Collateral Deep Dive-What Will Become of Us

Don’t breathe, don’t look down, don’t cry
Don’t waste your words and your time asking why

Placed second to last in “side B” of Collateral, “What Will Become of Us” is a raw, contemplative lullaby that thoroughly exemplifies the complex emotions on display on this album, not only from song to song, but within the songs themselves.

Musically and thematically, there really is no precedent for this song in Phillip Phillips’ previous albums. While The World From the Side of the Moon gave us a “A Fool’s Dance,” and Behind The Light gave us “My Boy,” songs inhabiting dark, intense landscapes, neither of these songs feels related to “What Will Become of Us.” However, a couple of unreleased songs, dating as far back as 2013, may provide the link we are missing. That year, Phillip toured almost non-stop, and it was in the spring and then the fall that he debuted two beautiful but deeply melancholic songs in the middle of a couple of shows. The first song, “Creatures,” tells a story that goes from sadness into warm, shining hope. This is the most realized of the two. The second is a still unnamed song that fans quickly nicknamed “Ghostly Man” (after a line in the song), and which, in contrast to “Creatures,” doesn’t offer any real hopeful resolution. Both songs share a similar sense of despair, evoked through rich, descriptive lyrics and haunting melodies. Five years later, these ideas seem to finally come together in perfect balance in “What Will Become of Us,” a song that also tells a story steeped in quiet sorrow through vivid, cinematic images. In this case, however, the emotions are a bit harder to untangle, where the intensity comes from harder to pintpoint; it’s a work of elegant sophistication and subtlety.

Anybody familiar with Phillip’s personal struggles during the writing of this record could easy read the lyrics as a mirror for his own life: two people who love each other are in a dire situation they are trying to survive. But anybody who is also familiar with Phillip’s music knows that there is always so much more to his lyrics. Yes, Collateral is a much more transparent album, but the music and the lyrics always resonate beyond the personal—this is what great songs do—and “What Will Become of Us” is a good example of this. The song could work both as fiction– through vivid images where we can easily insert characters–and as personal; where one ends and the other begins is unclear. This is very much a trait of Phillip’s writing.

There is another element that makes this song exceptional, which is something that cellist Dave Eggar, who features prominently in the song, called “a pastel of emotions:” no song of Phillip is “entirely happy, or entirely angry, or entirely sad.” There is always a more nuanced feeling that speaks to the complexity of us as humans. “Feel the grass, hear the breeze, feel the dew” Phillip sings in the short second verse, still able to see and experience beauty as he wonders, tragically, “what will become of us?”

Phillip and Dave debuted “What Will Become of Us” during an acoustic show they did in the spring of 2017. The song, caught in a video by a fan, seemed complete, ready to be released. However, back in the studio, when the time came to record the song, it was an inspiration of the moment to record the song as it was, Phillip and Dave playing it live without any other instruments or production going to be added to it later. This was not planned. What was captured by Ryan Hadlock (the album’s producer) is a performance that is a raw and real as it can be committed on a record.

I’ve though often of the word that would help me understand this song. It is not resignation—that would imply the narrator giving up and I don’t think that’s the case. Nor is it acceptance, or fear, though both emotions are there as well. To celebrate and to mourn at once, to be afraid but to jump nonetheless. It’s about grace, about faith, about being at peace with our decisions and our destiny but also about taking full charge and being the agent of those decisions and that destiny. Or maybe it’s simply about telling and showing (intensively, urgently) those you love that you love them before it’s too late.

Visit Phillip Phillips’ official site to listen or buy Collateral.
And don’t forget to check out our previous Collateral Deep Dives.

Collateral Deep Dive-A Conversation with Dave Eggar

You would think that Dave Eggar–cellist, pianist, composer, film scorer, studio and touring artist in multiple genres, would be too busy to do anything but fulfill his numerous musical engagements on any given day. After all, after finishing a year and a half of touring with Cellogram, his most recent personal project with frequent collaborator Chuck Palmer, as well as with Evanescence, and iconic band Foreigner, the Brooklyn-based Eggar was soon back at work in New York, subbing at “My Fair Lady” on Broadway, appearing with pop duo A Great Big World on morning TV, and, on the day we reached to him on the phone, taking a break from rehearsals for a chamber music concert that evening. So, add “extremely generous” to the list of descriptors above, even if that doesn’t begin to cover the depth and beauty that accompany Eggar’s generosity. Because even in an in-between rehearsals phone conversation, Eggar displays the same intellectual and emotional vulnerability that we find in his work, a willingness to explore and share something that is meaningful and profound both through his music and through his words.

Though trying to keep track of the artists Dave Eggar has worked with throughout his career can be a dizzying endeavour, it is soon clear that deep intention, thoughtfulness and care go into each project that Eggar choses to provide his talent to. This is certainly true of Collateral, his third collaboration with Phillip Phillips, the recording of which Eggar describes at different points as “very real,” “organic,” and “demanding” (in a very good way). We are extremely thankful to Dave Eggar for taking the time to talk to PhillPhillcom and share his stories about the recording of the album. Below are some excerpts of our conversation this past weekend.

PhillPhillcom: I’m just going to mention a few names: Esperanza Spalding, Evanescence, Cellogram, Foreigner, Zayn Malik, Patti Smith, Coldplay, Deoro… how does your work with Phillip Phillips fits within all the other projects that are lucky to have you?

Dave Eggar: One of the things that’s is so powerful in music is when you immediately have a connection with somebody. You can think of it analogously to, if someone is an actor, you may act with many people, but then there’s some people that you probably do a scene with and that very first run of the scene, is magic. And the thing about me and Phillip is that from the very beginning of the very first day that I played with him, we had a vibe like we have been playing together for a very long time. And I’ve come in my career to understand that when moments like that happen musically, you don’t ignore them. Here’s somebody who hears like I hear, who has a way of playing, a sense of timing, that when we play together makes more magical what both of us are doing.
So right from the beginning we just had this really amazing connection. And he was gracious enough to really let me find a voice in his music with the cello, and to take risks, especially in songs like “Thicket,” that other artists were too scared to take; to really explore the extended technique, to explore layering the cello in new and more provocative ways. And it was very special to be in an environment with an artist where I felt like I was growing. Phillip and I have played hundreds of shows. When you are on tour, there’s some artists that, after 40 shows, you feel “OK I’m so grateful, I love music, but I kind of feel like I’m doing the same show every time.” With Phillip, you never feel that way, there is always a freshness. He’s an extraordinary talent and a very thoughtful and unique musician, so it’s been a very interesting growth experience with each thing that we do. And that’s how I always feel with him, I never feel like I’m working for him, I always feel like we’ll always have an interesting musical intersection in different projects throughout our lives. I would love to write a film score with him…. It’s an interesting sense of artistry and growth that’s been very powerful for me.
[Phillip] is one of the best singers out there, he’s extraordinary, but he is also very humble, and I think that combination makes him somebody who is always striving to be better and encouraging all of us around him to do the same with ourselves, but in a very kind way.

Dave Eggar performs with Phillip Phillips at Hard Rock Live, Orlando, FL. Photo: Kara Robinson Photography.

PhillPhillcom: Those are beautiful words about Phillip as a person and as a musician. In many occasions, Phillip has also talked about you that way. He has said he considers you one of his best, dearest friends. You have also now played in all three of Phillip’s albums. How was it being able to play “Dance with Me” with Tim Bruns for Phillip’s first dance with Hannah during their wedding?

Dave Eggar: I feel like the two most important contemporary artists in my career to me personally, have been Phillip Phillips and Amy Lee (from Evanescence). The reason is because music is such a personal art form, and when you are on tour you are like a family. And the artists who are open in a way that you grow with them over the years, and we all change and watch each other, and we are each other’s family in a deep way, it creates such a profound feeling and it flows from the music into our personal lives. So, playing “Dance with Me” at Phillip’s wedding was a huge honour, and I played it with Tim, who now I have worked with on many projects, including Tim’s original material, he’s a great songwriter.
I am very optimistic. I know so many musicians get negative or dark. But I think music is such a spiritual thing and it’s beautiful, the family that comes from the music that we do. Phillip is like my family in a lot of ways, so that moment was very special. And Hannah, his wife, is one of the smartest people that I’ve ever met. We all lived on a tour bus for a long time (laughs), so we know each other when we are happy and when we are sad, and when we are struggling, and when we have victories, and sometimes not victories. So, music is a very special kind of job, you have a closeness with people that’s a little different from a normal job. It was very beautiful seeing them come together, and I think “Dance with Me” is a very special song and it was such an honour, on the recorded version, to do that lovely orchestration; it’s really an honour for me.


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@daveeggar in the house! Well…studio ha!

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PhillPhillcom: The story of Collateral is a complicated one. I keep trying to make a mental timeline of when the album was written, recorded and released just because it took so long. Did you ever fear that a song like “Dance with Me” would never see the light of day?

Dave Eggar: You know, with the way the music industry is nowadays, that’s always a possibility. It’s a complicated time in the music industry now because even very successful artists like Phillip, you can do a whole project and then it cannot come out, or only part of it can come out. One of our most scared feelings as musicians is when you work on a song, and you know it’s amazing, like “Dance With Me,” and there is this little part of you that’s “what if it doesn’t come out? Or what if the record company decides not to put it out? They can’t do that, they have to love this!”
I feel like Collateral is a deeply personal record for Phillip. I think the record touches on very mature struggles that we all face in a very existential and ethical way. I think it’s a more naked record than the first two, and I think it also takes some emotional risks that are not quite as pop, but that are really touching.
My favourite moment from making the record, was when we recorded “What Will Become of Us.” It’s basically live, and we basically did it old school, Americana style, where is just “set up, a couple of mikes and just play;” just very real and very little editing if any. And that, for us, today, is very scary because we are so used to [doing a song] and then we are going to edit it. It’s a very moving song, so to really take that chance to do it in such a real way and to have that vulnerability of “it’s a little rough around the edges, [and] we’re going to have to work with that feeling, not fight against it,” I just thought that was, for me, a very, very special moment on the record.

PhillPhillcom: You debuted “What Will Become of Us” in a benefit show back in April of last year. It was an acoustic show with just you and Phillip. Was there ever a time where you considered adding more instruments to the song? Or was it always “this is the song, this is how it will be recorded”?

Dave Eggar: I don’t think it was pre-planned. Collateral was recorded in Seattle with a producer called Ryan Hadlock, who is fantastic. One of the things that was very special about it was that we went there in a staggered fashion, but we all went out there for a while, which is kind of a luxury. A lot of times when I’m working with artists who make their records in New York City, I’m doing a session and rushing to do a show and then coming back in the middle of the night. And I have always believed that where you do a record profoundly affects the record. [Bear Creek] is a very beautiful place north of Seattle, very peaceful, there is tree house at the studio, and I think it brought about a certain calm and a certain uniqueness to the record that we were very in it. So the choice to make “What Will Become of Us” so vulnerable, was after we worked on many other songs. It was Ryan’s idea in a lot of ways, and I think it was really special. It was a moment of “Can we really do this?” Is like having a movie and then having one scene with one camera, no editing. So [there was]no click track, it was all very real and it happened in a very organic way. And I think pretty much everything on that record was very organic and just very personal for Phillip.

I am very method actorish in how I treat music, so when I’m working with an artist what I’m thinking mostly about is how get two hundred percent into the character of their music; it doesn’t really matter what I think, it matters how real my character is for that artist. With this new record I felt there were some places of sadness that it touched on for me that were very heavy and very compelling. So in terms of channeling the emotion of the music, I felt like the record was very demanding, in a very good way, of a very layered emotional performance, which was present on his other two records, but I feel like this one really brought out that dimension in a way that as, a performer, required me to be more revealing and to really think through the emotionality of my performance in a more sophisticated way. And I really appreciated that. And it absolutely made some moments very challenging, absolutely.

Phillip Phillips and Dave Eggar perform at the Festival Pier at Penn’s Landing in Philadelphia, PA. Photo: Krisxo13 Instagram.

PhillPhillcom: “What Will Become of Us” is a stripped-down song: cello, guitar and voice, but it’s extremely intense, powerful, very cinematic in its lyrics, strong images. Same thing for “Sand Castles.” But I feel like in the album you have songs with just a cello and a guitar, and then you have a song like “Sand Castles” where you have more of a string arrangement. I think the cello is so effective in creating that drama, it’s a profound song and I have to prepare myself every time I’m going to listen to it, I can’t listen to it casually.

Dave Eggar: “Sand Castles” is an incredibly emotional song, it’s one of the best songs on the record. We went into it with specific arrangement ideas. The violinist on the record is Heather Mastel-Lipson-we are two string players and we layer each other a lot of times. One of the things about “Sand Castles” was that we were fascinated with how the end of the song loses control. We had these ideas for the arrangement, very colourful, Debussy-type ideas, very impressionistic. And then we explored in the end what happens if we take them away, what happens if we don’t know what is going to happen? It was a little bit inspired by Sia’s “Breathe Me,” which is an iconic string arrangement. But I just liked that idea: sand castles are all these things we build in our life we think may work and they don’t work, so what if the arrangement does that, what if the arrangement washes away? And so, in the end, there’s some very experimental use of the violin and cello, it has almost a free jazz influence, that we were working with this idea of almost forgetting how the song went and where it could go with that. It’s a very special moment and again, is almost as if you are acting in a scene and the director says, “we are going to take the script away, go there emotionally and forget about technique.” You feel almost like the ocean is coming in and is washing away the intellect of the song in this big wave. And we came up with a very clever use of the artificial harmonics, which you can’t even really tell they’re strings, they’re so weird. I love that song very much.

PhillPhilcom: Everything you said is fascinating. I believe there are no casual decisions in music making, I’m sure everything is not calculated, but there is a meaning behind each sound we hear on an album. With the harmonics you mention, I always think the song could have ended at the peak of that climax, but it comes back to that quiet moment that’s is so powerful, that’s a choice that was made, and it works extremely well.

Dave Eggar: I think you tap into something that is very powerful about Phillip as an artist, which is almost jazz-like in a way in that he isn’t scared to go in with a plan but then let the music take over on production and let the music lead you. A lot of artists come in the studio [and say] “cello is going to play this, drums are going to play this,” and you can get them to deviate, but not that much. With Phillip, with all three records it’s been a very common thread, that freedom of when you start feeling that the song has taken over and that you are not driving anymore– “the song now wants this.” That’s so important because that’s the subconscious at work creatively. That’s the part of yourself that is more intelligent emotionally, that’s the part of you asking “what kind of sorrow? What kind of loss? What kind of anger? What kind of joy?”; asking these very important expressive questions which is why people listen to music.

PhillPhillcom: Now, if we go from “Sand Castles,” an extremely intense song, to “I Dare You,” this is a more lush, more traditional strings arrangement, but again, is very cinematic in a way; I keep thinking of La La Land (laughs).

Dave Eggar: Okay, okay…(laughs). Yeah, I think “I Dare You” is a very special song, is kind of a departure in some ways from Phillip’s other writing, is very different, it’s expansive, it has that 12/8 [time signature], broad, almost Dusty Springfield kind of vibe to it. We were, in the arrangement, looking very retro, 60s string arrangement, early Motown, to channel some of that romance. So, the song has a romantic side, but it has a bite as well, there’s a layered quality to it. And that’s really with all the songs in Collateral, that’s something which I think ties them together in an interesting way and that made the process unique. None of the songs is one motivation, all of them have a pastel emotion, there’s hazy quality but also a clarity, and to find that sweet spot that lives between and among those spaces, that’s the hard part. I love “I Dare You” and I wish we had done it live more, but it’s a challenging, hard song to play, very challenging.

Dave Eggar and Phillip Phillips performing at Stanford Live. Photo: Rahim Ullah

PhillPhillcom: The year is almost over, and you have had a very busy one obviously; any plans to slow down in these last few weeks of the year? Any projects that we should look forward to in the next year from you?

Dave Eggar: I just have a ton of concerts and I am getting ready to go to Sundance and Slamdance in January for a film that Cellogram wrote the score for, is a film called This Teacher which is a very powerful film about border issues and Islamophobia; very heartbreaking film that won the LA Film Festival. So, getting ready for that and writing some new music and we’re planning a Cellogram tour–we are figuring that out for next year–and hopefully people will come to check that out. Very busy but so happy to be making music every day.

Cellogram – EP – 2018

Follow Dave Eggar:
Instagram: @cellogram99
Twitter: @daveeggar
Listen to Cellogram’s EP.

And visit Phillip Phillips’ official site to listen to Collateral.
Video of “What Will Become of Us” by Erika Houser.

Phillip Phillips Sits Down With PhillPhillcom to Talk Collateral and the Magnetic Tour

For the best part of the last six years, Phillip Phillips has been on the road. And for the best part of those years, Phillip has toured with his wife Hannah Blackwell by his side. This year, his small touring family was expanded, when Phillip and Hannah decided to bring their beautiful boxer Izzy to join them on the 43-stop Magnetic Tour.

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Photos: Phillip Phillips 2017 Summer Tour

What is that strange magic that makes live music and photography go so well together? Because while live music is ephemeral and forever moving like a flowing river, photography is static and permanent. Perhaps it’s due to photography’s ability to catch a moment, to capture a few magical seconds in a performance and make it last forever so we can go back again and again to feel its spellbinding power.

Phillip Phillips performs at Saratoga Performing Arts Center in Saratoga Springs, New York on August 20, 2017. Photo: Danny DeRusso.

Phillip Phillips’ summer tour had many of such moments, with shows at some historic venues such as Bethel Woods, where the Woodstock festival took place, and Austin City Limits Live’s Moody Theater in Austin, TX, home of the highly regarded PBS music special. Phillip wrapped his 2017 tour in Bend, OR on September 19. As a recap, here are just a few of our favourite photos from the summer. Here is hoping for more exciting announcements in the coming months, and of course a new tour to promote his new album. Visit our Galleries page to see more tour photos as well as some great fan photos too!

Shadow Tattoo – Phillip Phillips performs at the Mohegan Sun Arena, Uncasville, CT. Photo: Brian Gallo.

Featured photo by Danny DeRusso.

Phillip Phillips Rocks Austin City Limits Live, Releases Acoustic Version of Miles

Phillip Phillips made a very special stop last Friday, September 8th, when he performed at the Austin City Limits Live‘s Moody Theater. The day before, Phillip helped members of the Goo Goo Dolls to collect food items for those affected by the storm in Houston before their show in The Woodlands, TX.

Though the show in Austin was (regrettably) not recorded as part of celebrated Austin City Limits PBS series, it was nonetheless a special performance in an already stellar summer tour and stops at some amazing venues.

Phillip also surprised fans this Friday by releasing an acoustic version on “Miles,” his latest single. The recording features cellist Dave Eggar, who has been touring with Phillip this summer and accompanying Phillip during the acoustic VIP shows. The acoustic version captures the warm energy of those intimate performances — all the better to appreciate the gorgeous melody and moving lyrics of the song. Listen to “Miles” acoustic and follow the links below to purchase the song!

Buy Miles acoustic.
To buy the original version, click here.
Featured photo by Austin City Limits Live.
Gallery photos by PhillPhillSource, Chris Heuer, Austin City Limits Live, and Eliza.

Phillip Phillips’ Sweet Summer Vibes at the Shoreline Amphitheatre

Phillip Phillips much awaited summer tour got underway last Friday, July 14th at the Shoreline Amphitheatre in Mountain View, CA. Phillip will be touring the entire summer in support of the Goo Goo Dolls Long Way Home Summer Tour 2017.

As it does for most of the dates on the tour, the ticket for the Shoreline show included an option for a VIP Meet & Greet experience. The whole event was superbly organized. After signing in at the VIP sign in area, people who had tickets for the meet and greet were taken to an area backstage where a tent and a small stage had been set up. As we made our way backstage, we could hear Phillip and the band doing the sound check, which only added to everybody’s excitement. Thankfully, we only had to wait a few minutes before Phillip and Dave Eggar, cellist and musician extraordinaire, made their way to the stage and sat in the two chairs that had been placed for them there. I was pleasantly surprised to see that there was no official radio sponsor and that Phillip and Dave were basically in charge of how the show and Q&A would unfold.

Phillip Phillips and Dave Eggar play an acoustic show at the Shoreline Amphitheatre. Photo: PhillPhillcom.

A piece of paper had been taped on the floor in front of Phillip’s chair with a selection of questions from fans – we had been asked to submit them prior to the event online. But Phillip ignored the sheet and simply told us if we had any questions and people just went for it asking whatever came to their mind. In true Phillip fashion he soon had us laughing with his funny answers. He also asked us what we wanted them to play to which someone yelled “Man on the Moon” but he couldn’t play it because he didn’t have his capo. After another suggestion which he also couldn’t play – the capo again, I yelled “Miles,” a new unreleased song that I’m in love with, and that’s what they played finally!
Phillip and Dave Eggar have been playing together for the best part of the last five years and doing these type of acoustic shows must be like second nature for them. The whole event was very informal, relaxed and cool as a result. After playing “Gone Gone Gone,” Phillip answered a few more questions and then took the time to take pictures with everybody. I highly recommend getting these tickets if you can afford them, it was a wonderful experience.

Dave Eggar at the VIP experience at the Shoreline Amphitheatre. Photo: Priscilla McRae.

Anybody who has attended a live music event knows that there is no sweeter moment than the second before a show starts, and with the sun shining right on the stage, the warm summer air on our skin and the notes of “Man on the Moon” making their way through the air, that moment on Friday felt like a wonderful dream. It’s no secret that Phillip has faced some difficult times recently and to see him right there on the stage doing what he does best was a beautiful sight for my eyes. As always, it took no time for Phillip and his band to mesmerize us with their energy and musicianship as they did when they launched into the extended outro for “Man on the Moon.”

By now Phillip has enough songs, in addition to an entire catalogue of brilliant covers, to easily put on a two hour plus show. However, being in the opening slot meant that Phillip had to compress his set list to fit 40 minutes, not an easy task for a band that is used to jamming on almost every song. Still, Phillip did a great job mixing many of the hits like “Home,” “Gone Gone Gone” and “Raging Fire,” with his new songs. Of the eight songs he played that night, three were new unreleased ones. All three were also highlights. I don’t know how else to explain it but maybe it’s just that Phillip is feeling these new songs. “Magnetic” was extra sexy, with Phillip taking his time with the lyrics and stretching his vocal range to places we have not heard him go before. New guitarist Jonathan Asperil was really great on it as well, taking over from where the amazing Nate Mercereau left with the song’s guitar solo.

Phillip Phillips and Jonathan Asperil at the Shoreline Amphitheatre. Photo: Rockin Ryan.

I have already mentioned “Miles” as a new favourite and on Friday I had the pleasure of hearing it twice, once acoustically and once full band. On this tour, both Dave Eggar, and trumpet player Joel Behrman are filling in on keyboard. On “Miles,” the addition of these keys was beautiful and made its yearning tone all the more heartbreaking. I am obsessed.

Other amazing moments of the night were a new jam on “Lead On,” lead, appropriately, by bassist Court Leonard, back with Phillip on this tour, and the show closer “Don’t Tell Me.” Debuted by Phillip last summer, “Don’t Tell Me” is a funky number that helped to display Phillip’s great writing ability – it’s a perfect sing along song – as well as his and his band musical talent. I loved the horns by Joel Behrman at the end and just the overall grooviness of the whole song. Finally, I have to mention that Jeff Randall on drums was great, with a clean style that just gave the right touch to each of the songs.

I would dare to say that this is one of the best, most cohesive shows I have heard from Phillip and band: there was just an overall mellower sound, but really intense, sensuous feeling to the entire set. Though I’m sad to see that regular band members were absent this time, this new configuration sounded wonderful.
They say time flies when you are having fun, and it certainly did last Friday. As I clapped along to “Raging Fire” and “Gone Gone Gone” I looked around and saw the many fans that came expressly to see Phillip — a cute mom and daughter duo, a really nice lady sitting next to me who sang along the whole show, a 92 year-old fan whose bucket list wish is for Phillip to release his new album — and I thought, it’s OK, he will be back and we will be back too. As long as Phillip keeps touring and playing music, we will be there, we will keep coming back — for the magic and for the music.

Phillip’s tour continues on Thursday, July 20th in Fargo, ND. Click here to see all the upcoming dates! And check out some videos from the Shoreline show as well as the full show audio below!

Featured Photo: Rockin Ryan.
YouTube videos by Priscilla MacRae and Vanessa Sutter, Steve Leigh and PhillPhillcom.