LISTEN: Hudson Mueller Shares Title Track to Solo Debut
Welcome to Earth comes out March 28
After spending over 30 years playing in bands like The Hudsons and The Gold Magnolias, Texas’ Hudson Mueller steps out on his own as a solo artist in 2025.
“I don’t have any big hits from a commercial standpoint,” he reflects. “Not much money or fame to speak of. Willie hasn’t recorded any of my songs yet. But I’ve had some bonafide adventure, and I’ve forged some incredible friendships through music. It’s the closest thing I’ve found to real magic.”
Now, the Austin-born, Houston-based singer-songwriter offers a compendium to those adventures with Welcome to Earth, tracing back the roots of his craftsmanship while expanding the sonic nature of the music that accompanies him.
The album came together during the pandemic when producer Mike Bloom (who Mueller knew from their days working together at Soundhouse) called with an unusual proposal. “He said that he had just woken up from a dream in which we were working on a record together,” Mueller recalls. “‘That’s funny,’ I replied, ‘I just finished recording demos for a new record. I’ll send them your way.’”
The resulting collaboration pushes genre boundaries while maintaining the intimacy of Mueller’s earlier folk work. And perhaps there’s no better track on the LP to introduce listeners than it’s Kurt Vonnegut-inspired title track, which Rock & Roll Globe is proud to premiere today on the site along with a quick Q&A with the man himself.
Welcome to Earth comes out March 28.
What is this song about?
Kurt Vonnegut always said there should be a handbook for babies. He proposed this as the opening passage:
“Hello, babies. Welcome to Earth. It’s hot in the summer and cold in the winter. It’s round and wet and crowded. On the outside, babies, you’ve got a hundred years here. There’s only one rule that I know of, babies—God damn it, you’ve got to be kind.”
I think he pretty much nailed it. But maybe that handbook should also include a disclaimer that life isn’t fair by any stretch of the imagination. The circumstances of our birth are purely a matter of luck, yet they shape so much of our lives. This fundamental injustice is part of the human experience. Also, babies love music, so I figured a song might be a good idea.
If I had to sum up the song’s message in one word, it would be kindness. There’s so much tension, conflict and vitriol in the world right now that it’s sometimes hard to see a way forward.
But a little kindness can go a long way. If we turn to our neighbors, friends, and family —especially those who are going through it right now — and treat them with love, compassion
and kindness; maybe we can find healing. Maybe we can chart a way forward together.
Who/what were some influences when it came to making your album?
I borrowed a lot of themes from Kurt Vonnegut on this record. He’s been one of my favorite authors since I was a teenager, and his perspective has given me many valuable ways to look at and think about the world. He’s also incredibly funny. I often try to put a little bit of his magic into my songs.
I’ve always loved songs that tell a story — songs that make you chuckle and sometimes cry. That bittersweet space in music is incredibly powerful, and John Prine was the master of it. When he passed away during the early days of the pandemic, I was surprised by how deeply it affected me. His particular brand of wit and poetry has always been something that I aspire to emulate.
And then there’s Willie Nelson, who I consider a spirit guide of sorts. I’ve met him twice. The
first time was right around when Teatro came out — he was playing a fundraising dinner at a school in Austin. My friend Kivett and I somehow ended up there, got free copies of the record, and even had the chance to meet Willie, who signed them for us. Just being in his presence was powerful. He’s one of those rare people with an undeniable aura—a halo of smoke and light. I sometimes find myself asking, What Would Willie Do? in various situations, and I’ve tried to shape my career and my music with that in mind.
Any cool/funny/interesting stories from writing/recording this one?
We had this song all wrapped up — everything was tracked and mostly mixed — but then I had an idea for a vocal part. It’s the call-and-response section Elysse and Beccs sing during the chorus. I say, Welcome to Earth, and they echo back, Welcome, my friend, soon it will end. As much as I wanted to keep our forward momentum, I couldn’t shake the feeling that this part needed to be there. Every time I listened back to the chorus, I found myself singing the response. Finally, I talked to Mike, and we decided to bring Joy and Beccs back into the studio to record it. It’s still one of my favorite little bits of graffiti on the wall.
This song also features upright bass by my good friend Daniel Foose. We grew up next door to each other in Travis Heights—wrestling in the front yard, skateboarding down the street, and generally causing all kinds of mayhem. His dad was legendary Austin record producer Jon Foose, so they always had musicians hanging around at their house. Eventually, Dan picked up the bass, and we started playing in bands together. First Shades of Blue and later The Gold Magnolias.
Dan has a presence and intuition in his playing that opens you up as a singer and performer. When you’ve got that kind of solid foundation beneath you, you don’t have to worry about anything—you just let your light shine. That’s how I feel when I’m playing with Dan and Jeff (Barton on drums).
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