John Fullbright, an artist whose name resonates with authenticity and raw musical talent, might surprise you with his humility. Despite a career marked by critical acclaim and a Grammy nomination early on, this Oklahoma native confessed to bracing himself for potential negative reviews upon the release of his third studio album, The Liar, in October. This anticipation, while perhaps unexpected from such an accomplished musician, speaks volumes about Fullbright’s dedication to his craft and his high personal standards.
Ten years prior, John Fullbright burst onto the scene with From the Ground Up. This debut album, initially conceived as a collection of demos, became a phenomenon. It garnered a Grammy nomination and multiple Americana Honors & Awards nods, including Album and Emerging Artist of the Year. Further accolades included the ASCAP Foundation’s Harold Adamson Lyric Award, presented by Oklahoma music legend Jimmy Webb. Adding to this remarkable debut, Fullbright was invited to participate in the Rock and Roll Hall of Fame’s tribute to Chuck Berry, where his blues-infused, Leon Russell-esque rendition of “Ain’t Nobody’s Business” stole the show. This early success firmly established John Fullbright as a significant voice in Americana music.
At just 24 years old, John Fullbright had already achieved milestones that many artists spend their entire careers chasing. Two years later, at 26, he released Songs, an album that further cemented his place in the music world. Songs charted in both the U.S. and the U.K., expanding his reach and solidifying his international appeal. Music journalists worldwide lauded the pianist, guitarist, and harmonica player, eagerly anticipating the next chapter in his evolving career. The industry and fans alike were captivated by the depth and maturity of John Fullbright’s songwriting and performance.
However, the eagerly awaited follow-up took eight years to materialize. During this time, John Fullbright wasn’t idle; he was undergoing a significant personal and artistic evolution. A pivotal move from his hometown of Bearden, Oklahoma (population: 133), to the considerably larger city of Tulsa (population: 411,401) marked a new phase in his life. Tulsa welcomed him into a thriving and supportive music community, fostering a creative environment that allowed him to explore new facets of his artistry. He embraced the relaxed “Tulsa time” vibe, a characteristic laid-back attitude reminiscent of JJ Cale, and discovered a newfound joy in playing as a sideman, relieving him of the constant pressure of being the frontman.
This period of exploration and collaboration significantly broadened John Fullbright’s already impressive musical skills. As his proficiency expanded, so did his confidence. This newfound assurance translated into more engaging and captivating stage performances. He became known for sharing the stories behind his songs, connecting with audiences on a deeper level through anecdotes and genuine interaction. This growth also spurred him to seek out diverse experiences, leading him to produce American Aquarium’s 2018 album, Things Change, and to make his acting debut in his friend Sterlin Harjo’s acclaimed Hulu series, Reservation Dogs.
Reflecting on his cameo as a salvage yard worker in Reservation Dogs, John Fullbright describes it as “pretty fun.” However, he clarifies that acting holds no more allure for him than chasing fame did after the initial success of From the Ground Up. His priorities remained firmly rooted in his music and artistic integrity.
The impetus for recording The Liar was deeply personal and tied to Tulsa’s rich musical heritage. John Fullbright wanted to utilize the farmhouse studio built by the late Steve Ripley, a replica of the legendary Church Studio formerly owned by Leon Russell. The original Church Studio, now a National Historic Landmark and considered the birthplace of “the Tulsa Sound,” held immense significance for Fullbright and the Tulsa music scene. He had witnessed Ripley meticulously recreate the Church’s famed Big Room but tragically, Ripley passed away before being able to use it.
Hearing that Ripley’s widow was considering selling the studio, John Fullbright seized the opportunity to record there before it potentially changed hands. “I gathered the guys I’ve been playing with for years now, and we went and stayed out there for a few days,” Fullbright recounts. “We just hung mics all over the room and started playing. I came in with a handful of finished songs and a handful of unfinished songs, and we started kicking around ideas… It very organically came together. Next thing we knew, we had 12, 15 songs recorded. A lot of these tracks are live.” This spontaneous and collaborative approach became the heart of The Liar.
Over an intense four-day recording session, John Fullbright experienced the joy of genuine collaboration, particularly with Jesse Aycock (guitar, pedal steel) and Patrick Ryan (drums, percussion, cover art). His partner, Anjelica Baca, also contributed vocals on three tracks, including the beautiful near-duet “Lucky” and the standout track “Safe to Say.” These collaborations enriched the album, adding layers of texture and emotion to John Fullbright’s already compelling songwriting.
“Safe to Say” exemplifies the album’s dynamic range and emotional depth. On this track, Fullbright masterfully navigates his Wurlitzer from a bluesy foundation into Memphis/Muscle Shoals R&B/soul territory. His vocals build with intensity as he sings, “I’m not talking about eyes or oceans / Smiles or sunsets / This seems stranger / I locked my heart up / Kept it company / I didn’t know I was even in danger.” Reaching a crescendo, he passionately belts out “I’m in lo-o-o-ve!” over a gospel chorus, creating a moment of breathtaking musical catharsis. The song then gracefully recedes, landing softly as if the dramatic ascent never happened, leaving listeners spellbound by the emotional journey.
“I was going for, like, Otis Redding; start out really, really soft, and just build it as big as you can,” John Fullbright explains, revealing his influences. “I listen to a lot of R&B, and I have found that the more patient you are, the more tension there is, and the more tension there is, the bigger the payoff. It’s also a risk; sometimes it doesn’t work. But when it does, it’s great. I can go back and listen to that song and still get chills.” The raw, live feel of the recording, with minimal overdubs, further enhances the song’s emotional impact. The gospel chorus, achieved by gathering everyone around a single microphone, adds to the track’s organic and soulful character. This same technique was employed for “Poster Child,” another collaboration with Dustin Welch, reminiscent of their darkly satirical “Gawd Above” in the vein of Kurt Weill.
The Liar also features John Fullbright’s heartfelt rendition of “Where We Belong” by the late Tom Skinner, a founding figure of Stillwater, Oklahoma’s red dirt music scene. “We’ve been playing that song a lot live just because it’s just a really honest country song, and those are hard to come by sometimes,” Fullbright shares. “And it’s an homage to Tom because he was my friend. He showed me the ropes when I first started playing music in front of a microphone.” This inclusion highlights Fullbright’s respect for his musical lineage and his Oklahoma roots.
Even as a teenager, John Fullbright’s talent was undeniable. His performance at the Woody Guthrie Folk Festival (WoodyFest), Okemah, Oklahoma’s annual tribute to its legendary resident, generated significant buzz. This led him to Oklahoma City’s Blue Door, Greg Johnson’s renowned listening room. Greg Johnson, deeply impressed by Fullbright’s exceptional abilities, offered to manage him – a first in Johnson’s long career of showcasing talent.
Neither John Fullbright nor Greg Johnson anticipated such rapid success. Fullbright’s career trajectory became a unique kind of Cinderella story, one where the protagonist rejects the glass slipper for being too flashy and uncomfortable. John Fullbright, despite his extraordinary talent, is inherently averse to the spotlight. He even left college partly due to shyness, finding it difficult to speak in class or address groups. Yet, his musical gifts continued to draw attention, seemingly in spite of his discomfort – a theme perhaps explored in The Liar’s introspective tracks like the booze-tinged “Social Skills” and the Tom Waits-inspired title track, penned during a morning coffee session.
An early indication of his path came with the Bugle Boy Foundation Talent Trust Award at 23, which funded From the Ground Up. However, John Fullbright declined to engage in a Grammy campaign, displaying a clear disinterest in music industry politics. While he has a distribution agreement with Thirty Tigers, he has remained independent, releasing all his albums on his own Blue Dirt Records label. This independent spirit and artistic control are central to John Fullbright’s career philosophy.
Following the release of Songs in 2014, John Fullbright made a conscious decision to avoid extensive, indefinite touring. His move to Tulsa offered a practical solution: proximity to a major airport allowed for short tours and individual appearances, while providing the comfort of home and his local music community in between. This balance between performing and staying grounded is crucial for Fullbright.
“I’m still shy,” John Fullbright admits, revealing his continued struggle with the public aspects of his profession. He even pre-signed discs for a recent show to minimize interaction at the merchandise table. “But I definitely feel a lot less like an outsider looking in. One of the things about being in this particular community is, it’s nothing for somebody to just text and say, ‘Hey, man, I can’t make it to this show. Would you mind filling in?’ And ‘Hey, would you mind letting my dog out?’ ‘Would you mind watching my kids for a couple hours?’ To me, that’s what’s really cool about it. We don’t just get together and play music.” This sense of community and mutual support in Tulsa is deeply important to John Fullbright.
Currently, John Fullbright divides his time between Tulsa and the Bearden farmhouse where he grew up. Tulsa offers community and urban conveniences, while the countryside provides something equally valuable: the vast expanse of the starlit night sky. This contrast between city and country life reflects the different facets of his personality and artistic inspiration.
The starlit sky at the Bearden farmhouse inspired “Stars,” widely considered John Fullbright’s magnum opus. Finally recorded for The Liar after years of being a live performance staple, “Stars” is a breathtaking epic. In six deceptively simple stanzas, it explores profound themes of loneliness, love, loss, life, death, and faith. Almost every review of The Liar singles out “Stars” for exceptional praise, dispelling any initial anxieties Fullbright had about the album’s reception. Peter Blackstock, former critic for the Austin American-Statesman, declared under a video of Fullbright performing the song, “I did not hear a better new original song than this from anyone in the past decade.” This widespread acclaim underscores the song’s power and resonance.
This critical adoration even led to John Legend recording his own version of “Stars,” although it remains unreleased. Despite the potential financial benefits of a John Legend cover, it’s undeniably John Fullbright’s version that should resonate most deeply with listeners. The song’s origin story is deeply personal and moving. John Fullbright wrote “Stars” after playing at a close family friend’s funeral. The night before, in a moment of grief and anger, he looked up at the stars and questioned life’s meaning in the face of death. The following day, after the memorial service and spending time with the grieving family, he looked at the same stars and experienced a profound shift in perspective. He felt “sad joy,” realizing the preciousness and brevity of life. Returning home, he wrote “Stars” in a single sitting, capturing the raw emotion and profound insight of that experience.
John Fullbright may have intentionally stepped away from the pursuit of mainstream stardom, choosing the steady glow of artistic integrity over fleeting fame. He may not have chart-topping hits, but he has crafted a collection of songs, including “Stars,” that deserve to be considered classics. “Stars” stands as a towering achievement, a testament to an exceptional talent. Hopefully, John Fullbright won’t wait another eight years before sharing more of his brilliantly shining songs with the world.
Photo Credit: Jackson Adair
