“They are otherworldly, and they always come to me in my time of need with messages of strength and perseverance”
Award-winning singer-songwriter Margo Price has long soared beyond the boundaries of traditional country and Americana, but the one constant throughout her musical journey has been her mid-1960s J-45. Now, the Gibson Custom Margo Price J-45 honors Price’s connection to the J-45 with a beautiful new signature instrument, handcrafted in Bozeman, Montana.
With a slightly shallower body designed for tighter bass response and increased player comfort, and a red spruce top, the guitar sounds as breathtaking as it looks. The striking artwork on the 50s-style double pickguards is inspired by a creature that Price regards as “otherworldly,” the red-tailed hawk. “They always come to me in my time of need with messages of strength and perseverance,” Price says.
We caught up with Margo to find out about the development of her signature acoustic, her songwriting process, and more.
What was it like to collaborate with Gibson on a signature instrument, and what does your new model bring to the table in terms of sound and feel?
“I’ve been playing Gibson guitars for over two and a half decades, so it’s an absolute dream come true to have a signature model coming out. This guitar is so special to me, and we really put the time into making it exactly what I wanted.
“It’s strong but soft, just like me, and has the duality of being durable and lightweight; it’s got a small neck so my tiny hands can reach everything they need to but it still has a really clear, loud sound that cuts through with a lot of clarity. We have been playing the prototype on stage and writing songs on it for this upcoming album and it’s a real workhorse, just like me.”
What’s the inspiration and story behind the Gibson red-tailed hawk design?
“Red-tailed hawks have always been symbolistic to me. I see them everywhere, and I always have, as they are common all over the United States, but to me, they are otherworldly, and they always come to me in my time of need with messages of strength and perseverance.
“Red, as a color, relates to love, passion, and even anger, matters that we typically would associate with the heart, but if you look closely, the end of the feathers are dipped in white, and the bird itself has a spiritual nature to them. When I’m on long road trips, I look out the window and count them alongside the highway. They pass over me at the most kismet times, reminding me to find strength in my vulnerability and to open up and connect to those around me. I hope this guitar will remind those who play it these lessons as well.”
Image: The double pickguards feature this beautiful red-tailed hawk design
What changes have you noticed in your style or approach to songwriting as it has evolved over the years? For example, some of the instrumentation on “Radio” defies country/Americana norms—where did that inspiration come from?
“The melody to that song came to me when I was running in the woods one day. I had been listening to a lot of Bruce Springsteen at the time and when I got home, I sat down and put the chords to it within about five minutes. It was one of those lightning moments where it all happened really fast.
“It’s funny the way that the song came out sounding much more progressive and poppy than a lot of my catalog because I wrote it on an acoustic guitar. When you strip away all the production, it sounds more like a Heartbreakers song.”
What shapes your writing process the most in the studio, electric or acoustic guitar tones?
“I think it depends on my intention going in and how we need to best serve the song, but if I had to choose, I’d be acoustic all day. I love hearing all of those little nuances that make the acoustic guitar feel very human to me. The sounds of the fingers sliding up and down on the strings, the echo and the harmonics that linger in the air when you hit a big chord, it does something special to my soul.”
Can you walk us through your creative process when writing a new song? Do you have any rituals or routines that help you get into the zone?
“Songs are like fingerprints or snowflakes in that they are all unique in how they come together. Sometimes, a melody finds me; sometimes, it’s a feeling or a mood that inspires it. Sometimes, songs come to you in dreams, or you hear a line in a conversation that sparks something. I love to write early in the mornings or late at night before bed when I’m still in the dreamlike liminal state. I also usually try to take a walk in the woods first thing when I wake up. Walking and listening to the birds and the sounds of nature really gets me in the rhythm and lets my mind wander.
“My husband is my most frequent collaborator, and he is always bringing me pieces of songs or riffs, which is super inspiring. He knows me better than anyone else, so it makes it really easy for him to write from my point of view or help me finish something I’m working on. And we have both been doing more co-writes lately, and that’s been a lot of fun and really inspiring to see other people’s process.”
What’s the most challenging part of creating a new album?
“I think the most challenging part for me lately is turning down all of the voices around me and trying to make something that is a pure representation of where I am at now. If you start trying to please the critics or follow trends, you’re not staying true to yourself. I have to remind myself a lot why I started writing songs in the first place, and it wasn’t to please other people, or win awards, or get on the radio.
“From my experience, you constantly have to dig deep and reinvent yourself and you must always, always make time and space for the muse to come visit you. There’s a lot of noise and distraction out there, so finding time to be still and listen is key.”
How do you decide which songs make it onto an album? Do you have a specific theme or message you aim to convey with each project?
“I like to take new songs for a test drive on my audiences. If it gets a reaction without anyone ever hearing it prior, you are on the right track. I think it’s best to write about thirty songs for each project and then record 15-20 of them, see which ones come out the best, and then go from there.
“I’ve made concept records before, and that definitely comes with a theme, but much of the time, I’m just using my songwriting to work through my feelings and try to understand the world around me. The upcoming album I’m writing for definitely has a theme, and even though we are only doing preproduction, I have a name for the record and am already starting to see which songs feel cohesive.
“Other projects have come together in more chaotic ways, aka, visions through dreams or psychedelics. As a sound engineer in Mesa, Arizona, once said to me almost twenty years ago as I was wrapping my quarter-inch cables after the show, ‘Its shape will reveal itself.’”
As a lyricist, what do you hope your fans take away from your music and performances?
“I hope that they find their own meaning in my words and find something that helps them relate to their own life and experiences. Music is the greatest language. It has the ability to unite us and make us realize that we are all connected. I hope that they leave feeling inspired and less lonely.”
Can you share a memorable experience from your career that had a significant impact on you? For example, the Glastonbury concert seems like it was a special moment. How did that show make you feel, in hindsight?
“Absolutely. Glastonbury was one of those moments for me because I got to sing with Kris Kristofferson. I was so jet lagged, and I hadn’t slept much in over 48 hours. I was so tired; I almost felt like I was having an out-of-body experience, but as I looked out on the massive crowd and felt the energy of everyone being together and sharing the huge yet intimate moment together, all my fears and anxieties melted away, and I had to pinch myself to make sure it wasn’t a dream.”
You’ve collaborated with some talented artists, such as Mike Campbell and Sharon Van Etten. Can you tell us about a collaboration that stands out to you and why?
“I think we are living in an age of over-collaboration, and sometimes people are just collaborating because they think it’s gonna give them a bump in the algorithm. I have turned down collaborating with some pretty popular artists because I either didn’t feel that the song was good enough or I didn’t connect truly with their art.
“I’m harder-headed like that, for better or worse. But when I do love an artist—especially the way I love Mike or Sharon, or even Willie or Loretta—it’s absolute magic. There’s no greater feeling when you melt into a harmony and raise your voices together when you truly love the song and have mutual admiration for one another.”
Who is on your bucket list for future collaborations?
“I’ve got a big list of folks I’d love to sing with. Stevie Nicks and Dolly Parton have to be my top two.”
Learn more about the Gibson Custom Margo Price J-45 and shop now.
