favorite thing that you’ve written on the inside of one of your songs, and why does this particular piece resonate so much to you?

Nate:  Absolutely.  The latest example is a song called “Out of My Hands.”  It came together pretty quickly, and my friend Gunnar helped me shape the bridge.  Initially, it wasn’t intended for Tales from a Dying Mind, but as I listened back, I realized it encapsulated the album’s message.  The opening line—”I cannot change the weather, but I can put on a coat” — struck me.  It speaks to the idea that while we can’t control external circumstances, we can take care of ourselves.  That realization was profound for me, and I hadn’t anticipated it during the writing process.

SBS:  I’ve been having a lot of great debates lately about whether or not everybody that’s making music has the right to be heard…and you’d probably be surprised by how different people seem to feel about this issue.  I know where I stand on it, and I think you can all probably get an idea of what my position would be from this free interview we’re doing here & the way we run things at sleepingbagstudios…but regardless, I’m putting this question out there to you, because I’m interested in YOUR perspective.  Just because you’ve made a song, does that mean people should listen?  If your answer is yes, do your best to explain why you feel that way & why we should make a sincere effort to listen to the music of others.  If your answer is no, explain why you feel that way, but also explain why people should still be listening to your music if that’s the case – what would make your music the exception, and not follow the rule?  Is there any value to an idea that’s not finished, or a song in its demo stages, or maybe something that’s not recorded in a top-shelf studio or with good equipment – somebody still took the time to make that song to the best of their ability with the means they had to create it – should that be listened to, or not?

Nate:  I believe everyone has the right to be heard, but that doesn’t necessarily mean everyone will resonate with every listener.  Music either moves you or it doesn’t.  For me, it’s about authenticity and emotional connection.  If a song, regardless of its production quality or the artist’s fame, evokes something genuine, it’s worth listening to.

Some of my favourite songs are by local artists who haven’t even recorded their work.  I’ve heard performances in small venues or informal gatherings that left a lasting impact on me.  A good song has a way of shining through, even in its rawest form.  It’s not about perfection; it’s about sincerity and expression.

As artists, we pour our hearts into our creations.  While not every piece will reach a wide audience, the act of creating and sharing is valuable in itself.  Supporting fellow musicians, especially those who are just starting or lack resources, fosters a community where genuine artistry can thrive.

SBS:  There are ups and downs in the dynamics of almost every album we listen to, with very few exceptions.  Even those exceptions, probably still come down to more of a personal preference about what we enjoy about music and how we personally hear it, rather than anything being completely and totally “perfect” – you know what I mean?  Does an album actually need to have some kind of up/down dynamics in terms of what’s appealing to the masses in order for the best of the best songs in a lineup to be fully appreciated?  Wouldn’t every artist & band avoid the ‘down’ side (less accessible/less popular for example) if they could?  Does the ‘down’ side represent something else perhaps, like the story of an album or journey of an artist?  Is the ‘up’ side of a record as potent or noticeable if it doesn’t have a ‘down’ side to go with it?  Would a completely balanced album somehow be boring if it didn’t have the ups/downs that most have?  Do we HAVE to like every single song on a record for it to be considered complete?  Are the dynamics of an album something anyone can really steer in the direction they want to, or are all artists & bands simply going with the strongest material they have created at the time?

Nate:  I’m a massive fan of albums, and I believe sequencing is essential.  The “ups and downs” are necessary to create a flow.  Too much of the same thing at once becomes fatiguing, whereas if the sequencing is too random, it doesn’t feel like a complete work.  Sequencing defines the relationship between each song.  Without good sequencing, your album is just another playlist.

For me, the dynamics of an album — the emotional highs and lows — are what make it compelling.  It’s not about every track being a hit or sounding the same; it’s about how they interact and support each other to tell a cohesive story.  A well-sequenced album can enhance the themes and emotions conveyed in the music, creating transitions that smoothly move the listener from one song to the next.

I think the “down” moments on an album aren’t necessarily negatives.  They can serve as breathing spaces, moments of reflection, or setups for the next big moment.  They contribute to the overall narrative and give the “up” moments more impact.  Without contrast, the peaks wouldn’t feel as high.

SBS:  I wanna send out a shout-out to YOU from me personally – I appreciate everyone that has taken the time to talk tunes with me throughout the years, and I appreciate the time YOU have taken with this interview too.  Because this one’s a little different in the sense that it’s been sent out to multiple people and is a little more generic in that regard, I have no doubt whatsoever that we probably didn’t get to talk to you about something you wanted to talk about – so let’s fix that!  This final space is what we call the SBS Open Floor – a spot where you can say anything else you want to say to the people out there.  It can be anything at all…your main websites…something else you want them to know about you and/or your music…your favorite bands in the scene right now…the secret 11 herbs and spices to the Colonel’s secret recipe – you get the idea, and it’s probably best you choose something that suits you rather than take any of my suggestions, but feel free to take the SBS Open Floor for a ride.  Whatever it is you want the people to know, now is the prime time for you to tell’em!  Thanks again for everything – keep in touch!

Nate:  Thanks so much for the opportunity to share my thoughts and music with you.

If you’re interested in exploring my work, it’s all available at natesheridan.bandcamp.com – or wherever else you find your music!  You can also follow me on instagram @natesheridanmusic if you care to see what I’m working on.  This is one of those seasons where a bunch of projects are coming out at once.  There’s lots of new material from VVonder and Campfire Sigh coming down the pipes – both groups I’m proud to be a part of.  I’m also working on finishing off a bunch of outtakes from my last few projects – which is shaping up to be an album in itself.  The music never ends!

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