Then Came the Morning, the second album by the Southern-born, Brooklyn-based indie-folk trio the Lone Bellow, opens with a crest of churchly piano, a patter of drums, and a fanfare of voices harmonizing like a sunrise. It’s a powerful introduction, enormous and overwhelming, as Zach Williams, Brian Elmquist, and Kanene Pipkin testify mightily to life’s great struggles and joys, heralding the morning that dispels the dark night: “Then came the morning! It was bright, like the light that you kept from your smile!” Working with producer Aaron Dessner of the National, the Lone Bellow has created a sound that mixes folk sincerity, gospel fervor, even heavy metal thunder, but the heart of the band is harmony: three voices united in a lone bellow.
"The feeling I get singing with Zach and Brian is completely natural and wholly electrifying,” says Kanene. “Our voices feel like they were made to sing together."
Long before they combined their voices, the three members of the Lone Bellow were singing on their own. Brian had been writing and recording as a solo artist for more than a decade, with three albums under his own name. Kanene and her husband Jason were living in Beijing, China, hosting open mic nights, playing at local clubs and teaching music lessons. Zach began writing songs in the wake of a family tragedy: After his wife was thrown from a horse, he spent days in the hospital at her bedside, bracing for the worst news. The journal he kept during this period would eventually become his first batch of songs as a solo artist. Happily, his wife made a full recovery.
When Kanene’s brother asked her and Zach to sing “O Happy Day” together at his wedding, they discovered their voices fit together beautifully, but starting a band together seemed impossible when they lived on opposite sides of the world. Brian soon relocated to New York and Kanene moved there to attend culinary school a couple years later. The three got together in their new hometown to work on a few songs of Zach’s, he’d been chipping away at the scene as a solo artist for awhile by then. After hitting those first harmonies did they decide to abandon all other pursuits. Soon the trio was playing all over the city, although they considered Rockwood Music Hall on the Lower East Side to be their home. They opened for the Civil Wars, Dwight Yokam, Brandi Carlile and the Avett Brothers, and their self-titled debut, produced by Nashville’s Charlie Peacock (the Civil Wars, Holly Williams) and released in January 2013, established them as one of the boldest new acts in the Americana movement.
After two hard years of constant touring, the band was exhausted but excited. By 2014, they had written nearly 40 songs on the road and were eager to get them down on tape. After putting together a list of dream producers, they reached out to their first choice, the National guitarist Aaron Dessner, who has helmed albums by the L.A. indie-rock group Local Natives and New York singer-songwriter Sharon Van Etten.
“It occurred to me that it would be fun to get together and make music with them,” says Aaron. “My main interest in producing records is community and friendship more than making money. I already do a lot of traveling and working with the National, so when I have to time to work with other artists, it should be fun and meaningful.”
“Aaron is just so kind,” Zach says. “And he has surrounded himself with all these incredibly talented people, like Jonathan Low, the engineer. His brother Bryce [Dessner, also a guitarist for the National] wrote these amazing brass and string arrangements, and he got some of his friends to play with us.”
Dessner and the Lone Bellow spent two weeks recording at Dreamland in upstate New York, a nineteenth-century church that had been converted into a homey studio. The singers found the space to inspire the emotional gravity necessary for the material and the acoustics they were looking for. (For Kanene, Dreamland had one other bonus: “I’m a big Muppets fan, and it looks exactly like the church where Dr. Teeth and the Electric Mayhem lived.”)
Aaron set them up in a circle in what had once been the sanctuary, with microphones hanging in the rafters to capture the sound of their voices bleeding together. Most of the vocals were recorded in single takes, a tactic that adds urgency to songs like “Heaven Don’t Call Me Home” and “If You Don’t Love Me.” “There were a couple of times when somebody sang the wrong word or hit a bad note, and we just had to keep going,” says Zach, who says that recording “Marietta” in particular was daunting—especially the moment near the end when he hits an anguished high note, bends it even higher, and holds it for an impossibly long time. It’s a startling display of vocal range, but it’s also almost unbearably raw in its emotional honesty.
“‘Marietta’ is probably the darkest song on the whole record,” Zach explains, “and it’s based on something that happened between my wife and me. The band was getting ready to record that song when all of a sudden my wife showed up with our youngest baby. It was a great surprise, a beautiful moment. So I was able to go out and sing that song, knowing she was there to help me carry the moment.”
“These are true stories,” says Brian. “These aren’t things we made up. We tried to write some songs that had nothing to do with our personal stories, but we just didn’t respond to them. But we’re best buds, so we know each others’ personal stuff and trust each other to figure out what needs to be said and how to say it.” Case in point: Brian wrote “Call to War” about his own struggles during his twenties, but gave the song to Kanene to sing. “The content is painful and brutal,” she says, “but the imagery, the vocals, they build something delicate and ethereal. That kind of contrast illuminates the true beauty and power of a song.”
Says Brian, “We do this one thing together, and we carry each other. Hopefully that makes the listener want to be a part of it. It becomes a communal thing, which means that there’s never a sad song to sing. It’s more a celebration of the light and the dark.”
-Descendant Records
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Tree to Grow
The Lone Bellow Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And you did not want to pray
You looked outside your window
As I went outside away
The street it was much warmer
On my bare feet than the rain
That fell out of the sky
Just like my thoughts fell on that day
I poured out one more handful of
The rain that fell that day
I collected in my spare time
As I walked back home that way
On the night you said you're sorry
On the night my colors changed
I waved to you from outside
As you screamed of all my shame.
(I'll never leave.
I'll always stay.
I swear on all that I keep safe.) x2
(The tree I'll grow to let you know
My love is older than my soul) x4
Your brutal smile, your well-known face
Your tattlin' shoes, your wicked grace
Your precious time, your darker days
The days I left you with no space
To breathe or even think of me
Without the worry that I always leave
(I'll never leave, I'll always stay.
I swear on all that I keep safe.) x 4
I'll never leave, I'll always stay.
I swear, I swear, I swear, I swear
(But it gets harder and hard
But my love is older than my soul
But my love is older than my soul) x2
(The tree I'll grow to let you know
My love is older than my soul) x4
The Lone Bellow’s song “Tree to Grow” narrates a story about a relationship that is plagued with pain and regret; however, despite all the hurt, the love still remains. In the first verse, the singer recounts a memory with their partner where they apologized but did not want to pray. The singer walks outside, and the street feels much warmer on their bare feet than the rain that is falling down. The singer compares their thoughts to the rain that falls, implying that they are drowning in sadness. They pour out one more handful of rain that fell that day and walk back home. When they wave to their partner from outside, their partner screams of all their shame, indicating that their behavior in the past has caused their partner to lose trust in them.
In the chorus, the singer pledges to stay with their partner and swears that their love is older than their soul. The descriptiveness in the second verse depicts the extreme emotions that the partner brings out in them. The singer lists their partner’s features and the struggles they both encountered. In the bridge, the singer confesses that it is difficult to stay, but their love is stronger than their pain. The repetition of “but my love is older than my soul” reinforces the idea that no matter how much both parties hurt, their love remains. The song title “Tree to Grow” and the last repetition of the chorus suggest that, like a tree that grows slowly over time, the singer’s love towards their partner will remain and grow.
Line by Line Meaning
And you told me you were sorry
You apologized to me
And you did not want to pray
You didn't want to seek forgiveness from a higher power
You looked outside your window
You gazed out the window
As I went outside away
As I left the house
The street it was much warmer
The ground outside was warm
On my bare feet than the rain
The ground was warmer than the rain on my feet
That fell out of the sky
The rain that was falling
Just like my thoughts fell on that day
My thoughts fell in a similar way to the rain
I poured out one more handful of
I scooped up another handful of
The rain that fell that day
The rain that was falling on that day
I collected in my spare time
I collected in the extra time I had
As I walked back home that way
As I returned home that way
On the night you said you're sorry
The night you apologized
On the night my colors changed
On the night my emotions changed
I waved to you from outside
I said goodbye to you from outside
As you screamed of all my shame.
As you yelled about my wrongdoings
(I'll never leave.
I'll always stay.
I swear on all that I keep safe.) x2
I promise to stay by your side and never abandon you
(The tree I'll grow to let you know
My love is older than my soul) x4
I will plant a tree to symbolize my love for you, which has been with me longer than my own existence
Your brutal smile, your well-known face
Your harsh smile, your familiar face
Your tattlin' shoes, your wicked grace
Your loud shoes, your evil charm
Your precious time, your darker days
Your valuable time, your difficult times
The days I left you with no space
The days I crowded you and didn't give you room to breathe
To breathe or even think of me
To breathe or have thoughts about me
Without the worry that I always leave
Without the fear that I will abandon you
(I'll never leave, I'll always stay.
I swear on all that I keep safe.) x 4
I will remain by your side and keep my promise to you
I'll never leave, I'll always stay.
I swear, I swear, I swear, I swear
I truly mean it that I will never abandon you
(But it gets harder and hard
But my love is older than my soul
But my love is older than my soul) x2
It may become increasingly difficult, but my love for you has existed longer than my own life
(The tree I'll grow to let you know
My love is older than my soul) x4
I will plant a tree to show you that my love for you goes beyond my own lifespan
Lyrics © Sony/ATV Music Publishing LLC, TWENTY TEN MUSIC
Written by: ZACH WILLIAMS
Lyrics Licensed & Provided by LyricFind