(Artist Report)

Written by:  Courtney Denning  

In the heart of Nashville’s ever-evolving music scene, Willie and the Giant stand out as a band equally rooted in tradition and refreshingly unconcerned with trends. The quartet consists of frontman Will Stewart (vocals, guitar), Jon Poor (guitar), Grant Prettyman (bass), and Mac Kramer (drums)—creating a sound that bridges eras, leaning heavily into the warm textures of vintage rock and soul while still feeling alive in the present. Their name adds a playful nod to their dynamic: Stewart is the “Willie,” while Poor, standing at 6’5”, is quite literally the “Giant.” Together, their chemistry lays the foundation for music that thrives on both groove and grit.

Recorded live to tape at Nashville’s revered all analog studio “Welcome to 1979” An environment steeped in retro charm and sonic warmth, the band’s self-titled debut captures a timeless quality. “We wanted that warm, saturated sound that you can only get from tape,” Stewart explains. The decision pays off: Hammond organ swells, dueling Stratocaster lines, and buoyant rhythms spill from the speakers with the unforced energy of a band feeding off each other in the same room. According to Poor, “When we play, we really feed off of each other. This approach was perfect to capture our sound and really bring that human element to it.” Only minimal overdubs were added; the essence remains wholly live.

Musically, Willie and the Giant conjure echoes of the mid-’70s—think Allman Brothers jam sessions, St. Paul and the Broken Bones’ soul revival, or even a late-night Old Grey Whistle Test appearance. At times, their sound channels the easygoing grooves of the Doobie Brothers, at others the heartfelt intensity of the Black Crowes or Nils Lofgren. But what makes WATG compelling is their refusal to simply imitate. Their songs carve out distinct moods from swampy blues-rock and spaghetti Western twang to breezy soul-pop and climactic Southern anthems. always bound by tasteful musicianship and Stewart’s expressive, honeyed vocals.

Tracks like “Tullahoma” with gentle melodies, recalling a laid back Elvis Costello style, while “Loosen Up” rides a groove that edges toward radio-ready uplift. Keyboardist Matt Slocum, a longtime fixture of the Alabama scene who frequently tours with Black Crowes guitarist Rich Robinson, enhances nearly every track with his Hammond B3 textures, further grounding the band’s sound in an era spanning soulfulness.

Rooted in Alabama before relocating to Nashville, Stewart and Poor bring with them a Southern sensibility and a great vibe to the music scene. With their most recent album being released in 2020 the band remains active, we will keep our ear to the ground and let you know about any new releases or tour updates. Support us by shopping in the Soundwave shop, thank you readers.

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