Three-time winner of the Boston Music Award for Best Singer/Songwriter
“Dailey’s latest album makes it clear that good songwriting isn’t a matter of hiding behind shiny production or an over-stylized persona. His music doesn’t contain a note of pretense. If anything, it is committed to the beauty of simplicity. National Throat is a statement about the value of creativity and the survival of art. Dailey believes the truth will find its way out, that what is real and beautiful will rise to the top.” – Jon Karr, New York Minute Magazine
“Dailey has a natural charisma, particularly as a vocalist, and much of “National Throat” gives him room to simply emote. While the music plies a spare sensuality, he’s in full Technicolor mode, from brash (the full-throttle rocker “World Go Round”) and soulful (the horn-stoked “Why Do I”) to exuberant (the big singalong “We Will Always Be a Band”) and tender (the dusky, banjo-driven ballad “Higher Education”). This is Dailey at his most self-possessed, a clear and confident musician who doesn’t need a big label or a big budget to put across his charms.”
— James Reed, Boston Globe
“Then what of the national throat? Will it not weaken?”
These emphatic words of protest appeared in a 1906 essay written by John Philip Sousa. The patriotic American composer found himself standing before a dramatic threshold in music. Faced with the advent of the recording of music and an onslaught of innovation, all of which he deemed, “the menace of mechanical music,” the composer feared the sacred creative entity he had dedicated his entire life to serve would be forever ruined. Sousa passionately lamented that singing would be replaced by a “mathematical system of megaphones, wheels, cogs, disks … all matter of revolving things.” More than anything, he feared that the introduction of new contraptions of innovation would serve to water down his cherished artform, all in the name of commercialism. More than a century later, treading upon a similarly fragile fault-line in music, singer-songwriter Will Dailey asks these very questions in his upcoming release. His record is aptly entitled: National Throat.
Will Dailey has chosen to deviate from that predestined path of cogs and commercialism. He willfully parted ways from one of the world’s largest record labels to produce his latest full-length album.
Now independent, Dailey feels liberated. National Throat tells the story of that journey.
“People have been complaining about change in the music industry for centuries but artists make art because they have to,” Dailey says. “I write songs because they happen to me; it fuels my life and I see it fuel other people’s lives… Nothing can disrupt that. This album of songs is about doing this because you have to.”
Featuring 11 new tracks, National Throat is a thriving embodiment of an authentic American Dream. It is a registry of a national reverie, one brought to fruition through a musician’s pursuit of art in its rawest form. It is music felt, not contrived. It is fresh soul untarnished by the grease of cogs or disks, left pure in the midst of a virulent commercial world.
Though fortune and fame have never been of main concern, Dailey’s music has been amplified by acclaim: He is a three-time winner of the Boston Music Award for Best Singer/Songwriter and his songs have been featured on more than 50 shows and films. Critics agree that he holds his ground performing next to artists like Neil Young, Willie Nelson, Dave Matthews, and John Mellencamp. He was unfazed by the call from Oscar and Grammy-winning producer T Bone Burnett to join Elvis Costello, Sheryl Crowe, and Rosanne Cash in the studio. All this from a man who has never, ever been anything but a musician.