There is a Joni Mitchell quote that reads “The most important thing is to write in your own blood…people should know how other people feel.” Like all art, music is subjective, so a writer may inscribe a sheet of paper with ink drawn from her soul’s well while the words on the page resonate only with a select few. It takes a special talent to imbue a piece of writing—or music in this case—with lyrics that penetrate to the core of the human condition. When Bob Dylan sings “But I wish there was somethin’ you would do or say, to try and make me change my mind and stay, we never did too much talkin’ anyway, but don’t think twice, it’s all right,” everyone, on some level, knows just what he’s getting at.
Trevor Hall is gifted in this way. With an endearing authenticity and groundedness, Hall’s ethos comes through acutely, like a sunbeam does through a cloud, with lyrical clarity and soulful insight. He has been on the Road now for quite some time, and has undoubtedly amassed a great deal of experience. From his upbringing in South Carolina to his time spent in India and Hawaii, Hall has traveled through many lands and spaces which have bestowed upon him a palpable sense of spirituality. According to Hall, it is one of his greatest blessings to be able to share the spiritual teachings imparted on him with all who are willing to listen. Below, we discuss civil disobedience through nonviolence, the education of women in India, and the mysterious binding power of music. Take your time in reading...because as Trevor warns, you can’t rush your healing.
Nick Cisik: What were some of your first exposures to music as a young boy growing up in South Carolina?
Trevor Hall: My first exposures to music really came through my father. He is a drummer and always had instruments around the house. He also had this massive record collection in the hallway leading back to his room. As a kid, I would pull out all these different kind of records and put them on the stereo. It was like my own little exploration through sound. Those are the moments I remember.
NC: Who were some of your major musical influences during that time?
TH: I was listening to all kinds of stuff at that time. My dad was really into The Allman Brothers, The Doobie Brothers, Earth Wind and Fire, Crosby Stills Nash and Young ... stuff like that. But when I heard Bob Marley for the first time that was it for me. Reggae music was what really took hold of me.
NC: When were you first opened up to the spirituality of the East? Was it introduced to you at Idyllwild where you studied music?
TH: I was first opened up to the spirituality of the East through my friend Sam. We went to Idyllwild together. His brothers and father spent time in India with a saint named Neem Karoli Baba. Sam had a picture of this saint on the wall in his dorm room. That picture changed everything for me.
NC: You always hear about the unique beat patterns that exist in Indian music, that most of us cannot even understand or comprehend the polyrhythmic nature of such music. Have you been able to familiarize yourself with these rhythms during your time spent in India and, in turn, incorporate them into your music?
TH: No. Haha! Like you said, most of us cannot begin to understand or comprehend the complexity of their rhythms. However, Indian music in general has had a profound impact not only on my music but also on my life. I have had the blessings of studying under a few different Indian musicians and it has changed my life forever.
“Music is such a mystery. How does it do what it does? This is why I love it so much. I don’t know how it does what it does and I don’t need to know. It is the only thing I don’t try and figure out. That is its grace on me. It erases all lines and borders between self and other. I believe it is one of the greatest unifying tools in the world.”
NC: More so than any other art form, music is able to break down the barriers that separate us as humans and creates an undeniable sense of basic human connectivity. What do you think it is about music in general and, more specifically, your own music that allows people to drop their prejudices and simply be with one another?
TH: Music is such a mystery. How does it do what it does? This is why I love it so much. I don’t know how it does what it does and I don’t need to know. It is the only thing I don’t try and figure out. That is its grace on me. It erases all lines and borders between self and other. I believe it is one of the greatest unifying tools in the world. How blessed we all are to experience this. To answer the second part of your question, I don’t know about “my music.” I am just playing what I am hearing. I am a listener too. I’m grateful for its medicine and for leading me within. That’s all I can say.
NC: As we continue to see arts programs being cut from our public school curriculums, how do we go about assuring that our children are exposed to music at an early age and that the importance of that exposure is understood by all?
TH: If people don’t understand the importance of art and music ... that is their loss. All we can do is continue to inspire by doing what we love. Why is it so hard to do what we love? Isn’t that a stupid question? If we act from our hearts, all will be understood. This is especially important for our children and youth. Expression is medicine. To tap into the creative energy is a sacred act ... but more importantly it’s FUN! When we have fun and live in joy, the sun is pleased. It is a divine connection. What better lesson is there to teach our children?
NC: Will you tell us about the donations you accept at your shows to aid in the education of children in India?
TH: We started collecting donations a few years ago. It was very simple. We just had a picture of the kids from our ashram and a little donation basket that we set up at our merchandise table. Slowly, our fans began donating. We send this money to the ashram to take care of the children’s food, clothing, education, and housing. After a few years, we collected enough donations to build a girls ashram across the river. It has been incredible to see the growth and the support of our community in supporting this place that I love so dearly.
NC: How have the Somatic teachings of the Buddha helped you to shed the self in an industry that can be ego driven and self aggrandizing? How have you been able to apply those teachings to the business side of your musical journey?
TH: I don’t know what“somatic” means! (laughs) And I am not very familiar
with those teachings. I just try and be simple and honest and treat everyone with respect.
NC: Your music combines so many different styles, which makes for an inherent welcoming of all types of listeners. Is that eclectic sonic quality something you possess personally and incorporate into your writing process or is it a more collaborative melting pot of sounds resulting from each band member’s contributions?
TH: I think it goes both ways. I definitely have all my own personal influences that make their way into the writing process. On top of that, all the other members have their influences too. So it all melts together. That is what is so beautiful about music. We can’t really say what part each person contributes because all the lines are blurred. It is a collection of so many things.
“All we can do is continue to inspire by doing what we love. Why is it so hard to do what we love? This is especially important for our children and youth.
Expression is medicine.”
NC: What can you say about the dichotomy between being passive and non-violent and taking a stand against the evils which we see in our world today? One can hear a call to stand up against such evils in your music while, at the same time, remain at and with peace.
TH: Each situation is different and one must adjust to the time and place accordingly. However, when we look back on history ... the ways of love, peace, and non-violence have always prevailed. We must never forget this.
NC: What would you hope is the emotional state of those leaving a Trevor Hall performance and how fulfilling is it for you to have that type of impact on your listeners?
TH: I hope that each person gets what he or she wants. If they just want to hang out and have a good time, I hope that’s what they get. If they want some sort of healing from the music, I hope that’s what they get. If they want something to get them out of their heads, I hope that’s what they get. Overall, I just want them to get something good. It is my responsibility to serve them the food. They can eat what they like. All of my fulfillment comes in the service. That is one of my greatest blessings.
NC: What artists have influenced you the most and who are you listening to right now?
TH: In my early stages, it was definitely Bob Marley and Ben Harper. These are probably the most foundational influences in my music. Since then, I have gone everywhere and anywhere that speaks to my heart. As of this moment, about 90% of what I listen to is a band called “Midnite.” Super heavy and powerful roots music. The other 10% is usually chanting or Indian music of some kind.
NC: What does your pre-show routine involve not only from a spiritual, but also a physical standpoint?
TH: About an hour before I go on stage, I begin warming up my voice through
different exercises. A lot of the guys in the band make fun of me because the sounds are so weird. (laughs) But the exercises not only warm up my voice. They also help me ground out and get into my body. Then right before we take the stage, we usually circle up and take a few deep breaths together and get quiet. That’s about it. Super simple.
Images by Emory Hall