Welcome the feature where we ask musicians or bands five really tough questions about music! Today I speak to Kier Byrnes & The Kettle Burners ahead of headlining The New England Americana Festival June 28 in Medfield, Massachusetts. They are also heading out on tour to Belgium and The Netherlands for the first half of July 2025. Today we ask them some tough questions.

What is the hardest lyric you have ever had to write and why? 

Kier Byrnes: During the pandemic, when tensions were high all the time and we all were stuck in our little pods and worried about getting sick, like many other people in the music and events industries, I was also very stressed about work coming in, getting money to pay the bills and put food on the table. I wondered what would happen when the money was all gone; those words echoed in my head relentlessly, finally evolving into a chorus. I was glad to get it out and document “When the Money’s All Gone” on this EP.

Dan DiBacco: To me, the hardest lyrics are probably the ones that are most honest about yourself. It’s really challenging to look in the mirror and tell it like it is, sometimes. For example, in “White Russian,” I am detailing how toxic and messed up a past relationship was, and all the negative fallout that resulted from it. So, a lot of the song paints my former partner in a… let’s say “not too rosy” light. But I also refer to myself as a “toxic copper-mugged cocktail” – which alludes to a Moscow Mule, metaphorically – and how foolish it was to ever mix that with her “White Russian” …I mean, even just thinking of mixing the literal drinks now, non-metaphorically, that sounds like an absolute disaster, right? [laughs] But the point is, I had (and still have) plenty of faults myself.

Another example from this EP – in “Quarter-Life Crisis,” I lament: “There’s a part of me, that thinks I broke her heart / Just so I could write, some real real sad sad songs.” This is a meta-commentary that’s essentially calling myself out and bringing up the possibility of perhaps having imploded yet another past relationship, just so I could play the tormented artist and channel the resulting heartbreak into my lyrics. I wouldn’t say that’s 100% true… but it’s definitely a thought that crosses your mind after a breakup, when you’re in a fragile state and second-guessing whether or not you made the right move. That’s probably my favorite lyric of mine on this EP; it’s just so raw, funny and tragic… all at the same time. Guess I’m happy to be the listeners’ guinea pig. 

What is the weirdest gift or compliment a fan has given you? 

Byrnes: While I was on stage recently, a woman handed me a jar of medical marijuana cream to rub on my body. It actually was really nice. It felt great. But I’ve had some strange ones over the years: a “Jesus” ashtray, an inflatable palm tree and Tinky Winky Teletubby stuffie all come to mind. They made for interesting conversation starters when folks would visit my apartment. 

DiBacco: When my long hair is up in a man-bun, people have regularly told me I look kinda like Noah Kahan… who isn’t exactly renowned for his classically handsome features, heh… alas, this recurring commentary definitely plays a role in our choosing to cover “Stick Season” at live shows. I’ve also gotten a lot of comments from people (mostly other musicians) who are shocked I don’t use a big fancy pedalboard with the Kettle Burners; my guitar links straight to the Fender amp via quarter-inch cable. It’s not a huge deal, but certainly funny to me how many people notice enough to say something! 

Jason McGorty: I often get compliments after a gig on the fact that I play the accordion, not necessarily about how I play the accordion. It often starts an interesting conversation where the fan talks about how their grandfather or great-aunt used to play the accordion. Rarely do they ever talk about how their niece or nephew is just starting to learn the instrument. 

Who is the best band or musician you have had the pleasure to share the stage with?

Byrnes: I’ve been blessed to be on bills featuring some legendary acts: Willie Nelson, Hank Williams Jr., Drive By Truckers, Tommy Stintson, Kyle Gass (of Tenacious D), Zac Brown, The Avett Brothers, Old Crow Medicine Show, George Thorogood, Social Distortion, Tommy Ramone (of The Ramones)… but two especially come to mind. The first is Dick Dale, as he was incredible as a guitarist and such an icon in rock and roll history. He was a super nice guy as well, sharing his food with us backstage. With all his custom Fender amps, he also goes down as the loudest act I’ve ever seen. The other act is The Barenaked Ladies, because while most acts will be in their dressing rooms or doing meet and greets or whatever, they were the only big act who came out and sat front row and actually watched our set. That was super cool and they were so polite; Canadians through and through, after all. 

DiBacco: I’m very fortunate to have played with so many talented musicians over my career to date (including Kier and all the Kettle Burners!), but no one sticks out to me more than my late friend and mentor, the inimitable Erick Preston out of Lawrence, Massachusetts. Erick influenced so much of what I know about guitar, music, and life in general, to be honest. He took me under his wing when I was a scrawny 14 year old, smitten by the way he commanded crowds with his creamy distortions and wailing whammy-bar-driven solos. I am still ripping off a lot of Erick’s riffs on a nightly basis. He was a true legend; the guy who tragically never made it super famous, but could and should have – perhaps with just a tad bit more luck. I like to think there’s an alternate universe somewhere out there, where he did. That makes me smile and brings a tear to my eyes. If I can be half the musician (and human being) Erick was, I’d call that a resounding success, in my book. 

What one of your songs has been the most difficult to rehearse for a live audience?

Byrnes: I think Dan’s songs. Dan is a hell of a songwriter. His tunes (“White Russian”, “Quarter-Life Crisis”, “Hurting or Helping”) feature precise harmonies and have a lot more complexities than the more stripped down folk songs I usually bring to the table. 

DiBacco: [laughs] Yeah, I do have a tendency to write super complex songs, with “White Russian” probably taking the cake among this batch of songs… especially for myself! The lyrics are super dense and layered, while the guitar parts are also quite involved the whole song. I’m usually sweating by its thundering climax. But I’ll say Kier’s songs, “When the Money’s All Gone” and “Trains Off the Rails,” even though they’re maybe simpler from a structural or music-theory standpoint, it was still super challenging for the band to strike just the right groove and tempo… which can make all the difference between it sounding dynamic and magical, versus flat & stone-footed. Kier’s songs are sneaky hard to rehearse. I think our songwriting styles complement each other quite nicely, though. 

Dream Collaboration and why ? 

Byrnes: I would love to work with Neil Young or Bob Dylan. We were supposed to be on a bill with Bob Dylan last summer but he cancelled. His songwriting has been a huge influence on me, so I regret not having that chance. 

DiBacco: It’d be pretty rad if we did a song with Yanni, and he and Jason were trading off dueling solos on their respective keyboards… I’d pick Jason to win, easily. 

Thank you again for all your support in reading and engaging with the website.

If you want to help support the website then you can! You can buy Holly a cup of tea (and a biscuit!)