Kimberley MacGregor

My body is a temple, my mind is a garage.

TRANSCRIPT PROVIDED

Pam Haasen: [00:00:00] So first off, thank you so much for coming on my show and on CICK, the radio station. 

Kimberley MacGregor: Oh, my pleasure. 

PH: So Kimberly, where am I speaking to you from? Where are you right now?

KM: Right now I am in Prince George. We're doing a show here tonight at the Legion with Danny Bell. And we've been kind of home basing here out of Prince George for the last, last couple of weeks, and then heading out for weekend shows from here.

PH: Oh, nice. So you're not like on the road on the road, then you can kind of leave out and then come back? 

KM: Yeah, this has been a nice little break from the rest of the tour where I kind of have a bit of a home base and have a couple days off where I don't have to be driving and performing. So it's been actually really nice.

This is the first time that I've really spent time in Prince George and there's lots of really great people here. I've got quite a few pals here and, and it's a nice, it's [00:01:00] a nice little city. So I've been really quite enjoying my downtime. 

PH: Good. What's your favorite, and then I guess the least favorite part about being on the road.

KM: Yeah. My favorite part about being on the road is just the people that I get to connect with, especially hosts, because it's, it's really quite an honor to have people welcome you into their home. And when, when I'm experiencing that, like, especially when, I mean, this is almost two months for me on the road now this time around.

So that's a lot of people in a lot of homes and, and often people just kind of treat you like family while you're there. And That's a, that's a huge, I don't know if there's much higher honor that somebody can pay you than, you know, taking you into their home and treating you like family, you know, like sometimes, you know, they cook for you too.

And it's, it's really quite humbling, almost overwhelming. Like I, when I think back on tour and I think of all the wonderful, [00:02:00] generous people, it's almost, it's almost more than I know how to kind of process. The worst or the hardest part for me is also like, I'm, I'm an introvert and I live alone and I've lived alone for a long time.

So I'm really used to having my own space and autonomy and, and it can get tiring. for me, I usually find after a couple of weeks on the road, my social meter runs pretty low. And and I mean, it just becomes important for me to kind of spend time by myself when I'm able get out in nature as much as I can, because that's really grounding for me.

And you know, things like making sure that I'm getting lots of rest, get as much sleep as I'm able to do. Get as much nutrition as I'm able to get, which can be a challenge on the road. And if I'm really disciplined about those things, then it makes it a lot easier.

PH: And so this tour sitting beside, is that, is that your tour name or is [00:03:00] that just you with Danny?

KM: That's my tour name. So sitting with uncomfortable feelings is the name of my new album. And for this tour, I released three brand new B sides for the album, which is why it's called B side tour. But then I also did a little play on words with that sitting B side Danny Bell or sitting B side Duke and Goldie or other people I've played with.

So, yeah. 

PH: Yeah. So I listened to sitting with uncomfortable feelings this morning went before we were going to chat before our ill fated zoom and teams meeting attempts, but I was listening to it when I was like making it's my friend's birthday today. So I'm making a cake for him, just listening to your album.

And it was perfect. 

KM: That's awesome. 

PH: So you did work as a bank manager for years. So how many of your songs were like scribbled on the back of like company letterhead or anything like that?

KM: You know, actually really [00:04:00] not that many. There's not, there's not a lot of downtime at the bank to do things like that.

If I had something pop into my head and cause sometimes that would happen, I'll just get a few lines or a verse and, and something I really didn't want to lose. Then I would just like. Jot it down in a quick email to myself, but, uh, but yeah, not a lot of scribbling down time. 

PH: Yeah. Something that I noticed lyrically in the album was that it's, it's almost like kind of like advice for women.

Like it has this very like. Like just a lot of things that I've thought of or things that I, me and my girlfriends, like we say to each other that we exchanged to each other. There was one, especially that was about like filling your cup. And we, my friends and I always talk about like your gas tank where it's like, you're either putting in or you're taking out.

And do you feel like having a job? the bank manager job that was so kind of, you know, like you're managing all these people, all these different, you know, personality types and emotions, and then people come into the bank with whatever they need sort of thing. Did that inform kind of who you were [00:05:00] writing for or to, or, or things that you wanted to get out into the world?

KM: I really. I really stepped out of that role when I started playing my own original music. So it was a transition for me because I was finding that I was just so exhausted at the end of the day that I really didn't have. anything left for creativity. Like I was just the last thing that felt like work and it would be the last thing I'd want to do.

And I just kind of wanted to like veg and have no demands on me at the end of the day. So I just kind of had to get really honest with myself about, you know, we trade our time for money, particularly in a Capitalist society. And the thing that we don't think enough about is that I can't get any of that time back.

You know, you can have all the money in the world and it doesn't buy you any of your time back. You don't get a redo on your [00:06:00] twenties, you know, like they're gone, they're gone. So, so I just kind of got to a point where it was like, I was more afraid. Of not doing the thing than I was of doing the thing, which I was terrified of.

So competing fears and, and then, you know, just having to make decisions that I know at the end of the day, I'm going to be able to live with, right. Because if I don't get to be the regional vice president of the bank, I think on my deathbed, I'm not going to regret that one. But if I never tried. And gave absolutely everything I could to try to play music.

Then I would feel like, like a cop out. I would feel like I was taking the easy road. 

PH: And like being creative, it is a different discipline as well, right? Like it's, it's, it's a muscle that you, that you have to exercise and, and especially too, for an [00:07:00] album. Like yours and a sound like yours, which in my opinion is so figured out.

I mean, I'm speaking to you about your music, so feel free to be like, you're wrong, but it's so figured out. And also the production on the album is incredible. Um, yeah. So, but it's just like, I just think like, honestly, I love to hear and I love to speak to people who are just like, yeah, like basically I couldn't afford not to do it anymore.

KM: Absolutely true. And with this third album, I am very, very happy with the production. Like, this is my third full length. And with my first two albums, I did get a lot of wonderful support and, and that helped me to achieve what I did, which I'm super grateful for. It wasn't until my third album that I kind of understood enough about what all of the roles are.

And like, I mean, my first album, I really didn't understand what mixing or mastering was, to be honest. I kind of leaned on somebody else who, who took more of the lead with that kind of thing, [00:08:00] particularly in the studio. So, but by the third album, I knew what the, I knew what the roles were, and I knew who the players were, and I was able finally to really handpick my team in a very specific way to get the, the sound that I was looking for.

And, and I brought in, actually, I worked with an all female studio team on this, which was incredible. It was the best experience. And I brought a female producer in from Nashville. So I flew her to Edmonton where I recorded the album and she was recommended to me by Tara Lightfoot. I did some shows with Tara and Tara actually produced a track that I wrote and recorded with Ayla Brooke and the Soundmen on his last album.

So I took advantage of that opportunity to talk to her about producers and kind of tell her what I was looking for. And she recommended Brandy Zidane. Okay. Who [00:09:00] is she called her a tone bone, which I thought was hilarious. And I know what I want to do. I know what my aesthetic is, but I'm not necessarily like as well versed in all of the gear, particularly in the studio.

Wherein Brandy is like an absolute master at that sort of thing. Like she was listening to the songs. She's like, you're going to play it on this kind of guitar through this kind of amp with this pedal. And like, I ended up buying all new gear after we recorded the album because I wanted to be able to reproduce those sounds.

And yeah, live, right? Yeah. Yeah. So she gave it like, my first two albums are a little more like. produced and polished sounding than my sound is. And this one, we really captured that sort of tough, raw vibe energy that really comes through in my live shows. 

PH: Yeah, that's okay. I did not know that about, cause I was going to ask too, if that was produced in, in Edmonton because so, but I didn't know that it was all female.

That's [00:10:00] so, that's so wicked. It's amazing. It makes me so, so, so happy. My friend who's a beautiful singer songwriter here in Smithers, her name is Sarah Northcott. She's always talking about like, you know, like, let's just practice this stuff on our own. Let's like, let's produce our own albums. Cause we were in a band and we wanted, we were writing music, but we, you know, like we're playing around the instruments, but you know, we really wanted to.

Have it be a full 360, either all us, or at least all women. 

KM: If you want to engage a female producer here in Canada, Jane Trimble, she is World Peach Records based out of Vancouver. The only reason I didn't work with her is because there's so much electric, loud, heavy, kind of, and that's not as much what she does, but she is fabulous.

PH: So she'd be a great one to connect with. Oh, that's awesome. And Tara Lightfoot, is Tara from Hamilton, Ontario? 

KM: Yes, that's me. Yeah, Tara is awesome. And I find her so inspiring. I've been lucky to get to share stages with her [00:11:00] a few times, and she's just the most down to earth, nicest person on top of it all.

Like, we played Wild mountain music festival on the same bill last year in the summer. And that's based out of Hinton. It's beautiful festival. And I just like messaged her ahead and I'm like, Oh, you want some backups? And she's like, yeah. So I ended up singing my, my backup singer and I ended up singing backups for her.

PH: And so you're playing guitar on the album and singing, like, were you always a musical kid? Were you like, had to take piano lessons and realize guitar was what you wanted or what's kind of been your history with playing? 

KM: So in my home, it was kind of like, if you're going to be in music, then you're going to study music and you're going to get your certifications and you're going to compete and you have to win and all of that.

So it was, you know, music is a competition. So exactly. Obviously, why else would we do it other than for the sweet, sweet money bucks, right? But so that was kind of the world I grew [00:12:00] up in and I, I studied voice for almost 12 years, just kind of on and off. So, but it was never really what moved me. Like, it's not like on my own time, I'm listening to opera.

That's not really my jam. So I remember I borrowed a guitar from a school teacher of mine when I was in high school and just played it all day through bleeding fingers, learned all the chords and started playing songs like. And, and, you know, for the first, Ooh, I don't know, 10, 15 years that I played guitar, I could only play sitting, I could only play down strokes and I could only play without a pick.

PH: Okay. Yeah. 

KM: And then when I started kind of writing my own songs and, and pushing myself and wanting to, you know, Be capable of doing a guitar solo or things like that on stage. Then I, I really started to kind of expand my, my skills, but, but honestly, I was a [00:13:00] late bloomer and it took me a long time and, and, uh, if there's anything I could do now, something I really would like to do is.

songwriting workshops for particularly for female identifying or non binary folks, young folks, people who feel like they don't have a place at the table, people who feel like because they didn't grow up with it or they don't think they're good enough, they don't know how to get good enough. That was me, right?

So I kind of want to be that person that I wasn't able to find and, and I would love to, you know, just kind of invite folks to that table. Yeah. 

PH: I mean, I feel like I can hear a lot of like what aligns with your soul. That seems to be kind of a theme with it. Like, again, I keep on referencing this, my friend, but my girlfriend, Alicia and I, you know, the fill the tank friend, but you know, it's like, it's like, you kind of have like two paths.

I mean, obviously there's gray area, but it's like the stuff that aligns with your soul or the stuff that erodes at your soul and that. Gotcha. Yeah. And it really feels like the alignment is, is the message that you're trying to get [00:14:00] across, which is just, yeah, very, it comes through very clear. So whether or not you, whether or not you start doing those workshops right away, I feel like you're kind of already doing it in the music.

KM: I love that. 

PH: So I guess kind of just a hypothetical here for you. So imagine dream opening act you as the opening act for someone that's a dream and then someone that you would also love to put on stage and have open for you.

KM: Oh, that's a really interesting question. You know, God, like I would probably just have to be super, super, super selfish and say, my dream to open for would be probably either Tom Waits or Erica Badu.

Ooh, super difference to me. Those are huge inspirations. And I think they're both like living legends. So I'm a very selfish level just because I would love that opportunity. 

PH: Hell yeah. Be selfish. Yeah. 

KM: Yeah. Yeah. That would be probably my choice in terms of someone to open for me. I actually [00:15:00] just ran into somebody I had never heard of before.

He has nothing online and like, But I was playing at the owl acoustic lounge in Lethbridge, which is one of my favorite rooms in Alberta. It's really fabulous. And it was an open stage. So I did like a set before the open stage. And there was this guy that went up and played a couple people after me who literally blew my mind.

I just couldn't even believe what I was hearing because it sounded like the reincarnation of Jeff Buckley. Wow. I'm not even exaggerating to you, like I almost want to find the video and play a little just to show you or I'll send it to you because I was absolutely astounded by, by this young guy's voice.

His name is Kevin Gyron. Uh huh. And I think I would pick him to open for me just because I would love to hear a whole set of his music. I asked him, I'm like, where can I buy your music? He's like, I haven't recorded anything. And I'm [00:16:00] like, why? And he's like, cause I have a day job. I'm like, quit your job.

I'm Quit it. So I don't think he's like totally rolling with it yet, but he should because he's amazing. 

PH: Yeah. I'm sure getting feedback like that too is just the kind of thing where it's like, whether or not, like you kind of know how someone's reacting to it when you're just like kind of. Fanning out on someone that that's the kind of stuff that sticks.

And so what, what piece of advice have you been given? And I would say maybe about performing, but maybe it's also for recording as well. But was there kind of any piece of advice that really stuck out to you that you feel has just kind of maintained throughout how you approach making music? 

KM: Yes, absolutely.

It comes immediately when you asked me that, and I'm going to do a horrible job of misquoting Andy Warhol on this one, but it's based on an Andy Warhol quote, and it was actually my buddy Matt Blackie. We were driving up to North Country Fair to play, and I was kind of telling him how, how, you know, like the imposter syndrome thing that we all struggle with.

Basically what it is is don't [00:17:00] waste your time worrying about whether or not what you're making is any good. Just keep on making stuff. And by the time whatever you made is out for public consumption, you're going to be three projects ahead of that and you're not even going to care anymore. Yeah. So that was the best advice that I ever got because it really helped mobilize me.

So for someone who's 

PH: listening and you know, they're kind of. They're thinking about, or they're new to performing as well. What advice would you give to someone if they're getting started on it and they just, they still have those jitters that are, you know, probably don't go away anyway, but, um, what would you tell someone about performing?

What I knew 

KM: earlier too. Yeah. What I would say is that if you wait for something to meet your own standard before you put it out there, then you're never going to get started. You just need to let it be what it is. Just put it out there, keep going, give it, give it that space to grow. So, and, and the other thing I would say, and some people, in fact, there's somebody who [00:18:00] advised me the opposite of this, but screw that guy.

But I would say, you know, you really have to write from what, you know, you know, like, like don't try to reach outside of yourself to be something more than what, what you feel you are. Or don't feel like you need to do that. But just... You know, so much in my opinion of what we try to hide from each other as humans is just normal human universal stuff.

You know, we put so much energy in, into trying to be like above being human, which is such a waste. It's a waste of energy. It's a waste of potential for connection. If we just admit what we're struggling, I think what we realize is. That we're all the same.

PH: Do you have any sort of daily practice? I mean, you mentioned nutrition and getting out and getting time to yourself as an introvert, which I 100% get, but do you have any other sort of daily routines that you find really help you kind of be ready for that creative space?

KM: Yeah, it's easier for me when I'm at home. I'll be [00:19:00] honest when I'm on the road. Some of those routines are more difficult to hold on to, but I mean, it's nothing, probably nothing unique, but for me, yoga and meditation is. It's a super, super helpful just in general to like not being a crazy lady. Um, I'm pretty good in nature.

I spend a lot of time in the forest at home and, and when I'm in the forest, I just really feel, I just feel like my whole being is being nurtured. Like I'm, I'm getting nurture from, you know, the trees and the oxygen and the sun. Sun and the fresh air, all of that. But also it's just like my soul expands.

And for me, nature is church. Like I get that spiritual feeling of connectedness and, and I don't know. I feel for myself that I am the most kind of. in my healthiest place when I'm in, when I'm in nature. So those are probably the underpinnings [00:20:00] of, of what keeps me grounded. 

PH: Yeah. Yeah. Whose voice or perspective do you think is missing in a lot of Canadian music?

Boy, oh 

boy, 

KM: oh boy. I mean, the obvious. most clear answer to me with that is Indigenous voices. And luckily, I would say in the last five years, I've really noticed more space being held for that. But like all things in Canada, in my opinion, the way forward is to glean from the wisdom of people who have actually existed on the land way, way, way, way, way longer than any of us.

and already know how to live with the land in a way that is healthy, which is really the biggest. I think one of the biggest threats in the world right now with climate change and, and there's just so many things in our relationship with the land that are broken and abusive. [00:21:00] And I think that Indigenous people had this figured out and, and, And had that wisdom for, you know, a very, very long time.

And I think it's, I don't know if there's any other way forward at this point. And even then I wonder if it's too late, like not to be a downer, but, but yeah, I think, I think that Indigenous voices would be the healthiest way to move forward and take the lead pretty much. On, on most issues. Yeah. 

PH: Yeah.

Total left turn here, but who wrote the lyric, who wrote the lyric? My body is a temple, but my mind is a garage. 

KM: Oh yes. Isn't that great. So that's Zodica. Zodica is an MC based out of Edmonton and she and I actually, she was one of the first people that I met and kind of looked up to and hung around with when I first moved to Edmonton and, and she [00:22:00] is.

She's a beast. Like she, this woman is an actual force of nature. And, and so I have collabed with her for a song on every single one of my albums. It's usually when I have something. That I need to say, but maybe there are things to say that I am not the right person to say right. You know? So I'll bring her in and she is a human rights activist.

That's her whole life. You know, she has done nothing but labor for vulnerable folks, like her whole life. She has been this, and she's one of the deepest. Like Zotica literally translates, I think, to wise woman in Yiddish. And, and she is, she's always carried that depth. Her twin sister also does incidentally.

They're really, really amazing people. And so I invited her to collab with me and she just comes in and like, she always picks up on what it is I'm trying to say, [00:23:00] and then she just drives it home. And like, yeah, she's, I, I love sharing a. Stage with her. I love collabing with her. Her stuff is awesome. You should check out her stuff.

If you love like Sage Wise, woman powerhouse, warrior badass, then Zica is for you. So that's T Z A D E K A. And her last album actually is Zica and the Murder Hornets, Uhhuh. And so it's her and three. Wicked horn, horn and flute and man, like getting to see those four women perform is like a thrill, an absolute thrill.

PH: Oh, excellent. Yeah. Thanks for giving me the, thanks for giving me the spelling and also the, the, the recommend there. Cause I'll, I'll pair that with this, with this episode. Okay. So we only have like a minute 40 left on this call here, but I want to respect time. So, and, and I know I want to just give you some downtime as well.

Um, so I guess, first off, I'd like to say thank you for. So much for coming on my show. [00:24:00] This has been so great speaking with you. 

KM: Thank you so much for having me. I really appreciate it. Yeah, no, it's been really great. Also, do you want to be my friend? Are we friends now? I'd love to, I 

PH: would love to. I feel like you and I could like chat on the phone and just be like, yeah, exactly.

Just because there's only a minute left. So I guess we let people know where to find you online and follow you for your music. 

KM: Yeah. So the best place is probably my website, which is just www. kimberlymcgregor. com. I'm also on Bandcamp. I did bite the bullet recently and go on Spotify, but that would be not my first choice of where to access.

Necessary evil. 

PH: I know. I, it's funny. I kind of forget it whenever I'm like looking for like a Neil Young song. I'm like, Oh, right. He's not on here anymore. Yeah. 

KM: Okay. Hi, my name is Kimberly McGregor and you are listening to CICK 93. 9 FM Smithers Community Radio. You are [00:25:00] listening to CICK 93. 9 FM Smithers Community Radio.

And this is Kimberly McGregor joining PAMR on I Digress. On CICK, Mondays, 3 to 5 p. m. on 93. 9FM. F 

PH: M. Grrr. F M. Grrr. Grrr. 

KM: Grrr. Grrr.