Music City: Conor Lumsden on Puppets, Dylan & Debut Album ‘Welcome to Music City’

Conor Lumsden, the Dublin-based musician behind the solo project Music City, has released his debut album, Welcome to Music City. The album, a blend of influences spanning rock, power pop, country, and punk, arrives after a seven-year period of development following the initial release of the song “Pretty Feelings.” Lumsden is too known for his work with the band The Number Ones and, previously, The Speedways.

A Multi-Instrumentalist’s Journey

Lumsden’s musical path is diverse. Beyond his work with bands, he describes his music as “song music for pub poppers,” a self-deprecating label that hints at the album’s accessibility and warmth. He’s not just a songwriter; he’s also a drummer and, surprisingly, a puppeteer. A particularly unusual anecdote from his past involves a stint as a stand-in for Bob Dylan – a story he offers alongside the recent arrival of his son, Jet, named after the Steve Miller Band song “Jet Airliner”, which is currently a fixture in the Lumsden household.

Influences and Avoiding the “Retro” Label

The album’s sound is rooted in a broad range of musical inspirations. Lumsden cites songwriters like Elton John, Billy Joel, and Lindsey Buckingham, alongside power pop acts such as Sizeable Star and Badfinger, and country artists Roger Miller and Kris Kristofferson. He also acknowledges the significant impact of punk music from his youth. However, he’s quick to dismiss the “retro” label, comparing his musical landscape to the soundtrack of the film Boogie Nights, declaring, “You got the touch. You got the power. Yeah!” This suggests a deliberate attempt to synthesize classic influences into something contemporary, rather than simply recreating past sounds.

Early Musical Experiences

Lumsden’s earliest musical memories are vivid. His first concert experience was seeing Coolio perform at The Olympia Theatre in Dublin, a memorable event made even more surreal by the presence of his primary school principal sporting leather trousers. His initial foray into record collecting involved two contrasting purchases: Legacy of Brutality by The Misfits and Born Under a Bad Sign by Albert King, acquired from Sound Cellar on Grafton Street. He recalls the shop assistant’s prescient advice to give the Albert King album time, a suggestion that ultimately proved correct.

The Creative Process and Welcome to Music City

According to Bandcamp, Lumsden didn’t approach Welcome to Music City with a pre-defined theme. Instead, the album organically coalesced around a central tension between hope and disappointment. The album is available on vinyl and through streaming platforms, and has been described as sounding “less like a side project and more like a parallel universe where classic songwriting gets a fresh jolt of electricity.” A review in Add To Wantlist highlights the album’s confidence, built on “chiming guitars, sturdy rhythms, and hooks that land without trying too hard.”

A Songwriter’s Favorites

Currently, Lumsden finds himself frequently listening to Steve Miller Band’s “Jet Airliner,” a fitting choice given his son’s name. He also holds Nick Lowe’s “Lately I’ve Let Things Slide” and Warren Zevon’s “Poor, Poor Pitiful Me” in high regard, praising their lyrical wit and emotional resonance. His all-time favorite song, however, is “Here Comes My Girl” by Tom Petty and the Heartbreakers, which he describes as “perfect” and representative of everything he loves about music, particularly its guitars and piano arrangement.

Where to Find Music City

Lumsden suggests keeping an eye out for Welcome to Music City in Irish record stores like Tower Records, Freebird Records, and Spindizzy. The album is also available online through Bandcamp, where it can be purchased on vinyl or streamed digitally. Fans can also follow Lumsden’s project on Instagram at @music.city.conor.

The Album’s Critical Reception and Timeless Appeal

Reviews of Welcome to Music City emphasize its timeless quality. The Add To Wantlist review notes that the album could have been released in any of the past six decades, praising Lumsden’s ability to blend influences without sounding derivative. The album’s production is described as warm and polished, giving it broad appeal. Songs like “Common Sense” and “It’s Alright” are highlighted as potential radio hits, capable of fitting into both classic and contemporary playlists. The re-emergence of “Pretty Feelings,” originally released seven years prior, further underscores the album’s enduring quality.

The album’s success is a testament to Lumsden’s dedication to quality over quantity, and his ability to craft songs that resonate with a wide audience. His background, encompassing both band work and solo exploration, has clearly shaped his unique musical voice.