RockOm

By Tom Crenshaw and Trevor Harden

Acoustic-reggae rocker Trevor Hall's new self-titled album (Trevor Hall, Vanguard Records) features guest performances by Colbie Caillat, Krishna Das and Matisyahu. Over its 12 fantastic tracks, he explores themes of spiritual lightheartedness ("Internal Heights"), death and surrender ("Who You Gonna Turn To?"), unity between faiths ("Unity"), the story of Krishna ("Volume"), his accepting of all spiritual paths as one truth ("Many Roads") and more.

RockOm met up with Trevor at his CD release party in his hometown of Hilton Head Island, SC to discuss his spiritual practice, a chance encounter in India and themes from the new album.

RockOm: How does it feel to be in the Vanguard Records family now?

Trevor Hall: Vanguard is great. They’ve really been amazing. They’re much smaller than my previous label but it makes it more of a family vibe. They’ve been very helpful with promotion and hooking me up with some nice people and have been wonderful to work with. I’m really looking forward to seeing the rest of what they do with the record.

RO: One of your classic songs, “Lime Tree”, made it’s way back onto your new album. What was the decision to include that again?

TH: That’s such a popular song and it’s only on one EP from a long time ago so we wanted to formally release it and redo it – I’ve grown a lot since then. We had my friend Colbie Callait come in and sing on it which was great and it just fits the record I think. We only redid that one and “31 Flavors” but the rest of the album is all new material.

RockOm: Let’s get into some of those songs. In “Who You Gonna Turn To” you repeat “Surrender to the Most High; surrender, I say surrender.” For people who are not sure how to do that, what would you say to them? What does surrender look like or mean to you?

TH: Well, I’m trying to do that myself! [laughs] But before we jump into the songs it’s important to understand that a lot of the songs aren’t where I’m at presently. They’re all speaking to me too, you know? I’m singing what I’m hearing so they’re all lessons for me too – speaking to me, teaching me. I’m trying to surrender, too, so I don’t know what I could say to other people. But from what I’ve heard from people above me is that surrender is a very powerful thing. Especially in music - music automatically demands a state of surrender when you listen to it. Or if you’re in a live setting, you can’t dance or let yourself go unless you surrender to the sounds. Music is a very powerful instrument in helping with the process of surrendering, I think.

“Who You Gonna Turn To” is a song that is obviously about dying but it’s maybe not bodily death. Maybe it’s more of an ego death or something. Who you gonna turn to at the end of your life when all this is gone? Are you going to turn to your money or your friends? You come alone, you go alone. It’s a song about death but I think it’s a very positive song because it’s saying “I know who I’m going to turn to.” “My mama’s on her lion and papa's home in Zion” – the eternal Mother and Father, that’s who I’m going to turn to.

RO: On your previous albums, images of the divine seemed to be mostly (though not entirely) feminine - such as Durga and Shakti - but it seems like in this album there are some references to a father/masculine divine who often is referenced alongside Zion. I was curious if that's been a new development in your spiritual journey and/or if your friendship with Matisyahu had some influence in that.

TH: I don’t know, I just think that’s what was coming through. Where the Mother is, the Father is too. Where the Father is, the Mother is too. I don’t know if it was another aspect of my inner life but that was just my meditation at the time. I think I had been meditating on the “divine Family” rather than one parent. I don’t know if there’s anything “secret” there or not – I hope so! [laughs]

RO: In the song “House” you sing “far beyond what you call God.” Do you think we limit ourselves sometimes by holding an image in our head of a personification of God when in reality there could be so much broader of an understanding?

TH: I think it can. But there’s so many different ways to love God. They’re all the same goal to me. I don’t know what other people think, but to me it’s one goal. Some people worship God with form, some people worship God without form. Some people say that worshiping God with form is limiting God, but in my experience I think that all ways eventually lead there. It doesn’t matter what you’re doing as long as you love God. That’s what I think. It doesn’t matter if you’re married or not married, it only matters how much you love God. It doesn’t matter if you’re in the city or town or temple, it just matters how much you love God.

I was watching this movie the other day about one of my favorite singers and they interviewed this fruit vendor in India. She sang this devotional song and it just blew my mind. And she’s a fruit vendor – do you know what I mean? She doesn’t have a garb on; she isn’t a nun. Wherever you are, that’s it. I just think that love of God is the highest thing, so whatever helps with that and keeps you open minded is all right in my book.

RO: On “My Baba” - your tribute to Neem Karoli Baba – you have chant master Krishna Das singing on the chorus. I'm sure that was a joy and pleasure to have him agree to back you up on that song. Tell us what having him on the record means to you as well as how that came to be.

TH: That was big time! [laughs] I was very happy. I had only met Krishna Das one time and the way I had met him was kind of funny. I had talked to him on the internet and we have a mutual friend. He was going to India the same time I was and he sent me an email that said, let me know where you’re going and your dates because maybe while we’re there we can link up. I said I would let him know but I never did just because I was so busy and couldn’t remember. It was my first trip to India so I was a little antsy and so I never got around to emailing him. So one night we’re in Rishikesh, which is a little town in the Himalayas right by the Ganga, that is absolutely gorgeous. We went into this little café to eat dinner and my friend said, “Hey, there’s Krishna Das.” [laughs] I turn and over at the next table was Krishna Das and all these people were around him asking to get pictures. He looked kind of bummed out, like he wanted to get away. So I waited until everyone left and I went up to him and said, “Excuse me, Krishna Das?” and he groaned, “Yes?” I said, “I don’t mean to bother you, but my name is Trevor.” And he was like, “Trevor! Why didn’t you email me?!” [laughs] We talked for a little and found out we were going different directions but we saw each other and it was kind of like Baba’s play. It’s just so funny. It’s the only time I’ve seen him physically.

But with the album I had this song called “My Baba.” I really wanted to do a song for [Neem Karoli] Baba because he’s my biggest inspiration. As the song was coming the chorus happened to be “Hari, Hari, Mahadev.” As we were going into the studio I thought, man it would be cool to get Krishna Das to sing on that. So my manager contacted him and they talked for a while. When he heard the song he thought it was great and said “Let’s do it.” He didn’t come to LA because he was busy but we sent the track to him and he recorded it and sent it back. He’s so awesome; he didn’t ask for anything, he’s such a great guy. It was a big thing for me because I love Krishna Das and he’s part of the Neem Karoli Baba family. That’s probably one of my favorite songs on the whole record.

RO: In "Many Roads," one of the lines that resonated with me most is "Are you made from magic? Are you made from wishful thinking?" As people of faith, those questions still come up, don't they? As much of our life and lifestyle are dedicated to serving and loving God, there's still those moments that we have to ask whether it's all a figment of our imagination. What do you do when the doubt comes?

TH: It seems to come often, doesn’t it? [laughs] You just have to have faith. Baba said that many things go into one's spiritual practice but the three main ingredients are faith, devotion and patience. For me it’s hard to remember it’s not an overnight process. You have to plant the seed, you have to water the seed, you have to cultivate the land and cultivate your mind. You get impatient but that’s where you’re growing. You know, there are yogis in India who have been doing this for thousands of lives. They’re up in the caves chanting God’s name 24 hours a day and here we are – you do a mala in the morning and you’re like, “Hey, where is it [enlightenment]?” It’s just you have to be patient. Baba also says that we may forget, but God never forgets about his devotees. God never forgets about us even if we’re doubting so you just have to believe. I mean, where can you go [away from God]?

RO: In the song “Volume” you talk about the silence that can be found. How would you best tell someone to begin finding some silence amidst all of life’s noise?

TH: Oh God, you’re asking the wrong person. [laughs] My mind is like a freakin’ jukebox and I don’t even know what CDs are inside it.

RO: But you find it onstage at times?

TH: Yes, well everybody has a way of finding silence - whether you meditate, whether you sit by yourself and listen to your breath or listen to music. But for me music is very powerful and there’s a place where the sound is coming through and you’re just listening to the sound. When you’re singing you’re listening and you don’t feel like you’re doing anything. It doesn’t happen often but when it does, whew, it’s heavy. Sometimes outside it’s so loud but inside it’s just so silent. Like, I feel that in a lot of places in America, outside it’s silent but inside we’re not very relaxed. But in India it was very different for me – outside there was noise and all of this stuff but inside people have a little bit of silence. So it’s kind of a trick - Mother’s trick, an illusion. You have to be careful, she can trick you. [laughs]

But with “Volume” the chorus is “Close your eyes and hold me and no harm will befall you.” Krishna said that to the gopas, his friends in the field. “That’s what is spoken to me when I turn down the volume.” You can’t hear it until you quiet down.

RO: You’re going to have a lot of young people here at the concert tonight. Some of that is going to bleed over. They’re going to look at you and go, “This cat’s got his act together” – little do they know… [laughs]

TH: Little do they know the TV I watch [laughs] and the things I do in my off time.

RO: But if they listen to the words to that song, it gives them lots to relate to.

TH: The whole song really is about Krishna. “Rain comes down but he holds the mountain; Blue like sky, can you tell me why?” Krishna’s skin is blue and then my favorite story about Krishna is where he holds up the mountain. When he was a young cowherd boy in the fields, his village would pray to Indra, god of rain, to give them rain for their crops. One day Krishna said, “Does Indra accept your offering? Does he come down and eat it with his own mouth? There’s no need to do this. Just believe in me and everything will be fine.” So Indra has a little bit of ego and gets very mad that this little boy is taking away his worship. So he holds the rains and then one day he just lets it flood. All the people in the village are very worried. They think they’re going to drown and that Indra is going to kill them. So they go to Krishna and say, “You have to help us. Save us!” So in Vrindavan there’s a place called Govardhana Hill and you can go there today. And Krishna lifted up the mountain with his pinkie and held it above his head. There are many famous pictures of this. All the villagers come under the mountain and they have a big festival for seven days where they eat and drink and be merry. It really humbled Indra.

So that’s the opening line, but all of the references in “Volume” are about Krishna’s life.

RO: The album’s opening song is “Internal Heights.” What does it mean for you to "maintain internal heights"?

TH: That’s just it right there. That is the goal of my life. Where does your strength come from? The eternal Giver. Maintain internal heights. “To see the transcendent Being, got to keep your hands clean.” Maintain internal heights. Internal heights, always, everywhere you go. It’s hard but this song is a remembering. This is the first song and sets the theme for the whole record.

RO: In last year’s RockOm interview you said, “Everything is meditation.” Is everything still meditation for you?

TH: Yes! [laughs] Sometimes you don’t remember it’s meditation but then it gets you and you’re like. Oh! There it is again – that lesson! Too many lessons!

Links:

Trevor Hall's website

Trevor Hall on iTunes

Vanguard Records

Photography By:

Kellie McCann Photography

RockOm August 2008 Featured Article

Musician Trevor Hall's credits include 2006's John Alagia-produced, four-song EP, The Rascals Have Returned, on Geffen Records, a six-track live EP, Trevor Hall Live, recorded at the Mint and Hotel Café in Los Angeles, and his 2004 indie debut, Lace Up Your Shoes, also produced by Alagia (Dave Matthews, John Mayer, Jason Mraz).

Trevor's songs have appeared in numerous feature films and television shows. Most recently his song "Other Ways" appeared on the Shrek the Third soundtrack. He also covered the Band's "Life is a Carnival" for the recent star-studded tribute album Endless Highway: The Music of the Band.

Trevor has toured extensively with Steel Pulse, Rusted Root, Keb' Mo', Ziggy Marley, Stevie Nicks, Matisyahu, and Colbie Caillat to name a few, and has also opened for Jason Mraz, Donovan Frankenreiter and Ben Harper. RockOm's Tom Crenshaw met up with Trevor at Erskine College in South Carolina, where he was performing with percussionist and close friend Chris Steele.
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RockOm: I asked Abigail Washburn a couple of weeks back a long convoluted question and she let me know that what I really should have asked her was summed up in the simple question, "Why do you sing?" and so I'm going to ask you: "Why do you sing?"

T: Why do I sing? I like the feeling of singing. Melodies, they just make me feel good. Singing is a good way of expressing yourself and a good way of talking to other people through song. That's a good question; I never really thought about it. I think it's just a natural thing. I've always sang and keep on singing.

Tom: Tell our readers about your new acoustic CD coming out soon, titled This is Blue.

Trevor Hall: This is Blue is a CD that I just recently recorded with my friend, percussionist Chris Steele. The CD was inspired by a number of things. While recording this record, I was meditating on the simplicity of life and bringing things back to their roots. I have always wanted to record a "stripped down" CD. Over the years, I have written numerous acoustic/folk songs that I have kept locked in my "vault," so to speak, and have never had the chance to play them anywhere. I recorded some of those as well as many new tracks just recently written.

RO: What inspired this CD?

Trevor: Most of the songs are in the theme of rising above and keeping strength. While things may not always go the way you thought they would, I try to remember that everything is the Grace of the Almighty and to keep my strength in the Higher Presence alone. . . the Source of all things seen and unseen.

RO: What's it like collaborating with percussionist Chris Steele- how did you two hook up?

Trevor: Chris Steele is my main brethren. We must have linked up and created some wacky music in another life because we get along too well. I don't think we've ever fought with each other, and that is a lot to say when being with that person 24/7 while touring and playing around the country. We met at an audition a couple of years ago. I was looking for a percussion player to start playing acoustic shows. He was the first guy I saw. After hearing him play, I didn't need to see anybody else. He's been playing with me ever since. It's that simple.

RO: What should listeners expect from This is Blue?

Trevor: I don't know what people should expect. Because no label or producer was involved in recording this record, we had a lot of freedom and really just tried to be true and pure and most importantly... have a great time. Things are more stripped down musically on this record, but not stripped of content. I really poured my heart into these songs and tried to share my thoughts on strength, positivity, life, and the Almighty. I am just happy that I am able to share some new music with everyone. It's been such a long time. It looks like the album will be out late summer or early fall...God willing. Until then...only love.

RO: You also have your debut LP with Geffen out later this year, called The Elephant's Door. It's produced by Abe and Matteo Laboriel; Abe is Paul McCartney's drummer. How did that happen?

T: I met them through Ron Fair, who is the president of Geffen. He introduced me to Abe and his brother and I was asked to collaborate with them for a bit and to see if it vibed and it went really, really well. We did a couple songs and we showed Ron, who said, "Why don't you do a whole album?" We stuck it out and did a record together.

RO: What was the process like working with Abe and Matteo versus what you've done in the past? These are some pretty heavy hitters.

T: These guys were heavy hitters but they came off as teddy bears. When you see them you're like, "Oh, man!" because they're big guys. Abe's got a shaved head and big earrings and you're like, "Wow, these guys are intense," but they're the nicest guys in the world. They have the biggest hearts. This was a lot different because it was more intimate, it was just us three. We had nobody coming in and out of the studio, nobody checking in on us, which sometimes can be a little bit of a distraction. It was really focused. We didn't have many plans, we were like "Whatever comes up today, let's record this song." It wasn't like, "Okay, we're going to record THIS group of songs." It was very free and very: "Lets just see what happens."

RO: It sounds like Geffen is being really good to you, giving you the opportunity to expand and search and find what you want to do. It's kind of opposite of what a lot of labels do now, telling folks what to do, how to do it, how fast they're going to do it, how much they're going to make. What do you feel is different with you and Geffen?

T: I don't know; we definitely have our hiccups. It's not all [perfect]. You just work through it and figure it out.

RO: You no doubt have a very deep spirituality which you communicate through your music and songwriting. You reference one of my heroes, Neem Karoli Baba, and there's a reference to Shiva in a couple of your songs. What's been your spiritual journey? How did you get started down this particular path of spirituatlity?

T: It's all grace, really. I didn't ask for any of it, it just struck a chord. In boarding school, one of my good friends had a picture of Neem Karoli Baba on his wall and his father was with Neem Karoli Baba in the body. I saw the picture and I was really attracted to the photograph and said, "Who is that?" We stayed up all night and he was telling me stories of Neem Karoli Baba. That's how I started and from there it gets deeper and deeper with every blink of an eye. Before I knew it, here I am. I didn't ask to be in this path but when you feel love, you want to give it back.

RO: You've toured with some different acts, a lot of diverse groups, but one thing that struck me as interesting is your touring with Matisyahu. You guys are from totally different faith traditions. Where did you find your connection spiritually?

T: 'Matis' is a devotee and I am a devotee. He is Jewish and I am not Jewish, but we both love God. We love divinity, we love singing for the Almighty. I think that connection right off the bat was what brought us together. He's been kind of like my big brother throughout the game, giving me advice and taking me under his wing. He showed me some stuff that just inspired me because it's really quite something that he's doing. We talk about our beliefs all the time, but it's never an argument. It's always a comparison, how things are similar. It's never been an issue of "I'm right and you're wrong." 'Matis' is a very open guy, he's open minded not only in his beliefs, but in his music and new ideas so that's what makes him so much fun to be around. It's not his way or the highway, it's just, "Let's get together and see what happens."

RO: Is it risky being as transparent as you are, as Matisyahu is, in regard to spirituality? Is it risky to do it as blatantly as you guys do with your music?

T: Well I think he's a little more out there (laughs). I'm not, like, going on stage with a sheet around me or anything. But I don't think it's risky at all. At his concerts, not everybody's Jewish, but people feel the love. It starts a core and everybody wants to feel it. He's not up there singing, "My way is the only way," he's singing about love, or his love for his ideal. And I'm doing the same thing, we're all in it together, we're all in it to figure things out.

RO: I've had an opportunity to see how audiences react to what you sing and there's no doubt that what you're doing emanates from the heart and really communicates. Who gives you inspiration musically? Who do you look to that you get that from?

T: I'd say the biggest influence is Bob Marley, not just from a musical standpoint but from the way he lived his life. I've read countless books and biographies and everytime I hear his voice and think about him, he's really a strong presence, even now. His body is gone but I think he's still hanging around. It's really inspiring because every time you hear a Bob Marley song, it's joy, it's happiness. It's so positive, no matter who you are. And he was doing the same thing, he wasn't saying "my way is the only way." He's a big influence and Matisyahu is a big influence, but musically I listen to a wide range of music.

RO: You traveled to India twice recently. What's that like?

T: (laughs) It's the best place on earth. India is a golden bird. She is a golden bird. Everything there is gold. Everywhere you look is just shining, even the poverty. It's just so vibrant. Every minute you are getting cut up - your ego's getting cut up, your attachments, you are getting sliced up left and right. Sometimes it's hard, sometimes it's fierce grace, but it's just a magical place.

RO: You did some charity over there...

T: My teacher's ashram, my teacher's temple, is called the Yoga Vedanta Kutir. It's where they take these young orphan boys and they teach them yoga and religion and send them to school; they're poor boys. I really love kids in general and while we were there, for ten days, I just fell in love with these magic boys. They're divine children. When I got back and thought we should do something so I did a little benefit concert and accepted donations on their behalf. We set up an account for them at a bank over there and we put money in there every couple months, so it's a very low key kind of thing, but it's a great gift.

RO: What do you do right now for practice spiritually? Do you meditate? Do you sit and meditate, do you walk and meditate? Is being on stage meditation for you?

T: Everything is meditation. Everything is the guru's words. Every situation is the guru's situation. When I first started being on the road, I was getting really frustrated because nothing is on time, nothing is where it's supposed to be, what it's supposed to be. At first I got really frustrated and tight and then over time, it's a total practice. Everything is a practice. For me, I've accepted, "Okay, this is my practice." I really had to surrender to everything, where you are, the people. You can't have any attachments on the road because nothing's going to last. Same thing in life, too. Neem Karoli Baba said, " A yogi who's always on the move is like flowing water, no impurities can stick to him." When you're on the road, you meet people but that's it. That night, that's it. Next night, that's it. You can't get attached to anything so it's a good lesson. On the road, I sit. I always sit every morning, no matter if I got four hours sleep, if it's for five minutes, I sit. You gotta sit. Baba said that everybody's highest duty no matter what is to sit. A set offering every day, no matter if you sit for five minutes, say one prayer, or whatever. I have to follow my teacher's teaching.

RO: Do you feel like you're here to accomplish anything in particular?

T: I am an instrument myself. I don't know what there is to accomplish. I have my own goals within myself and in my spiritual life, but as far as musically, this is where I am and this is how I'm being played on the chessboard. I don't really have any goals. I have things I want to do, obviously, maybe some charities once I get more cash flow and set up some things I can do. But it's enough for me to get off stage and someone says a comment, even if it's one person. Some things people tell me are such nice things, but again I have to remember that it's not me, that it's something that's working through me. Because if I take credit for it, I get my head chopped off. You have to stay humble.

RO: How do you see the dance that's moving through you playing out over the next five to ten years?

T: Man, like I said about the road - you always think you know how it's going to go, but you don't. It's truly in some other thing's hands - whether you want to call it God or Jesus or Ram, Sita, Krishna, Shiva, Allah, Love, whatever - something else is going on. For me, until I accepted that fact that there was something else, my life was just miserable. I would get so frustrated. But you have to have faith and devotion that everything will change and everything's alright. That everywhere you are, that's where the action is. That's where the temple is. That's some of the greatest advice that anyone's ever given me. Because when I went on the road at first, I always wanted to be in the temple, I didn't want to be on the road. But a great friend of mine, a great role model of mine, said to me, "No, you have it all wrong. Wherever you are, that's where the temple is. That's where the action is. Wherever you are, that's where you worship." I haven't figured it out yet, but I try to remember that as much as I can. Wherever you are, that's where the action is.

www.trevorhallmusic.com

www.myspace.com/trevorhall

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Photography by Joe Mozdzen - http://mozdzen.com/

[Interview Edited by Andrew Hoogheem]

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RockOm July 2008 Featured Article

In yoga centers and practitioners' MP3 players worldwide stream the melodies and voice of artist Krishna Das. Krishna Das' legendary history began with befriending spiritual teacher Ram Dass and soon thereafter becoming a disciple of Maharaj-ji (Neem Karoli Baba). Today he records albums and tours the world leading kirtan (devotional music) and has sung for and with many of the world's foremost spiritual teachers and musical artists. KD recently shared with RockOm's Trevor Harden about his rock'n' roll past and the influence of his guru.

RockOm - In the yogic tradition, there are several pathways to connecting with or serving God. You've chosen the devotional path, which is carried out through song. From Krishna Das kirtan sessions to Sunday morning church services, why do you believe music is such a powerful agent in connecting us with the divine?

Krishna Das - That's a good question. Music is a way people can get out of their minds, get out of their thoughts. It's something they can do themselves with their body and with their voice. It's something they can give themselves to without any artificiality; it just moves you. The rhythms of music and the sound and all those things helps people get out of their heads. I saw the new Rolling Stones movie at the IMAX that Martin Scorsese directed and they played some stuff from way back, stuff from their early albums from when I was in college listening. I broke out crying because those songs were so important to me at that time. They helped me so much to get through hard periods. It was so powerful for me. Our emotions are able to move into the flow of music in a way that's very beautiful. With chanting, there's music involved but also something else which is called the Divine Names in the East - the names of God or the names of that place in us that's ok, the place that we forget a lot. By melting the music in with these sounds, we not only get that ability to move out of our minds, but we also move into something that's more lasting in our own hearts - in our own self. No matter how much that music of the Stones helped me when I was young, it didn't give me something lasting. I'm not trying to put music down in any way, but the spiritual aspect of music doesn't necessarily come from the music itself. It can come from the person who's doing the music. It can come from what's in the music, what's put into the music by that person. The intention of the musician is very important.

RO - You mentioned the Stones; were there other artists or albums when you were a young man or teenager that also spoke to you?

KD - The blues. Mississippi Delta blues, country blues. When I heard that music, I fell over. I grew up on Long Island in the '50s and '60s. The '50s were a very superficial time - Eisenhower was the president; it was a weird time. Everybody was repressed, nobody talked about anything. And then I ran into the blues and I could not believe it - the power, the presence, the wisdom and the intensity of the experience of these musicians like Mississippi John Hurt, Rev. Gary Davis, Skip James, and Robert Johnson. I couldn't believe how real this stuff was and how it cut through the nonsense of what I was living with every day. That music really changed my life, absolutely. And in some ways, what I do - I'm really still just a blues singer. It's big blues, but it's blues.

RO - It is well noted that your time in India brought you to the feet of Neem Karoli Baba. What, if anything, did your guru have to say about music?

KD - Not much other than, "Sing!" He wasn't a teacher. He didn't do a lot of intellectual talking. He didn't explain a lot of stuff but he guided each of us to finding our own way to help ourselves. He always asked me to sing - he asked all of us to sing - and the chanting became very important to me so I just kept up with it. Once again, he talked about the Name, the repetition of the Name. It is like calling out when you're in love with somebody, your heart is always calling them - calling their name and bringing their face and their presence to your mind. It's the same thing. Through this music, we're calling that Love - the essence of all that Love - to bring into ourselves, to bring it into our moment, into our lives. That's what the practice is about.

RO - You're currently on tour throughout the Eastern U.S., including June 28th at Charleston's Jivamukti Yoga and June 30th at Atlanta's Variety Playhouse. What have you learned over your years of touring and leading different kinds of people in different parts of the world in devotional singing?

KD - Get enough sleep! [laughs] For me, it's like being with family. No matter how many people are there, no matter where I am, no matter what language they talk it always feels like family to me. It's a wonderful feeling. I've found that everybody's the same, everybody wants the same thing. Everybody wants some relief from the intensity of the stuff that happens every day to us. We want to find a way to live with that. Everybody wants that love, everybody wants to find that place no matter where they are on this earth. You can see that a lot of us don't know how to go about doing that and that, instead of helping us find a way to deal with it, our very actions make more stuff to deal with. That's the same across the board everywhere. I've learned that everybody's the same.

RO - And you feel that through your sessions with these people it's helping them through this process a little?

KD - It's certainly helping me. I don't know about them. I would hope so, but I know it's helping me.

Krishna Das is currently on tour in Georgia, South and North Carolina and a few states in the Midwest, among others. Check out his tour schedule as well as much more information at www.krishnadas.com.

www.krishnadas.com

Top photo by Carla Cummings.
Second photo by Meg Carlough.

Article edited by Andrew Hoogheem.