In this candid conversation with Mickelson, we dive into the bold and provocative themes behind his latest album, If You Can’t Be Right, Be Loud., a collection that combines sharp social commentary with deeply personal reflections. The album’s title, a line from the track “Amplify,” serves as a fearless rallying cry in a world increasingly dominated by misinformation and noise. Mickelson opens up about his inspiration, addressing political chaos, societal dysfunction, and his own struggles with addiction and depression. With humor and vulnerability woven throughout, the album captures the complexities of life and art, and in this interview, he shares his thoughts on songwriting, collaborations, and the creative journey that led to this powerful release.
‘If You Can’t Be Right, Be Loud.’ is a bold title. What inspired it, and how does it encapsulate the themes of the album?
This is a line from “Amplify” which is the opening track. I wrote that at a time when Trump had already been indicted several times. Watching how MAGA, FOX, etc., kept telling their cult that it was fake or a weaponization of the judicial system rather than the fact that he incited the Jan. 6 insurrection or was harboring secret documents at Mar-A-Lago, all in plain sight. And now, after the appalling meeting in the Oval office with Zelensky, it is even more abundantly clear. They know that if they lie enough, the cult will believe it. If you can’t be right, be loud.
You’ve mentioned that “Amplify” was written two years ago. How do you feel its message has evolved in light of current events?
We are performing Amplify at the shows. Singing it just reaffirms what I wrote two years ago. Back then, it was tongue-in-cheek. Now, it’s just a statement of fact.
The album tackles heavy topics like depression and addiction but also has moments of humor. How do you strike that balance in your songwriting?
I always start with the groove and melody, and that dictates the type of lyric. If the music is quirky, like in Small Town Scandal, I’ll lean into the whimsy lyrically. In Two Flat Tires, the vibe of the chordal progression is sombre, lilting. The lyric “I’ve got two flat tires but only one spare” is an excuse to be irresponsible so you can pursue the addiction.
“Glowstick” is a deeply personal track about living with depression. What was the writing and recording process like for that song?
There have been flashes of depression in my music since I was a kid. It rolls in from time to time. Glowstick was very challenging for me to produce, not because of the theme but because I struggled to make an arrangement out of the solo acoustic vibe. Eventually, I made the groove swing a bit, and it came together. Probably re-recorded that two or three times to get it right.
“Blue Is The Warmest Color” has a satirical edge. How do you use humor as a tool in your music, especially when addressing societal issues?
The lyric “we’re the girls with all the gifts” is from a movie title (I think). Having a guy who has everything and still be a miserable fuck sing it, namely me, just seemed oddly funny. If I had to make it societal, I would say that most Americans as a whole are spoiled and privileged. Half of us don’t even vote, then wonder how we have a Trump.
You collaborated with Colin Moulding from XTC on two tracks. How did that partnership come about, and what was it like working with him?
Colin and I worked via email. I’d send him a rough mix without bass, and he’d send me a finished track. He’s an incredible musician and songwriter. On Only Grey Matter Boiling In My Head, Colin also suggested some production ideas, which worked perfectly. I feel honored to have worked with him.
You’ve self-produced and engineered this album. How does that creative control shape the final product compared to your previous records?
I’ve been self-producing my records since the beginning, with the exception of work done in the 1980s when I was under various recording contracts. If an amazing opportunity to collaborate with another producer came up, I’d jump on it, but in the meantime, I need to do the best that I can with what I have. This album sounds pretty darn good. The production and arranging are the fun parts for me. Trying to get it into people’s ears is the hard part.
With this being your tenth album, how do you feel your songwriting and production approach have evolved over the years?
I just keep doing it. I’m not sure if my process is much different, whether writing or producing. One change is that I will take parts of a song, create loops and then make whole other songs out of it. My previous album has UNarmed American which was a residual from another song. On the new album, the instrumental track Beneath The Blue Suburban Sky was from another track, but I can’t recall which one.
What can fans expect from your live performances on this tour? Will the setlist lean heavily on the new album, or will there be a mix of past favorites?
On this tour, we play four or five from the new records and a cross-section of other songs that work well live.
Your music carries a strong narrative element. How do you translate that storytelling to the stage?
Not to sound like a weenie, but I sing with honesty and hope it comes across. But sometimes, I introduce a song as more of a sarcastic interplay with the audience. For example, I’ll say, “show of hands, how many people are in therapy?” People get uncomfortable, so I’ll ask, “how many know they should be in therapy?” to which people laugh and applaud. Humor is better than preaching, in my opinion. I do mention politics, though. Just need folks to know that I hate Trump.
Are there any specific cities or venues on this tour that you’re particularly excited about playing?
I like any venue/city with somebody out there listening. We are of course, looking forward to the record release show at The Victoria in Swindon on March 8th.
Given the themes of the album, do you see your shows as a space for conversation and reflection, or are they more of an escape for the audience?
Yes and yes. I always make the show a conversation with the audience. That’s the fun of it. It’s never “us and them”. As far as escape, we have several songs that become improvisational jams that differ each night. It’s part of my upbringing as a Deadhead.
You’ve performed in various settings, from intimate venues to larger festivals. Do you have a preference, and how does your performance style change in different environments?
On a larger stage, I can move about and be more expressive physically, which I enjoy. If I get too excited on a small stage, I tend to break things and fall over. It happens.
After releasing such a powerful album, what’s next for you creatively? Are there new projects already in the works?
I’m pretty focused on this release and figuring out where else we will tour this year. Definitely EU in the winter, still sorting out what’s in between. It’s never easy.
If there’s one message you hope listeners take away from ‘If You Can’t Be Right, Be Loud.’, what would it be?
Great new albums are being made by unknown artists. It’s not a thing of the past.
