Texas guitarist Hayden Pedigo captivates all who experience his music. His 2023 album, ‘The Happiest Times I Ever Ignored,’ a lyrical and inviting song cycle, marked a significant moment in his career.
For his follow-up, Hayden retreated to rural Wyoming, inspired by 50s country music and The Little House On The Prairie. His latest release, ‘I’ll Be Waving As You Drive Away,’ is concise yet profoundly evocative, with layered guitars creating expansive soundscapes, making each track feel like a short film.
This enchanting album will precede rare UK performances this August, where Hayden Pedigo will present several headline shows before participating in the End Of The Road Festival.
Ahead of these events, Clash spoke with the guitarist about his technique, creative process, and his intent to move beyond his past.
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Your 2023 album ‘The Happiest Times I Ever Ignored’ was a notable breakthrough – how was that experience for you? Were you caught off guard? How did you manage it all?
It was definitely a bit surprising. I think the groundwork was laid with my previous record ‘Letting Go,’ which was my debut for Mexican Summer. That album set the stage for what followed with ‘The Happiest Times I Ever Ignored.’ I believe ‘I’ll Be Waving As You Drive Away’ is an even deeper progression from what we established with Happiest Times, so I feel like things have just continued to build!
You’re sometimes associated with the ‘Primitive’ style of guitar, along with artists like John Fahey. How do you feel about those comparisons, and what do you think of the ‘Primitive’ label?
I don't mind it much, but I don’t think it's the most fitting description of my music. I see why Fahey coined the term; at that time, his guitar playing was quite unique. It was influenced by a French art movement that emphasized untaught artistry, which resonated with him. The challenge is that Fahey’s music doesn’t sound primitive, and it can be confusing to have a genre label that doesn’t reflect the sound. My music leans more toward the melodic and romantic side, so I don’t particularly identify with that label, though I understand it helped many people discover my work.
You seemingly relocated to Wyoming to concentrate on this new album – what prompted that choice? And what was your creative process like there?
It was somewhat spontaneous; a friend informed me about a residency at the U-Cross Foundation in Wyoming, and I applied on a whim. Fortunately, I was accepted and spent time there writing what became this album. Being in a house alone, the silence was overwhelming. I cried a lot, but that environment was precisely what I needed to create these songs. It was an emotionally intense experience and a breathtaking place to write.
You’ve mentioned that this new record concludes a ‘Motor Trilogy’ – your three latest solo albums. Did you feel a strong sense of closure while working on this project?
Absolutely, I aimed to create an album that wrapped everything up. All three records share a core theme of loss, forgiveness, and redemption. I wanted to craft a record that, once finished, would allow listeners to revisit the first album and start the journey anew, much like a film trilogy. I believe they are interconnected beautifully, essentially narrating the story of the last five years of my life through these albums.
The title track ‘I’ll Be Waving As You Drive Away’ seems to draw inspiration from a Little House On The Prairie episode – a truly emotional ride, indeed! What role does film, TV, or visual art play in your creative process?
Typically, I don’t draw much from film or TV when writing songs, but before I began this album, I revisited Little House On The Prairie, which I watched a lot as a child. I had forgotten how intriguing and strange that show was. Upon reaching the episode that inspired the title, it stirred deep emotions within me. My wife suggested using it as the album title, and it felt just right, tapping into a strong sense of childhood nostalgia.
You’ve described this song as the “least-me” piece you’ve created – do you intentionally distance yourself from earlier work? Or is this simply part of a natural exploration?
I think it was part of a natural exploration. It ended up reminiscent of an old Chet Atkins piece or something from the 1950s. I incorporated many chords and sounds that I hadn’t used before. It’s a very straightforward composition. When I write something that direct, it can feel a bit cheesy, but there’s a fine line between sincerity and corniness where the real magic occurs.
‘Long Pond Lily’ serves as a lovely opening statement – what inspired this piece?
This song was meant to make a bold statement at the start of the record. It opens up immediately, and we went all out with the overdubs. I wanted it to
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Texas guitarist Hayden Pedigo appears to captivate all who experience his music. Influenced by various styles of solo guitar, his 2023 album 'The