collective soul tour history

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Thu, Apr 25, 2024

Shows: 1591 Earliest: May 3, 1992 Latest: Apr 20, 2024 Next Show: Tue Jun 4,2024 at The Bluestone in Columbus, OH view all upcoming shows >

On this day in tour history

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Collective Soul Concert Setlists & Tour Dates

Upcoming shows.

• Date and Venue Doors Scheduled
• Jun 28 2024 Hersheypark Stadium Hershey, PA, USA  –  Find tickets Add time Tickets Add time Add times
• Sep 28 2024 iTHINK Financial Amphitheatre West Palm Beach, FL, USA  –  Find tickets Doors 6:00 PM  –  Add time Tickets 6:00 PM Add time

Collective Soul at St. Mary's University, San Antonio, TX, USA

• Cut the Cord
• Right as Rain
• Mother's Love
• Not the Same
• Precious Declaration
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Collective Soul at Montage Mountain, Scranton, PA, USA

• The World I Know

Collective Soul at Rock Legends Cruise 2024

• Dirty Deeds Done Dirt Cheap

Collective Soul at Golden Nugget Lake Charles, Lake Charles, LA, USA

Collective soul at gibbston valley, queenstown, new zealand, collective soul at claudelands oval, hamilton, new zealand.

• Where the River Flows

Collective Soul at Riverside Park & Unison Amphitheatre, Taupo, New Zealand

Collective soul at pearl concert theater at palms casino resort, las vegas, nv, usa, more from collective soul.

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Most played songs

• Shine ( 859 )
• December ( 788 )
• The World I Know ( 774 )
• Heavy ( 720 )
• Gel ( 713 )

More Collective Soul statistics

A Band In Ship Ammon Salcido Aqueous Austin Karr Barenaked Ladies Joey Belladonna Better Than Ezra Blabpipe Blacktop Mojo Bright Eyed & Blind Luke Bryan Jacob Bryant Cheap Thrill Christopher Lewis David Cook Cowboy Mouth Hannah Dasher Esto Nunca Existio The Flyers Frankly Scarlet Janet Gardner Brandon Gibbs Brantley Gilbert Kevin Griffin Guilty Pleasures Headache24 The Hello Darlins Ice on Mercury Ingram Hill The Ivins Carly Jo Jackson Natalie Joly Kings of Chaos Joel Kosche Machine Head Mammothor Marvelous 3 Mike Massé Beau McClelland Mindscape The Moffatts Mommas Bourbon Newspring Worship Out of Shape Dolly Parton Grace Pettis Phish Pillar Pop Evil Grace Potter

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Artists covered

AC/DC Aerosmith Bad Company The Beatles Brinsley Schwarz The Cars Depeche Mode Electric Light Orchestra The Gap Band INXS Billy Joel Elton John Robert Johnson Led Zeppelin John Lennon & The Plastic Ono Band Metallica Ozzy Osbourne Pink Floyd Queen R.E.M. Ed Roland Steep U2 The Who

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Gigs seen live by

3,974 people have seen Collective Soul live.

frankiea YeomansPlay jasonjude darmation parzival990 dp84 Redroqr55 liquorpig RockinRose CDeiss Titoxic Elmonduff cfreckna Spectre20 GuitarVFXlive Lumptastic JPB_Austin_TX thedarknessfan TBell grease_nz MazA 1AngelA1 Dartaway djr3f Chizzamerica buriedmealive CrazyFlipper craigyd71 Gadadak richardedmunds KiRKBAiN jamesmcrae78 ShaneNZ the_drdave sammyistall SeeBeeNZ sparker84 R3tr0g4m3r phuego micahwhite CommishJW Chris_Rusch Dently77 rafalelis JSCINFL DarceeDog reunited Bydavidrosen DaringDude Pastordanb

Collective Soul on the web

Music links.

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Tour Update

Backstage with crew nation: collective soul.

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Half & Half

See What You Started by Continuing

FROM THE GROUND UP

7EVEN YEAR ITCH

Disciplined Breakdown

Collective Soul

Hints Allegations and Things Left Unsaid

Jesse Triplett

lead guitar / background vocals

Dean Roland

rhythm guitar

vocals / guitar

Will Turpin

bass / background vocals

Johnny Rabb

drums / background vocals

Ed Roland can describe 30 years in Collective Soul with two words.

“It’s an honor and privilege,” said the frontman and songwriter behind the Georgia-born band known for a bedrock of time-tested hits. “It’s that simple. Just being able to do what you love, it’s an honor and a privilege.”  Since launching a major label career in 1994, Collective Soul has charted a path that most rock bands dream of, but only few achieve. They cut through a noisy 1990s rock scene with a knack for stick-to-you-like-glue melodies, roof-shaking guitars, and a touch of Southern grit. Behind enduring singles like “Shine,” “December” and “The World I Know,” the band hit the ground running for what would not be a short-lived sprint, but a steady marathon of uncompromising – and always catchy – albums . Since launching, they’ve become one of the most reliable rock bands in America, a tried-and-true force in a world often defined by turmoil and turbulence. 

And in the same year the band celebrates three decades of music making, Collective Soul returns with what may be its most ambitious project to-date: HERE TO ETERNITY , a double LP cut in the California home once owned by Elvis Presley. With sharp, polished rock riffs and Roland’s signature wise-to-the-world storytelling, HERE TO ETERNITY plays like a full-throttle Collective Soul album from the moment it begins spilling out of stereo speakers. 

“When I gave the album to management and radio promo,” he said, “I was like, ‘Put the needle on any song, I’m that proud of it.’”  Roland – alongside brother and co-founding member Dean Roland (guitar), childhood friend and bassist Will Turpin, guitarist Jesse Triplett and drummer Johnny Rabb – decamped for a month to Palm Springs, California, to record virtually all of HERE TO ETERNITY inside a house once owned by Elvis and Priscilla Presley. Called the “Elvis Presley Palm Springs Estate,” it’s believed to be the only home besides the famed Memphis estate owned by Presley at the time of his death.  

Stepping inside the King’s one-time California getaway, his influence seeped into the album-making process. Ed Roland and album co-producer Shawn Grove slept in the home for the duration of the sessions, which overlapped with the death of Presley’s daughter Lisa Marie in early 2023. 

“The sticky DNA, with Elvis being there,” Turpin said, “You can just tell it was his designs. All pink tiles. It’s straight out of 1977. It was super cool just to be there and in the zone.” 

Or, in Triplett’s words: “It’s not something you can put your finger on specifically, but the vibe and energy of that place translated through the music. You almost don’t realize until the end and listen to the rough mixes and you go ‘oh shit … we did that.’”

Rabb added, “The energy was natural and the flow was incredible. We were all just in the pocket and the chemistry works so well.”  

Listeners hear the results on HERE TO ETERNITY , a thrilling no-skips effort from start-to-finish. The album kicks into gear with songs the blues-tinged “Bluer Than Blue” and jangly roots rocker “Not The Same” before later cruising into the band’s long-running appreciation for Elton John and The Beatles with “Sister and Mary.” 

They incorporate a Presley-like shuffle beat on throwback rockabilly jam “Matter of Fact,” adopt stripped-down balladeering on tender-to-the-touch number “Letter From E,” and croon a piano-backed tale of love on “Be The One,” which Ed Roland recorded solo in Elvis’ former bedroom. Plus, one of the standout songs on HERE TO ETERNITY wasn’t cut in Palm Springs, but in another room where Elvis once walked – the famed Ryman Auditorium in Nashville, Tennessee. Ed Roland tracked a live rendition of “Bob Dylan (Where Are You Today)” during a sold-out tour stop inside the hallowed Ryman halls. 

But no song grabs on the first listen quite like “Mother’s Love,” the lead single and opening number debuted on the road last year. Featuring longtime Paul McCartney guitarist Brian Ray on slide guitar, “Mother’s Love” blasts off the turntable with a foot-stompin’, gnarled riff before gliding into a chorus layered by high-flying harmonies. 

On “Mother’s Love,” Ed Roland sings: “​​Guess we’re all misunderstood/To what we can and what we should/Still I find above/All my strength from Mother’s Love.” 

Alongside Ray, who lives in Palm Springs, guests on the album include longtime Sheryl Crow bandleader Peter Stroud and Mickey Thomas of Jefferson Starship fame. 

“I happened to be walkin’ down the street and I had met Brian Ray a couple of times,” Ed Roland said. “I saw him and was like, ‘Brian, hey man. Why don’t you come over and break bread? We’re up at Elvis’ house.’” 

The invite for a bite of grub turned into a session, of course. With a laugh, Ed Roland added, “I’m gettin’ pretty sneaky in my old age.”  And the album closes with “Over and Out,” an ominous folk-rock tune about life moving on – no matter if you’re ready or not.  

“Last year, my niece was going over to college…and I don’t understand that yet, because my son’s 14,” Ed Roland said. “The song’s about letting your children go and letting them start their adulthood. I tried to feel what my sister and brother-in-law were feeling, which I’m about to feel.” 

This summer, the band takes HERE TO ETERNITY on the road with Hootie & the Blowfish and Edwin McCain for the “Summer Camp with Trucks Tour.” A coast-to-coast run inside some of North America’s premier venues, stops including Fenway Park in Boston, Bridgestone Arena in Nashville, the Honda Center in Anaheim, California and Pine Knob Music Theatre in Detroit. 

With 20 new songs, how does the band decide which to play live? You’ll have to catch a show to find out. 

“It’s tricky,” Dean Roland said. “We know we wanna play the songs people came there to see, but it’s still fun. We’re gettin’ up there, doin’ our thing.” 

And fans can bet on Collective Soul taking songs from HERE TO ETERNITY on the road for years to come. As the album title suggests, three decades is just the start. 

© 2023 Collective Soul

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Collective Soul concert reviews and tour history

• rating: 92.3% (8)

Fans' concert reviews

Grand theater in quebec city, canada on fri, 26 mar 1999.

Third row...Great show, Dosage was just released a few weeks before. Melanie Doane was the opening act

RBC Ottawa Bluesfest in Ottawa, Canada on Sun, 13 Jul 2014

Loved it!! 3rd time seeing the band, will go again anytime, anyplace

Awesome show, Ed and the band were very engaged with the audience and provided a great balance of new songs and crowd favourites.

My 11th time seeing Collective Soul and they never disappoint! AWESOME show!

Uncle Sam Jam 2014 festival in Woodhaven, US on Fri, 11 Jul 2014

Awesome show! Amazing talent! They've always been a favorite.......so great to see them LIVE again!

Pool in Scottsdale, US on Fri, 27 Jun 2014

Great concert, the band really connected w audience. Better life than recorded

Stir Concert Cove in Council Bluffs, US on Sat, 07 Jun 2014

No matter what, words can not describe how great the concert was. I will always enjoy and honor Collective Soul. But, Gin Blossoms were just as amazing too.

The Collective Soul / Gin Blossoms concert was amazing! So glad we got to go had a great time! Can't wait to see you next time! New songs were awesome!

Rated concerts

• Pool in Scottsdale, US Fri, 27 Jun 2014 100% from 1 rating
• Uncle Sam Jam 2014 festival in Woodhaven, US Fri, 11 Jul 2014 100% from 1 rating
• RBC Ottawa Bluesfest in Ottawa, Canada Sun, 13 Jul 2014 96.7% from 3 ratings
• Stir Concert Cove in Council Bluffs, US Sat, 07 Jun 2014 90% from 2 ratings
• Grand Theater in Quebec City, Canada Fri, 26 Mar 1999 75% from 1 rating

Ratings View all

• one of the best: 4 50%
• fantastic: 3 38%
• great: 1 13%
• disappointing: 0 0%
• should've stayed at home: 0 0%

Biggest fans

Collective soul 2024 tour dates view all, collective soul tour history, about collective soul.

Collective Soul is a group founded 32 years ago in 1992.

Based on our research data, it appears, that the first Collective Soul concert happened 31 years ago on Fri, 01 Apr 1994 in Shoreline Amphitheatre - Mountain View, US and that the last Collective Soul concert was 2 months ago on Sat, 17 Feb 2024 in Golden Nugget - Lake Charles - Lake Charles, US.

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Collective Soul tour dates 2024

Collective Soul is currently touring across 1 country and has 29 upcoming concerts.

Their next tour date is at Dos Equis Pavilion in Dallas, after that they'll be at Bluestone in Columbus.

Currently touring across

Upcoming concerts (29) See nearest concert

Dos Equis Pavilion

DTE Energy Music Theatre

Ruoff Music Center

Maine Savings Amphitheater

Broadview Stage at SPAC

Fenway Park

Warner Theatre

Fiddler's Green Amphitheatre

Utah First Credit Union Amphitheatre

RV Inn Style Resorts Amphitheater

White River Amphitheatre

Steelhouse Omaha

Victory Theatre

Xfinity Theatre

GLC Live at 20 Monroe

Blossom Music Center

Colonial Life Arena

House of Blues - Myrtle Beach

Northwell Health at Jones Beach Theater

Thompson-Boling Arena

PNC Music Pavilion

Ameris Bank Amphitheatre

Ameris Bank Amphitheater

Bon Secours Wellness Arena

MIDFLORIDA Credit Union Amphitheatre

VyStar Veterans Memorial Arena

iTHINK Financial Amphitheatre

Past concerts

Golden Nugget - Lake Charles

Taupo Amphitheatre & Riverside Park

Pearl Concert Theater, Palms Casino Resort

View all past concerts

Support across tour dates

Recent tour reviews

I only went to the show to see Collective Soul, no offense to Soul Asylum or 3 Doors Down. As usual, they did not disappoint. They started with two new songs, "Now's the Time" and 'Over Me', then launched into "Shine" which brought those not already standing to their feet. Other hits they played included 'December', 'Why Part 2', 'Better Now', 'The World I Know', and 'Heavy'. They did two new songs, 'Right As Rain' and 'Observation of Thought'. RAR was on the live album, but OOT is a brand new song with heavy meaning. They closed out the show with 'Gel', 'Where the River FLows', and 'Run'. Ed Roland played out the band on 'Run' and continued to play while the audience sang the chorus as he left the stage. This is only my 3rd Collective Soul show but it was the best one I have ever seen. I wished they could have played more songs, but I was beat with the heat and humidity so I didn't stay for 3 Doors Down.

Collective Soul is so much more than their hits and the few songs casual listeners to the band know. At the heart of their music is the simple concept of Love and Faith, which can be heard in almost every song they do. Their music speaks to the heart, and the soul.

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It was a good show, the venue wasn't too big so that even if you're in the back of the seating area, there's still a good view. I've been listening to Collective Soul my whole life and they played old favorites as well as a few new ones. The only complaint I have is that the show was too short, just about an hour long.

Epic Show! Great sound at the Jubilee Auditorium! They played all the hits and even a brand new song from their next album that had never before been played live. I hung out after the show and got to meet Dean, Will, and Ed who are such easy-going, genuinely nice, down to earth human beings. Even though it was late and they had a long nights drive to Vancouver they took the time to meet some fans, sign some autographs, and discuss how they like to just rock out on the stage! Also I have to say Kudos to the Edmonton fans who are always excited and energetic to see collective soul. They are also a big part of why this show was what it was!

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Dos Equis Pavilion | Dallas, TX

Hootie & the blowfish - summer camp with trucks tour.

• Live Nation Lounge Presented by Citi - Hootie
• Lonestar Cabana: Hootie & the Blowfish. this is not a concert ticket
• AmegyBank Fast Lane Access: Hootie & the Blowfish
• Lawn Chair Rental: Hootie & the Blowfish. this is not a concert ticket
• HOOTIE & THE BLOWFISH VIP LOUNGE EXPERIENCE UPGRADE
• Live Nation Blanket - Hootie & The Blowfish - NOT A CONCERT TICKET

Walmart AMP | Rogers, AR

• Hootie & The Blowfish - VIP Lounge Upgrade

Hollywood Casino Amphitheatre - St. Louis, MO | Maryland Heights, MO

• Ultra Premier Parking: Hootie & The Blowfish - Not A Concert Ticket
• Premier Parking: Hootie & the Blowfish - Not a Concert Ticket
• VIP Club: Hootie & the Blowfish - NOT a Concert Ticket
• Lawn Terrace: Hootie & the Blowfish - NOT a Concert Ticket
• Green Room Access: Hootie & the Blowfish - NOT a Concert Ticket
• Academy Air Cool Zone: Hootie & the Blowfish - NOT a Concert Ticket
• Fast Lane: Hootie & the Blowfish - NOT a Concert Ticket
• Lawn Chair Rental: Hootie & the Blowfish - Not a Concert Ticket
• Red Carpet Experience: Hootie & the Blowfish - NOT A Concert Ticket
• Live Nation Blanket: Hootie & The Blowfish - Not a Concert Ticket
• Hollywood Casino Shuttle: Hootie & The Blowfish - NOT a Concert Ticket
• Rockstar Parking: Hootie & the Blowfish - NOT a Concert Ticket

The Bluestone | Columbus, OH

• Fast Lane Access - Collective Soul - Not a Concert Ticket

Pine Knob Music Theatre | Clarkston, MI

• Pine Knob Premier Parking: Hootie & The Blowfish
• Express Lane: (HOOTIE & THE BLOWFISH) - NOT A CONCERT TICKET

Riverbend Music Center | Cincinnati, OH

Ruoff music center | noblesville, in.

• RV & Tow Campers - Hootie & The Blowfish - (Not A Concert Ticket)
• VIP Parking: Hootie & the Blowfish - Not a Concert Ticket
• VIP Club: Hootie & the Blowfish - Not a Concert Ticket
• Green Room: Hootie & the Blowfish - Not a Concert Ticket
• Overlook Lawn Deck: Hootie & the Blowfish - Not a Concert Ticket
• Lone Pine Lounge: Hootie & the Blowfish - Not a Concert Ticket
• Premier Club: Hootie & the Blowfish - Not a Concert Ticket
• Fast Lane: Hootie & the Blowfish - Not a Concert Ticket

BankNH Pavilion | Gilford, NH

• BNHP Event Parking & Camping: Hootie & The Blowfish 6/13
• Coors Light VIP Club Add-On: Hootie & The Blowfish
• Sam Adams Brewhouse Add-On: Hootie & The Blowfish
• Fast Lane Access - NOT A CONCERT TICKET: Hootie & The Blowfish
• Lawn Chair Rental: Hootie & The Blowfish

Maine Savings Amphitheater | Bangor, ME

• Off-Site Parking: Hootie & The Blowfish - Located at 100 Broad Street

Broadview Stage at SPAC | Saratoga Springs, NY

• Saratoga - SPAC Premier Parking: Hootie & The Blowfish
• Saratoga - SPAC Reserved Parking: Hootie & The Blowfish
• Broadview VIP Club: Hootie & The Blowfish
• Saratoga - SPAC Lawn Chair Rental: Hootie & The Blowfish
• SPAC Terrace Club Presented By Jack Daniel's: Hootie & The Blowfish
• Fast Lane Access - Hootie & The Blowfish - Not a Concert Ticket
• Saratoga - SPAC Blanket Voucher: Hootie & The Blowfish
• Saratoga - SPAC Early Entry Parking: Hootie & The Blowfish

Fenway Park | Boston, MA

Hootie & the blowfish-summer camp with trucks tour-platinum tickets, bethel woods center for the arts | bethel, ny.

• Premium Parking - Hootie & the Blowfish
• The Green Room - Hootie & the Blowfish
• Reserved Lawn - Hootie & The Blowfish (NOT A CONCERT TICKET)
• Lawn Chair Rental - Hootie & the Blowfish (NOT A CONCERT TICKET)

Hersheypark Stadium | Hershey, PA

The pavilion at star lake | burgettstown, pa.

• Premium Parking: Hootie & the Blowfish (Not a Concert Ticket)
• VIP Club Access: Hootie & The Blowfish (Not A Concert Ticket)
• RE/MAX Select Party Deck: Hootie & The Blowfish (Not a Concert Ticket)
• Star Lake Lounge: Hootie & The Blowfish (Not a Concert Ticket)
• The Cabana: Hootie & The Blowfish (Not a Concert Ticket)
• Fast Lane: Hootie & The Blowfish (Not A Concert Ticket)
• Lawn Chair Rental: Hootie & the Blowfish (Not A Concert Ticket)
• Lawn Blanket: Hootie & the Blowfish (Not a Concert Ticket)
• Early Tailgate Parking: Hootie & The Blowfish (Not A Concert Ticket)

Utah First Credit Union Amphitheatre (formerly USANA Amp) | West Valley City, UT

• Premium Parking - Hootie & The Blowfish (NOT A CONCERT TICKET)
• Gold Parking -Hootie & The Blowfish (NOT A CONCERT TICKET)
• Fast Lane Access - Hootie & The Blowfish (NOT A CONCERT TICKET)
• Lawn Chair Rental - Hootie & The Blowfish (NOT A CONCERT TICKET)
• Live Nation Blanket - Hootie & The Blowfish (NOT A CONCERT TICKET)

Footprint Center | Phoenix, AZ

Honda center | anaheim, ca, shoreline amphitheatre | mountain view, ca.

• Premier Parking: Hootie & the Blowfish
• Citi VIP Terrace: Hootie & The Blowfish
• The Hideaway: Hootie & The Blowfish
• Fast Lane: Hootie & The Blowfish
• Lawn Chair Rental - Not a Concert Ticket - Hootie & The Blowfish

RV Inn Style Resorts Amphitheater | Ridgefield, WA

• Premier Parking - Hootie & The Blowfish - Not A Concert Ticket
• ilani VIP Club - Hootie & the Blowfish - NOT A CONCERT TICKET
• Lawn Chair Rental - Hootie & The Blowfish - NOT A CONCERT TICKET

White River Amphitheatre | Auburn, WA

• Star Parking: Hootie & The Blowfish - Not A Concert Ticket
• Fast Lane Entry: Hootie & The Blowfish - Not A Concert Ticket
• Eagle Club Access: Hootie & The Blowfish - Not A Concert Ticket

Steelhouse Omaha | Omaha, NE

• Steelhouse Fast Lane: Collective Soul - NOT A CONCERT TICKET
• Steelhouse Pre-show Party: Collective Soul - Not A Concert Ticket

Oak Mountain Amphitheatre | Birmingham, AL

• Oak Mountain Premier Parking - Hootie & the Blowfish (Not a Concert Ti
• Oak Mountain Preferred Parking - Hootie & the Blowfish (Not a Concert
• Oak Mountain VIP Club - Hootie & the Blowfish (Not a Concert Ticket)
• Oak Mountain Fast Lane - Hootie & the Blowfish (Not a Concert Ticket)

Bridgestone Arena | Nashville, TN

Victory theatre | evansville, in, xfinity theatre | hartford, ct.

• Reserved Parking: Hootie & The Blowfish
• Xfinity Theatre VIP Club Access: Hootie & The Blowfish
• Xfinity Theatre Unplugged in the Hot Spot: Hootie & The Blowfish
• Xfinity Theatre Fast Lane: Hootie & The Blowfish (EARLY ENTRY)
• Xfinity Theatre Lawn Chair Rental: Hootie & The Blowfish
• Xfinity Theatre Blanket Voucher: Hootie & The Blowfish

PNC Bank Arts Center | Holmdel, NJ

• Premier Parking: Hootie & the Blowfish - This is NOT a Concert Ticket
• VIP Club Access: Hootie & the Blowfish - This is NOT a Concert Ticket
• Shore Club Cabanas:Hootie & the Blowfish-This is NOT a Concert Ticket
• VIP Fast Lane: Hootie & the Blowfish - This is NOT a Concert Ticket
• Lawn Chair Rental:Hootie & the Blowfish - This is NOT a Concert Ticket
• Party Decks: Hootie & the Blowfish - This is NOT a Concert Ticket

Merriweather Post Pavilion | Columbia, MD

• Hootie & The Blowfish Parking

GLC Live at 20 Monroe | Grand Rapids, MI

• VIP Club Access - Collective Soul - Not a Concert Ticket
• Coat Check - Collective Soul - Not a Concert Ticket

Somerset Amphitheater | Somerset, WI

• VIP Club Access - Hootie & The Blowfish - Not a Concert Ticket
• Maggie's Saloon Hilltop - Hootie & The Blowfish - Not A Concert Ticket
• Live Nation Clear Bag - Hootie & the Blowfish - NOT A CONCERT TICKET

Credit Union 1 Amphitheatre | Tinley Park, IL

• Premier Parking: Hootie & The Blowfish (Not A Concert Ticket)
• Citi VIP Club: Hootie & the Blowfish (Not a Concert Ticket)
• Stage Left Lounge: Hootie & the Blowfish (Not a Concert Ticket)
• Fast Lane Access: Hootie & the Blowfish (Not a Concert Ticket)
• Concert Concierge - Hootie & the Blowfish - Not a Concert Ticket

Alpine Valley Music Theatre | East Troy, WI

• Premier Parking - Hootie & The Blowfish (NOT A CONCERT TICKET)
• VIP Club - Hootie & The Blowfish (NOT A CONCERT TICKET)
• Expo Party Deck - Hootie & the Blowfish (NOT A CONCERT TICKET)
• Hill Top Lawn Deck - Hootie & the Blowfish (NOT A CONCERT TICKET)
• Fast Lane Entry - Hootie & the Blowfish (NOT A CONCERT TICKET)

Blossom Music Center | Cuyahoga Falls, OH

• VIP Parking: Hootie & the Blowfish (NOT A CONCERT TICKET)
• Huntington VIP Club: Hootie & the Blowfish (NOT A CONCERT TICKET)
• Green Room Access: Hootie & the Blowfish (NOT A CONCERT TICKET)
• Circle K Fast Lane: Hootie & the Blowfish (NOT A CONCERT TICKET)
• Live Nation Blanket: Hootie & The Blowfish (Not A Concert Ticket)
• Oversized Parking: Hootie & the Blowfish (NOT A CONCERT TICKET)

Freedom Mortgage Pavilion | Camden, NJ

• Premier Parking: Hootie & The Blowfish
• VIP Club Access: Hootie & The Blowfish
• River Garden Deck Access: Hootie & The Blowfish
• Freedom Mortgage Lounge Access: Hootie & The Blowfish
• Fast Lane Access: Hootie & The Blowfish
• Riverlink Ferry Pass: Hootie & The Blowfish

Jiffy Lube Live | Bristow, VA

• VIP Parking: Hootie and the Blowfish (Not a Concert Ticket)
• Premier Parking: Hootie And The Blowfish (not A Concert Ticket)
• Citi VIP Club: Hootie and the Blowfish (Not a Concert Ticket)
• Dominion Lounge: Hootie and the Blowfish (Not a Concert Ticket)
• Fast Lane: Hootie And The Blowfish (not A Concert Ticket)
• Lawn Chair Rental: Hootie and the Blowfish (Not a Concert Ticket)
• Lawn Blanket: Hootie and the Blowfish (Not a Concert Ticket)
• Oversize Parking: Hootie and the Blowfish (Not a Concert Ticket)
• Early Parking: Hootie and the Blowfish (Not a Concert Ticket)

Colonial Life Arena | Columbia, SC

House of blues myrtle beach | north myrtle beach, sc, northwell health at jones beach theater | wantagh, ny.

• Premier Parking: Hootie & the Blowfish- This is NOT a Concert Ticket
• Citi VIP Club Access:Hootie & the Blowfish
• Fast Lane: Hootie & the Blowfish- This is NOT a Concert Ticket

Empower Federal Credit Union Amphitheater at Lakeview | Syracuse, NY

• Live Nation Blanket- Hootie & The Blowfish - Not a Concert Ticket

Budweiser Stage | Toronto, ON

Food city center | knoxville, tn, coastal credit union music park at walnut creek | raleigh, nc.

• Early Parking - Hootie & The Blowfish (NOT A CONCERT TICKET)
• Coastal Fast Lane - Hootie & The Blowfish (NOT A CONCERT TICKET)

Veterans United Home Loans Amphitheater at Virginia Beach | Virginia Beach, VA

• Flight Deck Access: Hootie & the Blowfish (Not a Concert Ticket)

PNC Music Pavilion | Charlotte, NC

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Note: World I Know, December, Gel & Where the River Flows was on the set list but the show cancelled after Better Now due to weather conditions

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Collective Soul + Switchfoot Team Up for 40-Date Summer 2022 Tour

There's a lot of great rock history combined as Collective Soul and Switchfoot will team up for a rather extensive 40-date summer tour. The two bands will be hitting the road with a run that starts off July 15 in Gary, Indiana, and continues through to Sept. 24 finale in San Antonio, Texas. See all the dates, cities and venues listed below.

For Collective Soul, they didn't let the pandemic end their 26-year tradition of non-stop touring. That's put them in prime position to return to the road in 2022 without any rust to shed, ready to rock a set full of fan favorites. This comes as the band continues to support their 2019 album, Blood, which is available in both streaming and physical formats. Collective Soul are also selling a collaborative lyrical "tree-shirt" with eco-lifestyle brand One Golden Thread that is available here with a portion of the T-shirt proceeds going to benefit Alzheimer's care, support and research.

Switchfoot, meanwhile, are touring in support of their 12th studio album, Interrobang, which is available to stream or purchase in physical form here .

Collective Soul's Ed Roland says. “It’s always a thrill to go on tour, but this year is going to be so special because we get to be with not only our friends but a great band, Switchfoot! Southern boys meet Southern California boys, which will be a fun time for all!”

Switchfoot singer/guitarist Jon Foreman adds. “Been fans of COLLECTIVE SOUL and their songs from day one. Can’t believe it took this long for us to finally tour together. Psyched it’s finally happening!”

Tickets for the run will go on sale to the general public this Friday (April 1) at 10AM local time. VIP packages for Collective Soul will be available starting today (March 29) at 10AM local time via the group's website .

Collective Soul / Switchfoot 2022 Tour Dates

July 15 - Gary, Ind. @ Hard Rock Casino July 16 - Council Bluffs, Iowa @ Harrah’s Council Bluffs – Stir Cove July 17 - Maryland Heights, Mo. @ Saint Louis Music Park July 19 - Cleveland, Ohio @ Jacobs Pavilion at Nautica July 20 - Columbus, Ohio @ KEMBA Live! – Indoor Music Hall July 23 - Fond du Lac, Wis. @ Fond du Lac Fair July 24 - Wabash, Ind. @ Honeywell Center July 26 - Newport, Ky. @ PromoWest Pavilion at OVATION July 27 - Midlothian, Va. @ AfterHours Southside July 30 - Grantville, Pa. @ Penn National Racecourse – Hollywood Casino July 31 - Hampton, N.H. @ Hampton Beach Casino Ballroom Aug. 2 - Silver Spring, Md. @ The Fillmore Silver Spring Aug. 3 - Huntington, N.Y. @ The Paramount Aug. 4 - New York, N.Y. @ Palladium Times Square Aug. 6 - Webster, Mass. @ Indian Ranch Aug. 7 - Pittsburgh, Pa. @ Stage AE Aug. 8 - Jackson, Mich. @ Jackson County Fairgrounds Aug. 13 - Billings, Mont. @ MetraPark – First Interstate Arena Aug. 14 - Denver, Colo. @ The Mission Ballroom Aug. 15 - Sandy, Utah @ Sandy City Amphitheater Aug. 17 - Jacksonville, Ore. @ Britt Pavilion Aug. 20 - Paso Robles, Calif. @ Vina Robles Amphitheatre Aug. 21 - Saratoga, Calif. @ The Mountain Winery Aug. 23 - Inglewood, Calif. @ YouTube Theater Aug. 24 - San Diego, Calif. @ Cal Coast Credit Union Open Air Theatre Aug. 26 - Henderson, Nev. @ Sunset Station Outdoor Amphitheater Aug. 27 - Flagstaff, Ariz. @ Fort Tuthill Park – Pepsi Amphitheater Sept. 5 - New Haven, Ky. @ The Amphitheater at Dant Crossing Sept. 7 - Cary, N.C. @ Koka Booth Amphitheatre at Regency Park Sept. 9 - Charleston, S.C. @ The Riviera Theater – Sottile Ballroom Sept. 10 - Atlanta, Ga. @ Cadence Park Amphitheatre at Chastain Park Sept. 11 - Nashville, Tenn. @ Grand Ole Opry House Sept. 13 - Jacksonville, Fla. @ Florida Theatre Sept. 14 - Clearwater, Fla. @ Ruth Eckerd Hall Sept. 16 - Orlando, Fla. @ Hard Rock Live Sept. 17 - Pompano Beach, Fla. @ Pompano Beach Amphitheatre Sept. 20 - New Orleans, La. @ Mahalia Jackson Theater Sept. 21 - Sugar Land, Texas @ Smart Financial Centre Sept. 23 - Austin, Texas @ Austin City Limits Live Sept. 24 - San Antonio, Texas @ Majestic Theatre

* See venue website for on-sale date.

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Collective Soul: Will Turpin reflects on 30 years since ‘Shine’ college radio rise, being 1 of 5 acts at Woodstock ’94 & ’99

By: Ian Saint Posted on: Thursday, October 19, 2023

ASHLAND, Kentucky (WOUB) — Never underestimate the ingenuity and impact of independent artists and independent radio.

Collective Soul’s debut full-length Hints Allegations and Things Left Unsaid was a collection of demos initially issued by the Atlanta-based Rising Storm independent label. Humble origins to be sure, but soon spins on a university NPR affiliate caught the attention of Atlantic Records, who would sign the band and reissue the debut internationally only months later. The success of the record and especially its single, Shine, quickly led to the group performing for hundreds of thousands at Woodstock ’94.

Thirty years later, Collective Soul bassist and harmony singer Will Turpin reminds WOUB that Shine ’s meteoric success belied years of study and toil in the studio. Turpin’s father founded Real 2 Reel Studios in 1976; and Collective Soul singer Ed Roland worked there as a recording engineer for years before Shine premiered on college radio near his 30th birthday.

Collective Soul’s passion for recording hasn’t waned. Today, they are independent artists once more; and last year’s Vibrating marked the group’s seventh album since their 2001 departure from Atlantic Records. Turpin’s zeal for the studio resulted in taking over his father’s business, where he produces other bands in between Collective Soul commitments.

In advance of Collective Soul’s concert at Paramount Arts Center (1300 Winchester Ave.) Friday, Turpin reflected on Collective Soul’s history from Real 2 Reel Studios in metropolitan Atlanta.

Will Turpin:  Oh, yeah, very true! It was [NPR affiliate] WRAS, “Album 88,” in Atlanta, Georgia. That is [owned by] Georgia State University. [Collective Soul rhythm guitarist] Dean [Roland] delivered the single to the radio station. Dean was going to school there; and a guy named Sandy Fine answered the door, and he just always had a great ear for music. He became our tour manager, and a great friend of ours; but he immediately started playing the song. [ Shine ] is the one he picked out; [Fine] actually got the whole record — the CD, as it would’ve been — and he picked out Shine . We were on an independent label; and next thing you know, a commercial station picked it up in Florida — and the rest is kind of history.

Ian Saint:  I really love that, because it speaks to [the value of] regionality. Another reason why we love that story, as an affiliate of NPR in the Heartland, is you guys sprang out of Georgia. A lot of bands think they have to go to Los Angeles, New York, or Nashville [in order to break mainstream success]. But you guys stayed in the Georgia area; and that’s where you took off from.

Will Turpin:  Absolutely! You know what, Georgia’s got a rich history; so people were paying attention, a little bit, to Georgia. Started in the older days: Otis Redding, Ray Charles, James Brown… and then the Macon scene and Capricorn Records, Allman Brothers, Atlanta Rhythm Section.
 
And I’d say the band that really started to allow bands such as Collective Soul, John Mayer, the Black Crowes — all these bands that came out of Atlanta — I think R.E.M. was kind of the instigator for that! They’re out of Athens; but an hour east of Atlanta, and R.E.M. didn’t sound like a southern band. I think that’s what really helped a band like Collective Soul. While we were influenced by the Southern rock sound — and you can hear some of our double solos, and things like that — I don’t think anybody hearing Collective Soul goes, ‘that’s a southern rock band!’ And same thing with R.E.M.; they didn’t sound like a Southern rock band. So I think a little bit of that music history had a lot to do with it… no, we never thought we had to go to New York or LA, no.

Ian Saint:  And it’s astonishing, the pace of which you guys took off all of a sudden! After you guys were delivered to college radio, and then that commercial station picked [ Shine ] up… I was reading about how the label [Atlantic Records] didn’t even allow you guys to [formally] record the album [ Hints Allegations and Things Left Unsaid ] in the studio that you’d wanted to do. They just put out the demo [as the album], because they said there’s not enough time — ‘you’ve got to seize the momentum,’ I guess.

And then before you guys know it, you’re at Woodstock ’94; you open for Aerosmith, who are [currently] on their farewell tour. Do you recall how much time had passed between when [ Shine ] would’ve been picked up by college radio, and then you guys were doing Woodstock ’94 and opening for Aerosmith?

Will Turpin:  Barely less than a year later, I think, since WRAS [began] playing it. There was a Toys for Tots Drive, and we always played the Toys for Tots Show; I remember we played that show, and some people knew Shine from the college radio station — so that would’ve been Christmas… and [on August 12] we’re playing Woodstock ’94, and about to do all the [amphitheaters] across America with Aerosmith [on their Get A Grip Tour].

Ian Saint:  Oh, my goodness! And I was laughing with Woodstock ’94, because I saw the crowd doing the ‘yeah!’ [interjections of the bridge] in Shine — and it’s just this massive sea of people!

Will Turpin:  <laugh> Yeah, yeah, yeah. I tell everybody, it was a sea of humanity… and everybody said [our performance of Shine ] was the loudest the [Woodstock] crowd was in ’94 — partly because the numbers did diminish just a little bit when the rain came in, and the mud came in. But that Friday night that we performed? Gorgeous evening, no rain yet; a lot of bands that were new played that night, and we are still friends with some of those guys. Candlebox played that night, Sheryl Crow played that night; we’re still friends with [Candlebox], and [with Sheryl Crow] and her band. [The band named] Live played that night; those became great friends of ours, who we toured with over the years. Who else played on Friday night? It was just a really good rundown; Blues Traveler, another band that we toured with extensively, and really admire and are great friends of. So that Friday night of Woodstock ‘94 was super special.

Ian Saint: [Collective Soul], like I said, were one of only five acts — you mentioned a couple others, Live and Sheryl Crow being among the other five — that played at both ‘94 and ‘99 Woodstock…

Will Turpin:  I didn’t know about the official five that played [both festivals], but I’m liking this…

Ian Saint:  …Metallica and Red Hot Chili Peppers!

Will Turpin:  Okay! Alright, alright!

Ian Saint:  Red Hot Chili Peppers did not have the best experience with Woodstock ‘99. There’s this new documentary [ Woodstock 99: Peace, Love, and Rage ] about Woodstock ‘99 and all the problems there. How did you guys fare at Woodstock ‘99?

Will Turpin:  Well, I mean, the bands get on stage and do our thing; and we’re backstage, where we’ve got buses, and there’s helicopters taking us places if your bus is off site or whatever… but it was tangible — the difference between ‘94 and ‘99 was absolutely tangible.
The moment we got on site in Woodstock ‘99, it was tangible [to see] that it had been commercialized, and it wasn’t as cool. They had people on top of a — if you’ve seen the documentary, you know what I’m about to say — but they had people on top of an old tarmac.

They had people on top of cement. You couldn’t even bring in your own water! They’re charging ’em four bucks, in a day when four bucks for a bottle of water was stupid; and even today, I think that’s too much. So it was super tangible [to see] that there was an undertone of people being pissed off. I’ll go ahead and say it like that. But on stage, it was fine for us; it hadn’t really gotten bad yet.

Ian Saint:  I saw with ’99, you guys even did the [Ozzy Osbourne] Crazy Train cover, and it still seemed pretty ebullient then. So I was like, ‘alright, well, maybe they got the brighter end of the festival.’

Will Turpin:  I remember playing with our buddies from Atlanta. Sevendust had played right before us; so we got to hang out with them, we had fun. So we were with our buddies, and we played our show, and the set was great! The crowd was great for us. The anger had not boiled over yet, but it was tangible. The difference between ‘94 and ‘99 was absolutely tangible, the moment we got there. [But] we weren’t there when they were burning stuff down; we weren’t running for our lives or anything.

Ian Saint:  Going back to the regionality of Georgia… are you speaking with us from Real 2 Reel Studio?

Will Turpin:  Yes, I am.

Ian Saint:  Okay! Yeah, I was going to talk about that — because that is the longest continually-running studio in metropolitan Atlanta, I believe, since 1976. And that year always makes me think of [rock band] Boston and [their frontman] Tom Scholz being very diligent in his studio. <laugh> So [1976] was an interesting year for music, and being in the studio; but Real-2-Reel, I know, was real integral to Collective Soul’s history as well. Your dad owned the studio; and Ed [Roland], the singer for Collective Soul, was an engineer there. So this is the studio, effectively, that Collective Soul sprang from?

Will Turpin:  It is. The original studio was built in the basement of a home, that was actually my grandfather’s [home]. The original studio was in a small town: Stockbridge, Georgia. The original Collective Soul, we all went to the same high school — [singer] Ed and [rhythm guitarist] Dean [Roland]’s father was the minister at the church. My dad’s studio, where I lived, where Ed and Dean lived, where [Collective Soul’s original lead guitarist] Ross [Childress] lived… you’re not talking about a third of a mile radius; it was a very small, serendipitous little situation. And yeah, man, the documentary [about the studio] comes out next year. There’ll be a lot more of those stories; but the detail of those stories is still pretty awesome, how special the circumstances were. But yeah, man, we came out of the studio; we were a studio band.

Ian Saint:  Do you remember what year Ed began working there?

Will Turpin:  Ed went to Berklee [College of Music] for about one year, maybe less. He came back home, started working on his craft, [then] went to my father and said he wanted to be an engineer. My dad said, ‘well, I’ll teach you how to be an engineer’; and Ed certainly learned it all, and was there [at Real 2 Reel] all the time. Ed describes it this way: he said, my father gave us all the fertile ground, water, the sun, and everything. We needed to be ourselves in the studio, and learn about how to be musicians.
And [my father] taught us a lot about, the main thing that you do as musicians, is create songs. You’re not trying to be the cool guy on the street.

You’re not trying to get as many girlfriends as you can, or whatever. It’s about creating songs! Although there was a time when there was only girlfriends in the audience — girlfriends and moms, basically <laugh> — he taught us a lot about the song. [About] how you service the song, and you raise the song up; you’re not raising up your own ego. You’re not raising up showing somebody what you can do. You’re trying to service the song, and make a song something special. So we all had that acumen, and I think you hear it in our records. When I listen back [to the early records], you hear a young band; but you don’t hear a very unexperienced band — it sounds clean and polished, and we were focused on servicing the song.

Ian Saint:  Yeah, well, there’s something to be said about how that first album was a demo, essentially — and the record company [Atlantic Records] thought it was sophisticated enough to launch… and it sort of shaped the direction that rock radio was going to go in, as it was going through that post-grunge era, I suppose. So that was fateful!

Will Turpin:  Yeah. It’s interesting, because we always thought, ‘okay, yeah, if we get signed, we’ll be able to re-record and re-visualize some of the songs; and record some new songs as a band.’ And Atlantic had better ideas; because I think if we would’ve re-recorded [our debut record], nothing would’ve been the same. I can guarantee that nothing would’ve been the same. It was beautiful as it was.

Ian Saint:  So on that regionality angle: we’re speaking with you because you’ll be coming to Ashland, Kentucky at the Paramount Arts Center on Friday, October 20… AND the night before that, you’ll be in Paducah, Kentucky [at the Carson Center]. And I was struck by that, because I know in the summer, you guys played in Marion, southern Illinois — and they’re [Paducah, KY and Marion, IL] not even an hour apart.
One of my good friends is in that area; so I’ve spent a lot of time there. And there’s this really interesting music scene there, that’s pretty cool, but you just don’t really hear about it in the mainstream [media]. [ See my 2022 Music Highlights list, which includes Buzzman  by Southern Illinois rock band Soopa Squad ]

So for you guys to be playing two shows on this tour in that area, is there something that you’ve noticed in that part of the country? A lot of big rock bands don’t get to have multiple shows in an area like that; and I presume they wouldn’t get booked unless you guys really had a good draw.

Will Turpin:  Yeah. I mean, it’s more of a marketing and promotions game plan that agents and managers came up with. We wanted to play a lot of secondary markets this summer. Next summer’s going to be a lot of major markets with a multi-band bill. So if you get out [on tour], you get to play some of these secondary markets — you get to play in front of some people who might have thought, ‘well, I’m not going to travel two hours away to the major city show; but this band’s coming in town to the Paramount theater, and I live 10 minutes away or 20 minutes away.’ So you cultivate a little bit of the stuff outside of the major markets, and that’s kind of the idea of this summer: a lot of festivals, and a lot of secondary markets.

Ian Saint:  In Paducah, actually — where you guys play [the Carson Center] on Thursday — Alice Cooper’s playing it on Friday the 13th.

Will Turpin:  Right on! He’s a friend of ours. He’s a really good guy. He’s great.

Ian Saint:  Yeah! I interviewed [Alice Cooper] last year . He’s just amazing at how pioneering he is; and yet humble and responsible, all that balance is well done.
I wanted to ask you about a show that struck me, recently, because it was very much on a whim. You guys were playing Vegas; and a 13 year-old fan had a sign saying, ‘Ed, I can shred December.’ And you guys brought him up, and he played December  [with you], and it rocked! Is that something that you guys do semi-frequently, take a chance on an audience member who says they can keep up?

Will Turpin:  Yeah, we’ve done that a number of times. We definitely trust people. And if they can’t keep up, it’s not going to slow us down; but for the most part, when somebody says they can do it, it’s probably going to be really fun — and really magical for everybody to see somebody just come up on stage, [and] play with some professionals that they’ve been listening to their whole lives. It’s special even for us, and fun. If you saw a video of that, we would’ve been smiling the whole time; it’d been fun.

Ian Saint:  Oh, you were! I mean, it was great. And I was almost like, ‘was he a plant?’ <laugh> And I know he wasn’t, but it just went off without a hitch. When you’re looking to book up and coming musicians at Real 2 Reel, has that ever manifested from an encounter like that at one of your shows?

Will Turpin:  I *have* met some people, who have come down here to [work at the studio], at Collective Soul shows; but not particularly when they got on stage with us. No, not that situation. It’s a possibility!

Ian Saint:  I did want to ask about the new record, of course, Vibrating — that came out last year. My understanding is it was recorded at the same time as [preceding album, 2019’s] Blood…


Will Turpin:  Right, in that same era; a little bit of right before COVID, and during COVID — we were finishing up stuff during COVID, and we stayed busy during that whole thing. We kept recording and making music; that’s kind of always been our deal, anyway. We’re always looking at the next thing, even 30 years [after Shine ]. So yeah, Vibrating and Blood , we’re super proud of those [new] records that we’re making. It’s still that same thing that happened to us. Every record we’ve made, our whole career, still happens. I can feel the magic when we know it’s right; I can feel the magic in the moment. A lot of our contemporaries don’t crave the studio anymore like we do; and we still crave the studio as if it was 1997 — we’re constantly looking at the next thing. And I’m producing now, with the production company; I’m still working with artists, and creating new stuff, all the time. It’s just something that it’s in our DNA.

Ian Saint:  So you’ve had experience with both… <pause> What struck me is that [Collective Soul’s] first record, like I said, was indie initially; and then a major record label picked it up, and then you guys pretty much dominated radio — I know you were just recently recognized by BMI [with Million-Air Awards] for all those huge rock singles — and then you went indie again. And I know you’ve worked with distributors; I think with Vibrating , you did it on your own label…

Will Turpin:  Yeah, and it’s all just partnerships in this world. It’s not like we have a label and people answering, working as a label; it’s all outsourced. Fred Croshal at Croshal Entertainment Group is able to quarterback anything, and all things, Collective Soul. Since the record industry has evolved, there [are] a lot of those secondary outlets for people to release stuff. And it doesn’t matter if you’re independent on a level that Collective Soul is independent — which is not necessarily a small level — or if you’re just literally independent, and starting out new. A lot of these same people are doing the same things for everybody that’s out there [at all levels of prominence] right now.

Ian Saint:  So on that note: you were an indie artist in the mid ‘90s, and then also now — so much has changed, as far as distribution, and of course we talked about [changes to] radio regulations [such as the 1996 Telecommunications Act]. What’s your, I guess, barometer right now? Do you feel pretty good about it now, how it compares to [when Collective Soul independently released their 1993 debut record]?

Will Turpin:  Yeah. Comparisons, to me, are sometimes futile because everything’s always evolving — so comparison is fun to talk about, but I don’t compare things thinking, ‘I wish it was still that way, and why did it change?’ You have to accept change, and figure out where is that stream that I got to flow in; and it took a second. There was definitely a hiccup there when Napster was happening; and we can’t spend hundreds of thousands of dollars creating art, and then give it away for free — just that model doesn’t work.
But now the streaming platforms are paying royalties; and everything’s kind of evolved to where I think I’m in a good spot, as far as where the record is today, as far as how it’s operating, and how a band like Collective Soul can thrive. And same [feeling] with a band that’s brand new; I recorded a band from California, [named] Odd Army — I recorded and produced them, check it out. [Editor’s note: you can stream Odd Army’s new album, Chrysalis, Become , in the Spotify widget below.]

So it doesn’t matter if you’re new, or been around for a while; the outlets and the availability to get your music heard, it’s there! It’s all there, and I’m happy with it. That being said, I mean, I think some of the streaming royalties need to come up a little bit — but it’s all documented, and it’s all really transparent right now, so it just is what it is.
 
That being said, we did see the craziest evolution in the record industry that we’ve ever seen, because they were still making cassettes of our third record. Now vinyl’s back — and I understand why vinyl’s back, but you’re not going to see cassettes again! <laugh> You know what I mean? They were making cassettes of Collective Soul records, and it doesn’t seem like that long ago to me, but it was a long time ago as far as the record industry’s concerned.

Ian Saint:  Well, I know Gen Z have kind of taken a liking to cassettes. There weren’t that many manufacturers of the cassette players anymore; and then now they’re kind of bringing it back in, like so many things from the ‘90s. Have you guys noticed an uptick in young people coming to your shows, the last couple of years?

Will Turpin:  Yeah. The kids still want to see, ‘Hey man, I know these rock songs. I know some of these rock bands.’ They still want to see that band from the — they’ll categorize us as from the ‘90s, and I guess we are from the ‘90s — but they still want to see that band. If you’re a music fan and you’re a music lover, people want to come check it out — because, like I figured out about 15 years ago, they’re not going to stop playing a large number of our songs. I think I’ll be gone, and you’ll still be able to hear Collective Soul songs.

Ian Saint:  Yeah, I was talking to my parents about that! As soon as I hear that beginning of [1995’s] December , I’m like, ‘man, that puts me back in the backseat of the purple ‘96 Dodge Intrepid on our way to the rec center.’ <laugh> My last question would be The World I Know . I was listening to the hits and the deep cuts; and I noticed in that song in particular, I think your bassline in the verses were very interesting. Do you have any thoughts about that bassline? The way that it’s formulated was not exactly [the arrangement] I had expected; but I think that’s part of what made people perk their ears up at that song, and it became a huge hit.

Will Turpin:  I was a refugee on bass; that’s the way I describe it, anyway. I told my best friend that — we were in a band, and I was a fan of Ed’s songwriting — I told him I’d play bass. The [previous] bass player wasn’t really working out, and wasn’t necessarily in our tight circle. Up to that point, I’d been playing percussion and singing all the background harmonies with Ed, and I hadn’t committed. I was a music major; and my mom had told me my whole life not to try to be in a rock band, ‘it’ll never work!’ <laugh>
 
But I committed to bass, and I struggled technically a little bit on that [1995 Collective Soul self-titled] record. But I always create from what comes into me; and I don’t necessarily just play bass, like ‘What’s the root? And let me find the kick drum pattern.’ I try to incorporate a melody; and sure enough, that little line and some of the nuance that I did on that bass line, [producer] Matt Serletic immediately said, ‘I like that bass line you’re doing in the verse’ — and that became the spearhead for what the strings were doing in the song.

Ian Saint:  Yeah, and it’s beautiful! And of course, it’s played all the time, to this day.

Will Turpin:  I listen to it, and I feel like, ‘okay, I wasn’t really a great bass player; but I was creating the way I still create today.’ I hear melodies, and I hear things come in; I’m not just trying to lay down a root and hit the kick pattern. I grew up listening to Sting, Paul McCartney, and John Paul Jones — those would’ve been my heroes, as far as bass goes. Those were the type of basslines I liked. You can hear it in John Paul Jones, playing a melody on Ramble On . You don’t have to even think about how many melodies are on the basslines of Paul McCartney and Beatles tunes, and that’s the way I feel. And my fourth biggest, or as far as big influences on how I approach creating bass parts for a band, is [U2 bassist] Adam Clayton; I’m always attracted to his style, and what he did with the bass in a band.

Ian Saint:  That’s awesome! Well, thank you, Will Turpin — very much — for speaking with us at WOUB, your PBS and NPR affiliate at Ohio University. We look forward to welcoming Collective Soul to the Paramount Arts Center on Friday, October 20. And in the meantime, safe travels.

Will Turpin:  Cheers! Thanks; I appreciate your time. Come celebrate with us!

Collective Soul plays the Paramount Arts Center (1300 Winchester Ave.) Friday. For tickets, and a full Collective Soul tour itinerary, visit their official website: https://www.collectivesoul.com .

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Collective Soul Shares Details of ‘Half & Half’ EP and Band Dynamics After 25 Years

by Macie Bennett April 27, 2020, 9:47 am

Venturing into late forties and early fifties, most people have already settled down and start to feel the aches and pains that come with stepping into the early bird breakfast category.  On the contrary, this is a milestone time and age for Collective Soul, as they say they are in the best shape ever as a band.  

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Bassist Will Turpin laid out all the ins-and-outs of the alt-rock group’s songwriting and longevity, while also sharing what else is on the Collective Soul front.

“We’re really just in a good flow right now as far as creating,” Turpin told American Songwriter. “Ed’s always been a prolific writer, he’s never had a shortage of ideas.  When we get together everything really clicks.  And with musicians it’s not like you necessarily slow down in your late forties or early fifties.  Musically we’re kind of on point, we’re in the best shape we’ve ever been as far as being able to mentally focus on what’s important with songwriting and being able to come together as a band.  It’s really a group of people that can work together as one and we’re really good at that right now.”

Coming off their 2019 tour, which marked their 25 th anniversary and served to promote their latest full-length Blood , they wasted no time getting back into the studio for their 2020 four-track EP titled Half & Half.   The EP is a short and sweet taste of classic Collective Soul originals split with two never recorded tributes to R.E.M. and Neil Young.  As avid fans of vinyl, Collective Soul opted to offer the EP as a limited edition 45 rpm/180g vinyl release as part of an exclusive for Record Store Day on June 20.  

R.E.M., also a Georgia native band, Collective Soul always had a special connection to their music, leading them to create their own version of the R.E.M. hit “The One I Love,” for Half & Half .  A groovy revamp of Neil Young’s “Opera Star” made its way onto the EP as well. 

“We grew up in Georgia so R.E.M. was a bug influence on us,” Turpin shared.  “I remember being a teen and being so proud of R.E.M. because they were from Athens, which is just an hour east of us, so they were always a big deal to us.  And we started playing that song live and it was a really fun cover to do.  The Neil Young tune-we’re just big fans and we wanted to do something fun in the studio, something different for our fans.  We haven’t done a whole lot of recorded covers in our career so we just decided to make that part of Half & Half .”

Collective Soul’s perpetuity and ability to keep churning out great material year after year with very little gaps, is a true test of their brotherhood and is very telling of their inner-band dynamics, something Blood also was themed on.  

“It’s about family, it’s about the people that came before us, about the band being a family,” Turpin said of the album.  “It’s about legacy and working hard, pouring your heart and blood into your work as well.  It’s a theme that covers a lot of things.”

One other key factor guiding the groups songwriting and steering success over the years is the clear and mindful vision of Collective Soul.  They know the sound and idea of the band-everyone is on the same page and they know pretty quickly what songs will make the cut or not.  And while this is a definite advantage, the group also understands the value of self-expression through side projects.  

“It’s not really about ‘this is my idea or this is their idea’.  It’s really about just getting in there and putting all ideas out there,” Turpin shared on the writing process.  “And we know what feels right.  When we’re in the studio trying different things it’s pretty obvious as to what will make it on the record. We’re really all on the same page right now in true band form.”

“It’s kind of like we have this idea of what Collective Soul is,” he continued.  “Dean, Ed and I all work on music in different styles outside of Collective Soul, so when we want to do something different, we’ve always thought that it’s beneficial for us to work on those ideas outside of Collective Soul.  And when we go back to Collective Soul, we’re kind of stronger as a band.  So, we think it’s pretty important to work on our own ideas every now and then, so you don’t think everything has to be under the Collective Soul umbrella.”

Collective Soul’s vision is something they remain steadfast on and are always working to improve, remarking that they’re only as good as their next song.  It has served them well and led them to selling millions of records in their nineties heyday and continues to advance their career today as they push to remain a timeless fixture in rock music.  

“ We were selling millions of records in the nineties, but you still always think you’re only as good as our next song or record,” said Turpin.  “At some point you realize ‘oh my god they’re not going to quit playing our music’.  I’m going to be dead and gone and people are still going to be listening to our music.  That to me was the definition of ‘made it’- that our music is going to stick around much longer than we will as humans.”

So, here’s to persevering music and fingers crossed, we can all get out to our favorite mom-and-pop record stores on June 20 to pick up a nugget of 2020 Collective Soul, while building up those vinyl collections by adding a copy of Half & Half . 

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Damien Jurado Shares Faith in Songwriting

© 2024 American Songwriter

Ezra Collective interview: ‘Politicians aren't gonna be the saviour of our communities’

This time next week, London will have elected its Mayor for the next four years. But despite the outcome being somewhat predictable, Sadiq Khan had better keep an eye on a surprising last-minute entry to the race. ‘Maybe I will run for Mayor of London,’ contemplates Femi Koleoso, drummer of the UK’s most in-demand jazz quintet, Ezra Collective . ‘I can’t afford the Tube. Tap, tap, tap, what do you mean £17!? Under-18s should travel for free so they get to whatever school or youth club they wanna get to. And I’d get rid of peak times. You’re just punishing all the people who have got to get to work at 9am.’

That’s not all on Femi’s manifesto. ‘I would make London noisy again. I would disregard any noise complaint made to an establishment that was there before you lived there. If you chose to live next to Fabric [nightclub], that’s on you.’ He’d also scrap the 20mph speed limit in Islington and bid for the World Cup: ‘It’d be good for morale.’

Football is on the group’s collective mind for two reasons. The first, they’re itching to get home to catch the Arsenal game. And second, they’ve just announced they’ll be headlining Wembley. Not (yet) the stadium but the arena, and later this year Ezra Collective will make history as the first-ever UK jazz act to headline the venue. ‘That’s so rock ’n’ roll, innit?’ Femi grins.

The six of us are sitting at a roundtable — literally — and I don’t think I’ve ever had so much male attention at one time. Femi, alongside younger brother and bassist TJ Koleoso, saxophonist James Mollison, trumpeter Ife Ogunjobi and keys player Joe Armon-Jones, are discussing their imminent world tour: ‘You’re looking at buildings that are associated with rappers and rock stars and playing that same brand of jazz music that we were playing as teenagers. I couldn’t be more excited,’ says Femi.

Their certain brand of jazz is blended with blazing hot flavours of Afrobeat, dancehall, calypso, reggae and hip hop. In their last album,  Where I’m Meant to Be , their rare, sonic sweet spot was noticed worldwide and to critical acclaim. It’s rumoured that the etymology of ‘jazz’ comes from a 19th-century slang term for ‘energy’, and never is a room more energetic than when Ezra Collective perform.

Little did they know that when they released their album 18 months ago that it would change their lives, make them the first jazz act to win the Mercury Prize and take them on a knackering-yet-wonderful whirlwind that doesn’t seem to be slowing. They were the underdogs of the 2023 Mercury Prize Award, but like an Arsenal match, they explain, you have to assume that you won’t win. ‘I put money on us winning,’ says James, ‘but more to have faith in ourselves, not because I thought we’d win. The odds were so stacked against us.’

Facing the likes of Raye, Loyle Carner and Arctic Monkeys , did the rest of the band place bets? ‘I thought Olivia Dean was going to win,’ says TJ. ‘It was hard not to look at Raye and her story and her narrative and not think that she could win,’ says Femi, while James thought Jessie Ware had it in the bag. ‘Although we were the first jazz act to win the Mercury Prize, we weren’t the first jazz act to deserve to win the Mercury Prize,’ Femi reminds the room. So why now is the genre being given the flowers it deserves? ‘There was a barrier to jazz music in the way it was perceived by the general population. It was stereotyped into an elitist, intellectual space and it took some smashing down to change that. We’re standing on the bricks of every single show a UK jazz act has done. It may take a village to raise a child, but it takes a village to raise a band as well.’

It may take a village to raise a child, but it takes a village to raise a band as well

Femi Koleoso

The village that raised this band was the Camden youth club and jazz programme, Tomorrow’s Warriors, founded by music manager/producer Janine Irons and double-bassist Gary Crosby. All London-born and raised with the exception of Joe, from Oxfordshire, who jokes that he feels like an outsider constantly —  ‘He uses Google Maps to get home!’ —  the five met at the youth club in their late teens and have never looked back. With over a decade under their belt, they must bicker at times? ‘I once heard someone say: “The essence of family is loving someone you don’t always like” — we’ve morphed into that place. We’re not going to agree on everything,’ says TJ. ‘Bands are made great by disagreements,’ adds Femi. ‘If we didn’t disagree, we’d be solo artists.’

One thing they did agree on was the necessity to carve out their own space within the London scene. ‘As a teenager I was going to Ronnie Scott’s and other places like that and there was definitely an imposter syndrome because a lot of the time someone who looked, dressed or sounded like me wasn’t represented on that stage. Particularly in that specific space [Ronnie Scott’s] and in those types of jazz clubs, it could sometimes feel like that [inaccessible]. We ended up finding a lot of our own corners of London to play in,’ says Femi.

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Corners that they will continue to revisit for the rest of their lives are the capital’s youth groups. And whenever they can, they’ll bring the next generation along for the ride. ‘It’s like, yeah you can bring 30 kids on stage, but you’re going to lose a fortune if you do that. It’s an uncomfortable decision but it was the right thing to do. That’s what we believe in.’

Everything that they do is about giving back to the community that raised them. In 2023 they donated a portion of their gig fees to youth organisations. They attribute their success — and the elegance they have with their instruments — to great teaching, and it is for exactly that reason that they’re taking on the responsibility themselves. ‘Here we are. Talking about playing at Wembley, doing a fancy photo shoot. Looking mad cool. But, one day, and this may break some people’s hearts: no one will care about Ezra Collective. One day we’re not going to be the person that you ask to be on  ES Magazine . But that’s okay. Because that “one day” means there’s space for someone else. What lasts forever is what you gave to people when you had that platform.’

One day we’re not going to be the person that you ask to be on ES Magazine

Femi’s sentiment is particularly poignant now, in the wake of severe funding cuts to youth services and constant attacks on the arts. It’s enough to  have made Ezra Collective lose all hope in the Government. ‘I’m not looking to any of these politicians — don’t ask me left, right — none of them are gonna be the saviour of our communities,’ says TJ. ‘The fact that I live next door to someone who is at school right now and wants to become a musician means that I have a responsibility myself to try and help that person.’

He continues. ‘Every general election it’s the same thing. It’s people looking at manifestos and thinking, “Okay, they’re promising to do X,Y, Z,” and then being shocked when they don’t follow through on their promises!? Like yo, fool me once, shame on you, fool me twice, shame on me. We’ve been through enough.’

Speaking of manifestos, Femi wants to add to his mayoral pledge. Last year, we lost a devastating total of 125 grassroots music venues across the UK. ‘I have the answer,’ he says, clapping his hands together confidently. ‘Can you imagine if someone said they wanted to build a flat in Hyde Park? Westminster Council would probably kick you out of the country for suggesting something so mad. But that’s how you protect things. We need the same attitude that we have to parks to the other buildings in our city.

‘We say this thing is Grade five-listed, and so you can’t smash it down. But why can’t we list what it was built for. Why can’t we say this building is Grade eight-listed for dancing? This year it’s gonna be called Bar Salsa, next year it’s gonna be a techno club, but it will always be for dancing. Charlie Wrights in Hoxton was a jazz club. It was sold and turned into flats immediately. It was worth a lot more to Hackney Council as flats than it was as a jazz club. However, being a jazz club was good for the soul of the community.’

On the subject of things that should have been left alone, how do Ezra Collective feel about  Back to Black , the new Amy Winehouse biopic based on the jazz icon’s lyrics? ‘I just think when someone’s passed away: let them sleep, let them rest. It’s a horrific thing to do to keep resurrecting them in that way,’ says Joe. ‘I don’t need to see the film, I saw it in real life,’ says Femi, before his younger brother jumps in — ‘When it comes to biopics you have to ask, are the family involved? Are the right people involved? How was this film made? With the Tupac biopic the wrong people were clearly involved, that was a disaster,’ says TJ.

I just think when someone’s passed away: let them sleep, let them rest. It’s a horrific thing to do to keep resurrecting them in that way

Joe Armon-Jones

Do they see an Ezra Collective biopic in their future? Grammys, stadiums, No 1 albums? They once said that winning the Mercury Prize was far from their final goal. So how do they envision their highest peak? ‘Winning it twice!’ laughs Femi. ‘It’s only when we have a greatest hits album that we’ll be able to look back and pinpoint, “That was the top of the mountain,”’ says TJ, as Joe cuts in: ‘But it’s all over when you get to the top of the mountain, then it’s only back down again.’ For now, Ezra Collective are enjoying the climb.

Ezra Collective plays OVO Arena Wembley on 15 November. Their new single, ‘Ajala’, is out now.