BLAKE SHELTON 

Country’s fiercely independent superstar revels in pushing boundaries    

For Blake Shelton, celebrity is simply part of the package that comes with being a successful musician. That philosophy has kept him grounded despite massive stardom gained as a mentor on TV’s mega-hit The Voice. Shelton’s easy wit and charm have endeared him to millions, even as he’s endured his share of slings and arrows. “I learned a long time ago if I’m going to do this, I have to be comfortable in the public eye,” says Shelton. “There will always be those who think I’m stupid and tasteless, and others who think I’m a genius.”

The Oklahoma native has released 12 No. 1 hits and six gold and platinum albums, and scored multiple Grammy nominations. He’s been chosen the Country Music Association’s Male Vocalist of the Year three times, won Entertainer of the Year in 2012, and landed the association’s Song of the Year honor for “Over You,” which he wrote with his wife, country star Miranda Lambert.

Shelton’s latest, Based on a True Story…, continues that trajectory. Beer, jukeboxes, pretty girls and pickup trucks abound—fitted to big hooks, an outsized Nashville spirit, and a few newfangled sonic embellishments incorporated by producer Scott Hendricks. Shelton makes no apologies for lifting touches from noncountry genres. “Instruments identified as country—fiddle, banjo, steel guitar—will always be part of my music,” he says. “But I’m having fun incorporating new things. There’s not a rulebook for making music—for any genre. Making this album was the most artistically satisfying experience I’ve ever had.”

Did you have a goal for the new album?

The only time I made an album with a specific direction in mind was my third. I wanted it to be stuff you’d hear on a jukebox in some country bar—drinking, smoking-type songs. With this one I just wanted to record songs I was pumped about. Lots of artists talk about why they made a certain album, but I just love music. It’s that simple. Growing up, my influences were all over the map. I still get excited about music that’s all over the map.

Did your work on The Voice affect the production of  the record?

I tend to digest and regurgitate everything I hear. It goes into my brain and comes out my mouth in a different way. I’ve learned a lot about different recording techniques, things that had never been part of my world. Auto-Tune is something nobody wants to talk about in Nashville. Everybody wants to pretend no one does it. But Auto-Tune can be like herbs and spices. For “Small Town Big Time,” I told Scott I wanted part of it to sound like T-Pain. I wanted it to sound so “Auto-Tuned” it’s ridiculous for country, but probably not ridiculous enough for pop. There’s no reason we can’t explore and experiment with things like that in country music.

Are you hands-on in the studio?

I’ve gotten more involved. I’ve done so much work as a guitar player, it’s been hard to let go of that. Back when I recorded “Home” I was adamant about playing every guitar part. It took forever, but I wanted it to be all me. Now that I’m older I’m not quite so full of myself. Scott will say, “Blake, let’s get someone in here who’s faster and better than you are.” (laughs) I understand that now. I want my records to sound as good as they possibly can.

How do you select songs?

I live with a potential song for a long time—whether it’s something I’ve written or a song by someone else. When I make a record, I think, “OK, I’m excited about this now, but how will I feel about it next month?” After a while I can get sick of a song just like anybody else. But if you live with something for two or three years and don’t get tired of it, that’s a good sign. If you’re going to tour and sing those songs for the rest of your life, you better make sure they’re things you’ll never get tired of.

Is songwriting still important?

The busier I’ve gotten the less writing I’ve been able to do. But that makes the songs even more important to me when I do write. That was true with “Over You,” the song I wrote with Miranda. Careerwise, it’s probably the most satisfying thing that’s happened to me—writing that, and winning Song of the Year with my wife.

Do you have a favorite guitar?

Miranda bought me a 1976 Guild acoustic that I really love. I don’t play it much at home, though, because I’m one of those guys who will grab a guitar and walk through the house banging it on doors and chairs. I generally bring it out only when I want to record something. Probably my favorite guitar is the very first one I bought. I watched Garth Brooks’ first television special years ago, and he was playing a black Takamine acoustic. I roofed houses for a summer when I was 16 to save the money to buy that same model. I still have it. I love that guitar.

Do you get into staging performances on The Voice?

Adam [Levine] and I are both involved. As coaches, we’re constantly butting heads with the producers. When you’re an artist, you want to play up your strengths as a vocalist and a musician. Television producers want things to look flashy and over-the-top, so people will stay tuned. For them, it’s boring to have someone just stand there and sing and not have crazy stuff going on

behind them. But as a musician and artist, you don’t want anything to take away from what people are hearing.

How does that extend to your live shows?

My biggest concern is to have a cool entrance, an unveiling. I love that moment when you first see the crowd, you’re sort of being introduced to one another. That’s your first impression—and it needs to be as big a deal. That’s the moment you want to seem like a star. By the end of the night everyone will see I’m just a regular douche bag, but at least for those couple of moments they can think, “Man, he seems cool.”

Is country music in a good place?

That’s always controversial—what’s “country” and what isn’t. Every generation pushes the boundaries, and they’ve all had their critics for doing that. I remember when Garth was having his success—there were all these critics and haters out there. Now he seems like one of the more traditional guys. My generation is pushing the boundaries even further. I know there are critics who say I’m not country. They can kiss my ass. This is my generation’s time to make our brand of country music. In a music industry that’s hurting, country music is holding its own. I’m proud to be a part of that. But we always have to find a way to keep our music young and fresh, and not just do the same thing over and over again. We’re not doing anybody any favors by doing that.

Where do you see yourself in five years?

I want to do less touring than I’ve been doing. I’m at a point in my career where it’s time to start saying no to some things. Hopefully I’ll use that time to do more writing. I feel like there are some songs left in me that I need to get out.

–Russell Hall