JOHN HOLLIER & THE RÊVERIE – AN ARTIST SPOTLIGHT & INTERVIEW
Photo by Michael Smith
By Ralph Beauchamp
John Hollier is an amazing singer/songwriter who originally hails from Louisiana and currently resides in Nashville. Hollier, with his band, John Hollier & The Rêverie, has just released his new single entitled “Crashing”. The track is off the group’s forthcoming album, Rainmaker, due 3/20 via Thirty Tigers. Besides Hollier, The Rêverie consists of Teddy Thibedoux Jones (Sax), Zachary Scott Kline (Lead Guitar), Ray Akers (Bass) and Brian Cox (Drums).
John Hollier continues to carve out a distinctive space in the rock/folk/indie scene with his signature blend of introspective lyricism and textured production. Known for weaving raw emotion into layered soundscapes, Hollier’s work balances aural observation with sonic experimentation. Over time, he has built a reputation for crafting songs that feel both personal and expansive. He draws listeners into stories shaped by longing, reflection, and quiet intensity.
Performing with his band, The Rêverie, Hollier expands his artistic vision into something even more immersive. The group’s sound fuses atmospheric guitars, steady rhythmic builds, and vivid undertones that create a dreamy yet grounded listening experience. Together, they shape music that feels like a slow cinematic stroll—moody, melodic, and deeply resonant.
Their new single “Crashing” marks another compelling chapter in their evolving catalog. The track surges with emotional momentum, pairing haunting melodies with dynamic instrumentation that swells and recedes like a tide. “Crashing” captures the feeling of standing at the edge of change—of falling, surrendering, and ultimately finding clarity in the darkness. It proves once again that John Hollier & The Rêverie are unafraid to explore the depths of feeling through sound.
John Hollier was kind enough to sit with AMP for this interview.
AMP: How would you describe the core sound of John Hollier & The Rêverie to someone hearing it for the first time?
JOHN: I will go with what other people have said since I feel that’s an important lens. I’ve gotten the “Gulf Coast Springsteen”. We’ve also gotten a nice J Roddy Walston. It’s kind of a modern take on the “Swamp Gold” sound. Kind of mid-century rock & roll with a modern twist. It’s heavy on the guitar and sax arrangements.
AMP: Sticking with that thought, how do you decide when a song needs space and restraint versus a fuller, layered arrangement?
JOHN: Really great question! That to me is one of my biggest initial obstacles in songwriting. I’m really lucky to have four awesome musicians in the band, The Rêverie, who do a great job understanding space. Our single “Crashing” is a prime example. Our guitar player stayed out of the way as much as possible but still has a major fingerprint on the song. Also, our sax player intentionally made sure he wasn’t soloing. His subtle licks fit perfectly in the mix while still making an important contribution to the track.
It all comes down to time. We have demos of “Crashing” that are way too busy. In addition, we have acoustic versions of the song that are too lean. It just finding that right balance. We aren’t big on spontaneity. We tend to live the song for a while in order to find the right groove.
AMP: Which artists or genres most shaped your approach to songwriting and sound design?
JOHN: Nathaniel Rateliff & The Night Sweats. Their first album stopped me in my tracks. That has to be mentioned. But I grew up on Gary Stewart and a lot of classic rock because that is what my parents listened to. Throw in some old-fashioned rock & roll and that’s my starting point. Leon Bridges is another big influence.
AMP: When you begin writing, does the soundscape come first, or lyrics and melody?
JOHN: Both. I have pages upon pages of lyrics with no melodies. No songs, just words. And on the other hand, I have voice memos of mumbled singing with cool melodies. Plus, I have band tapes of us playing something interesting in the studio that can become something later. The record is littered with songs started by all these scenarios.
AMP: How collaborative is the process within the band when shaping the final sound?
JOHN: Some of the songs were pretty much done before the band got to them. Some songs took a lot of manipulating to get the sound right. The opening track on Rainmaker, “Gonna Love You” started of as a singer/songwriter song and morphed into a band tune. Other songs like “Hollow Heart” were pretty much demoed before they reached the band. It’s probably a 50/50 split.
AMP: Your new single is “Crashing”. Can you give us a little insight into the track?
JOHN: Sure. I had the opportunity to write with Bart Butler. That’s one advantage of living in Nashville. The songwriting collaborations tend to be pretty elite. It started as a blind date collab. I previously never met Bart but as soon as we hit the studio, he already had a concept for a song he called “Crashing Like A Drunk”. He wanted the song to be sexy – not sad. So off we went. I had plenty of lyrical ideas and we actually wrote that song in two hours.
Afterward, the band started playing with it and came up with a lot of the textured sounds on the record. It was getting pretty emotive and began drifting to a sad groove. After playing it live on tour while living in a van and staying at dilapidated places, “Crashing” molded itself. That birthed the melancholy bend of the song. Lyrically, I love “Crashing” but the original mix wasn’t there yet. We found the perfect rendition by playing it live and letting it breathe. We figured out that the song needed a little restraint which let the music shine.
AMP: There is a strong emotional atmosphere in your music. Do you consciously aim to evoke certain feelings?
JOHN: I’m not sure I consciously try. Nashville and Louisiana are two places where it’s difficult to stand out because of all the great talent there. Just to survive, you have to put your whole heart into everything you do. I actually try to temper the emotion but it comes out naturally due to all the heartache you experience living this life.
AMP: Do you reinterpret songs for the stage, or aim to recreate them faithfully?
JOHN: Another good question! We have some songs that we try to reprise as faithfully as possible live and there are other songs we use just as a suggestion. Those songs tend to have a wider range for improvisation.
AMP: How has your sound evolved since your earlier recordings?
JOHN: Way more collaborative. On this second album we brought in some excellent studio musicians to fill in some of the sound on certain songs. By using my touring band in the studio, the flow may not have been as tight as in the past but we gained so much more in artistic expression. I’m so glad that The Rêverie left their imprint throughout Rainmaker. It may feel a little more scattered but we captured so much more creative integrity.
AMP: What do you hope listeners feel or understand about you after hearing your music?
JOHN: I want them to appreciate our entire body of work. I want them to realize the whole story behind our music. We recorded Rainmaker in three different cities. So, I want our listeners to feel the entire soundscape and diversity of the album. In an age of social media and AI music, I want them to understand that this music is as raw, human and heartfelt as we can physically bring to the table. I’m not trying to push emotion but I’m glad that is how our music is perceived. Passion is the word of the day.
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