Case Oats, the Chicago-based musician, has released her debut album, “Last Missouri Exit,” an evocative collection that epitomizes the essence of the Midwest.
This album features ten tracks that blend the warmth of front porch gatherings with the rich sounds of pedal steel, fiddle, and acoustic guitar.
Lyrically, it resonates with deep storytelling, packed with small-town narratives reminiscent of iconic recordings like Bruce Springsteen’s “Nebraska” and John Cougar Mellencamp’s “Scarecrow.”
However, the inception of this album was more serendipitous than intentional.
“I wanted to write a novel, but I accidentally made an album,” said Casey Gomez Walker, the bandleader and primary songwriter, during a coffee chat at Hexe in Chicago.
Gomez Walker, 30, spoke with a nonchalant tone, as if casually mentioning a minor mistake rather than recognizing the accomplishment of a standout album.
The journey leading to “Last Missouri Exit” began several years ago when Gomez Walker, a transplant from Wildwood, Missouri, was studying creative writing and journalism at Columbia College Chicago.
She originally aimed to craft a novel that reflected the themes woven throughout the album.
The main storyline centers around a tumultuous month-long road trip she took with her then-boyfriend to Utah’s state parks, with unexpected detours to sites like Mammoth Cave in Kentucky.
Along the way, their travels touched various states, including Ohio, Tennessee, Michigan, and Missouri, but this was not your typical road trip narrative.
“It was a very odd, weird experience,” Gomez Walker recalled, mentioning that her boyfriend was facing a mental crisis during the trip.
“As I was driving the whole time, I was in charge because he couldn’t drive.”
The album dives into other reflective journeys too, from cruising rural roads in her high school boyfriend’s car in “Buick Door” to reminiscing on young love’s emotional rollercoaster in “Seventeen.”
The track “Bitter Root Lake” draws inspiration from a tragic true crime story about a Canadian teen, Dianne Babcock, who died in a plane crash in 1982 while being piloted by her boyfriend.
Gomez Walker, an avid true crime enthusiast, stated, “I listened to the ‘Dateline’ podcast and wrote the song.”
Yet, the most profound journey depicted in the album is Gomez Walker’s personal choice to leave her childhood home in search of new beginnings.
The title “Last Missouri Exit” reflects a road sign she frequently noticed when leaving St. Louis en route to Chicago.
“My sister went to Loyola, so I visited her a lot when I was in high school, and I loved it,” Gomez Walker explained.
Though music was not initially part of her plans post-Columbia, she felt a strong desire to contribute to the vibrant Chicago music scene.
Gomez Walker recalled being drawn to the folklore embedded in songs, such as “Love Song for a Schubas Bartender” by Margot & The Nuclear So and So’s.
She began crossing paths with local musicians, attending early shows, and immersing herself in the environment.
A pivotal figure in her musical journey was Spencer Tweedy, an established collaborator of his father Wilco frontman Jeff Tweedy, as well as other well-known artists.
Spencer became not only a producer and drummer for Case Oats but also Gomez Walker’s fiancé.
“Meeting Spencer encouraged me to write more, and I realized I could write songs,” she remarked.
Her admission highlights a natural progression in her artistic journey.
Tweedy noted that he was captivated by the honesty and uniqueness in Gomez Walker’s writing.
“The first song she ever showed me was ‘Bluff,’ which opens with an apology: ‘Sorry I talked about hockey too much.’
It’s such an unconventional start to a story,” he pointed out, demonstrating the intriguing approach she brings to her songwriting.
To complete the album, the duo enlisted local musicians, including Max Subar (guitar, pedal steel), Jason Ashworth (bass), Scott Daniel (fiddle), and Nolan Chin (piano, organ), along with guitarist Chet Zenor, who often performs with them live.
“Last Missouri Exit” was partially recorded in Ashworth’s basement before moving to The Pocket, a Jefferson Park recording studio co-run by Ashworth and Tweedy.
Tweedy aimed to ensure that the production served the integrity of Gomez Walker’s voice, which he deemed the most vital element of the music.
He shares a passion for straightforward albums, citing Neil Young’s “Harvest” and “The Basement Tapes” by Bob Dylan and The Band as influences.
One of Tweedy’s favorite moments from the album occurs in “In a Bungalow,” where the band reaches a climactic release of built-up tension, highlighted by Scott’s fiddle.
With the album set for live presentation at a release show at Hideout this Friday, Gomez Walker is poised to bring her music to the forefront.
Following the release, she will embark on a tour, which includes performances at Americana Fest and opening shows for other renowned acts like Lucius and Superchunk.
As Gomez Walker returns to the open road, she finds herself reconnected to the very themes of exploration and journey that her music reflects.
image source from：chicago
