folk album<\/a> from 2000 (Noe thinks Fricke, who gave it 4.5 stars, is \u201cthe only one who got that record\u201d).<\/p>\n\n\tAt one point, Noe gets up from the table and walks into his old bedroom. His mom has gotten rid of most signs of Noe\u2019s adolescence, but he opens the closet and shows me one of the few remaining traces: A pinned-up chart of fundamental guitar chords. \u201cThis has been here since I was eight years old,\u201d Noe says. \u201cI spent a lot of my life looking at that chord chart and trying to play Chuck Berry.\u201d<\/p>\n
\n\tNoe lived in this home from age three onwards. Growing up in Lee County, Noe\u2019s father worked at the local prison and his mother worked at the factory for Lion Apparel, a company that produces protective gear and uniforms for firefighters. At 22, he left home, moved to Louisville, where he laid tile and installed drywall (\u201cthe classic things that a musician does\u201d). He eventually returned home, got an office job, then left home again to live with his grandparents and work in the oil fields one county north, where he wrote much of his 2019 debut, Between the Country<\/em>. Working in those oil fields more than a decade ago was the last job he ever had that wasn\u2019t being a songwriter, he says with pride.<\/p>\n\n\tBetween the Country<\/em>, produced by Dave Cobb, was released to a fair bit of excitement. But his more impressive follow-up LP, 2022\u2019s River Fools & Mountain Saints<\/em>, seemed to be marred by its rollout, or lack thereof. When I start to ask Noe about what happened around the time he began canceling shows and announced he had a broken wrist, he seems eager to offer an explanation, answering before I finish the question.\u00a0<\/p>\n\n\t\u201cComing out of the pandemic and that whole situation of canceling all those shows, it was a rough time,\u201d he says. \u201cYou can write that down on paper and nothing sounds good about it. It was [difficult] for all of us when we were coming out of that era, a weird time. I was briefly here and there in the studio. Certainly wasn\u2019t one of my most productive periods. You just go through shit, go through those phases in life. That\u2019s how it went down, for better or worse.\u201d<\/p>\n
\n\tWhat was toughest about that time?<\/p>\n
\n\t\u201cProbably the isolation,\u201d he says, repeating those three words twice. \u201cI\u2019m blessed and grateful to not be in the oil fields and to be able to get up everyday and have the freedom to write songs, but you gotta step away sometimes. If I don\u2019t watch myself and be careful, I\u2019ll isolate.\u201d<\/p>\n
\n\tNoe says he can go several days at a time without seeing or speaking to anyone when he\u2019s working on his songwriting at home. \u201cSometimes I get into my head where I\u2019m listening to music constantly and I\u2019ll forget things. I\u2019ll forget I need to call somebody,\u201d he says. \u201cI can\u2019t just sit here and be gone. But I\u2019ve always kinda been like that.\u201d<\/p>\n
\n\tNoe takes his songwriting so seriously that he\u2019s already second-guessing lyrical choices on Canyon Falls Trailer Band<\/em>. \u201cOn the title track, I say \u2018Sheila\u2019s got the paint cans knocking on the porch,\u2019\u201d he says. \u201cIt should have been \u2018rocking<\/em>\u2019 on the porch, because that \u2018r\u2019 comes better off the tongue. Is it the end of the world? No. Will anybody else be thinking about that? Probably not. But those single words mean so much to me. It irks me a little bit.\u201d<\/p>\n\n\tThat obsession translates to the recording process. Unlike most artists, who head to the studio once every few years to cut an album, Noe is regularly making the three-hour drive down to Nashville to record a few songs at Tokic\u2019s studio, the Bomb Shelter.\u00a0<\/p>\n
\n\t\u201cHe has the most confusing file of anyone I work with,\u201d says Tokic, who adds that there are dozens of songs \u2014 both entirely unheard originals and completely different arrangements of songs Noe has<\/em> released \u2014 that they\u2019ve recorded together. \u201cWe\u2019ve recut so many songs, so many times.\u201d<\/p>\n\n\tOne of the reasons Noe chose to re-record Canyon Falls Trailer Band<\/em> boiled down to not being able to get \u201cJukebox Blues\u201d exactly right. \u201cI was obsessed with getting the melody with a fiddle,\u201d he says. \u201cIt just wasn\u2019t working.\u201d<\/p>\n\n\n
\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n
\n\tAnd when it comes to touring, it\u2019s no surprise that Noe prefers hiding away in the studio, or at his home writing. \u201cI haven\u2019t been the biggest road dog that ever existed,\u201d he says, a mild understatement. But he understands that playing his songs in front of real people is a key part of having a career, and he says he\u2019ll hit the road in due time. \u201cToby Keith once said, \u2018I could sit here and write all these songs all day long, but what\u2019s it matter if nobody knows them,\u201d Noe says, pondering the quote for a moment.<\/p>\n
\n\tIf he had it his way, he knows how he\u2019d be spending his time. \u201cI\u2019ve always focused on the page, first,\u201d Noe says, \u201cand how good I can make the song.\u201d<\/p>\n<\/div>\n
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