Time doesn’t matter. It’s 2018, but there is a definitive love and power that was born in the heyday of the best type of rock n’ roll and blues that still lives on today through the work of certain artists. Hendrix was lighting guitars on fire and Janis Joplin’s howl could be heard echoing across fields of music lovers. Kerri Powers‘ voice and her music are timeless, because when a song is powerful enough to truly knock you off balance with its dominance, it simply doesn’t matter where you are in time – music like that is transformative and transports you.

The songwriter’s latest effort Starseeds capitalizes on what Powers has owned so well previously. Impressive guitar stylings with heavy blues influence and a voice that, from the first note, completely entrances the listener.

We were lucky to snag a bit of Kerri’s time as she gears up for some tour dates to support this latest release. She opens our eyes to the recording process and collaborative efforts of these songs. Read on folks.

RLR: Take us through the title of the record? What does that title mean to you?

KP: A “Starseed” is an empath, a healer. I have always loved the word and its meaning. It lends itself to light and something good. Our world needs healing and human connection right now. Songs are starseeds. If they’re written from an honest and selfless place, they are powerful sources of light and healing for humankind.

RLR: You ventured back to Dirt Floor to again work with Eric. I imagine at this point the two of you are like kindred spirits. Was that an easy decision to make for this album?

KP: Well, it was easy because I worked with Eric on the previous album, yes, and he has the right touch and approach to production and the music in general. I’m not sure the recording and making of any new album is ever really easy. I think a little trepidation is always present regardless of how comfortable an artist is with his/her producer. I was really happy to work with Eric again and the album is something we are both proud of and feel we did our best with so that is something to be thankful for. Each recording session and album is a learning experience. I look at it like stepping stones. As songwriters and artists, we are always learning and hopefully, improving our craft.

RLR: What was the process like in terms of where the songs started and where they ended up? Did a lot of these tunes come in pretty bare bones and get filled out quite a bit or did you have a general idea of what you wanted sonically for the songs?

KP: Again, I think Eric has the right touch. I mean, sure, we had to pull some instrumentation out here and there and make decisions to cut certain things as we got into the process more, but I think we both know not to overcrowd the songs. I hope that the work I put into the writing pays off in the way that it really is all about the song. You can sprinkle fairy dust on them but it isn’t going to make them shine the way they do if written with truth and with vulnerability. The songs have to be written well and that takes time and work.

RLR: If there is one song from this record you hope stands the test of time and in 100 years someone is still loving it and spinning it on whatever cosmic device people play music on, what tune would it be?

KP: That’s a tough question. I would feel incredibly blessed if any one of them stood the test of time. That’s all a working songwriter could hope for. Steve Winwood’s, Can’t Find My Way Home is an incredible song. I feel it will continue to resonate with people for years to come.

RLR: Your voice always strikes me. Its so powerful, but I can also see how it could become a burden because you command such power with it. How do you keep your vocal healthy?

KP: Green beans. Actually, I don’t really think about it. I probably should. I mean, I don’t really abuse my voice so I guess I never put much thought into how to keep it healthy. I just try and take good care of myself overall; eat pretty clean, get enough sleep and a daily square or two of dark chocolate is a must. Toss in an occasional skinny cigar and ice-cold IPA and I’m good to go. My voice is a little gritty to begin with so I just go with the flow.

What about your writing style? Are you a “sit down and I HAVE to finish this song” type or do songs kind of unearth themselves for you over time?

I would never put that kind of pressure on a song. If a song isn’t working from more of an organic place, it’s time to put the work down and take a walk with the dog or go into the studio and paint. It’s risking the real heartbeat and authenticity of a song to sit and try and think in order to push it along or finish it. It’s an important part of the process to know when to let a song dry overnight. I do like to try and work on something frequently, but I don’t and push to meet a certain timeline or expectation.

RLR: RLR is all about the community but CT has been a bit of an enigma for me. How do you see the current landscape of music in the area growing (or not) and are you excited about it?

KP: CT seems to be bit of an enigma to quite a few folks and really kind of a bummer because what’s hip and exciting is the potential for creative and cultural growth. The community in CT is incredibly warm and supportive and I’d like to believe there’s a genuine and tenacious desire to build value within the community, enough to establish a thriving music scene. I think CT is a beautiful state, one that offers some of the most incredible venues in the country. I’ve been fortunate to play a few of them; Infinity Hall, The Katherine Hepburn Theater, The Bread Box Theater, Fairfield Theater, Buttonwood Tree, Bee & Thistle, and the list goes on. We need to continue to build awareness and value in the marketplace.

RLR: In the same vein, what local artists and contemporaries are you digging lately?

KP: Well, I’ve always been a big fan of local CT songwriters, Ian and Dustin Meadows. Ian has just started playing guitar for me and those boys have a lot of natural songwriting talent and ability. Their sound isn’t contrived or pretentious, just good old-fashioned music played just right. I give anyone credit for getting out there and pedaling their wares, it takes courage. I don’t like to admit this but I don’t have as much time as I’d like to hear everything that’s out there right now. I’ve always dug Ian Fitzgerald, Krista Baroni, and I believe Eric Lichter has a new album coming this summer. As far as new stuff, I’m loving the Strange Angels tribute to Elmore James produced by drummer, Marco Giovino, and I dig Sean Rowe, as well as Nathaniel Rateliff and the Night Sweats new album.

RLR: Anything else specific to the album you want to push?

KP: Peace, love, and compassion and the message that music and art are what heal and connect us. It’s powerful stuff.