Todd Snider hunkered down during the first year or so of the pandemic, and like some musicians suddenly knocked off the road, he took to online music-making — but with a unique twist. Starting in October 2020, Snider devoted each Sunday to playing and live-streaming the entirety of one of his albums, start to finish, with just his voice and guitar. Along the way he’d talk about the origins of some of the songs and play ones that had been left off.
With the 30th anniversary of his first album, Songs for the Daily Planet, arriving this year, Snider has decided to release those unplugged versions of his catalog. Starting Feb. 23, he’ll roll out one a month, ending in December with his revisiting of his latest record, First Agnostic Church of Hope and Wonder. The albums will be available as free digital downloads on his site, as well as on streaming services.
Throughout his career, Snider has been upfront about his issues with drugs and recovery. What lies ahead is somewhat unclear. Recently diagnosed with stenosis (lower back issues), Snider is grappling with a new batch of health concerns. “There’s a part of my back that’s been a problem my whole life, and it’s only going to get worse,” he tells RS from his home in Nashville. “I’m kind of worried about it.” In the meantime, Snider talked about his re-recording project — which was decidedly not inspired by Taylor Swift’s.
What made you undertake this project?
Okay, so remember the pandemic? [Adopts news-announcer voice] “Remember the pandemic?” I came home and had this building in town where I had cameras and stuff. I’m not computer savvy, but they could … “stream” is the word, I think? Where you can turn on your computer and I’d be there just like I was on TV? On Sundays, I would play for like 90 minutes and have a really good time. When I got done with them, they felt like 12 little busking concerts. It felt like art to me. Maybe not great art. I don’t think the first versions [of the albums] were great art, but art.
And you’re giving them away for free ?
I’ve put out so many records and all the songs have been out there, and it would have felt weird to charge. It would have felt like, “Hey, I had this idea, and how about you give me money for all this?” I don’t think I make any bread off it. But I think every month there’s a new bullshit T-shirt on the website, an “exit through the gift shop” angle, I guess.
You didn’t go the Taylor Swift route of recreating the original records note for note.
I can’t believe she pulled that off. And people like it. I remember when I was young, country stars would do that. They would be those records you’d accidentally buy in a truck shop, and you’d feel like you got screwed, like, “Oh, this ain’t the original Merle Haggard song.”
What sort of prep was involved in relearning all your old material?
That’s what I was looking forward to. I usually play three or four songs [onstage] and then forget the rest. I had the whole week to try to learn them. There was at least one where I played the first verse and was like, “This is terrible.” It was so, “I love you, baby.” I said, “I’m not going any further.”
Were there certain albums that aged better than you thought and some that aged worse?
Yeah, my third one [1998’s Viva Satellite] was hard to poke through. I was getting a little whiny. I was using songs as a kind of a weapon or being a tough guy with them or getting the last word. But then the next record, Happy to Be Here, was good. Then I got off on dope for a while and made this New Connection record that I don’t like. Then with East Nashville Skyline I feel I really got my stride. I think they’re all pretty good and honest.
Will your back issues prevent you from playing live in the near future?
I don’t think so. I hope not. I haven’t played in 18 months, but I feel like I could do it tomorrow. It’s not as dramatic as it sounds, because I could probably play tonight for sure. But it would hurt. I would probably take drugs. If I can fix it, then I will. I have a pile of songs, but I’m not sure what I’ll do with them. I might just sing them to my friends.
You’ve never been a mainstream country artist. So what do you make of people like Zach Bryan, Tyler Childers, Allison Russell and others making such headway these days?
I’ve always liked the sound of country music, but then it felt like it became Republican music. Republicans aren’t into the artsy-fartsy things. They were quarterbacks and stuff. They took out the vulnerable parts. It became, “Are you popular? Are you married? Were you on the ‘team’? Have we got the music for you!”
But it’s fun to watch Kacey Musgraves and [Jason] Isbell and even Miranda Lambert, who’s pretty normal by this town’s standards. Sierra Ferrell is so good. I feel like a minor part of it, but it’s cool to watch and makes me proud.
