Davis: Coming up on "Studio 3 LIVE," we welcome Henry Wagons to the stage.

♪ Play that country music ♪ Wagons: I seemed to be surrounded by sort of cosmic, trippy Western influences, all the while growing up in Melbourne, Australia.

And, you know, the combination of it all -- Here I am, a strange country artist in a wild land.

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Good evening and welcome to "Studio 3 LIVE."

I'm your host, Mickey Davis.

Tonight we're joined by the Australian multihyphenate entertainer Henry Wagons.

An accomplished songwriter and musician, he has helped usher in a new era of country music in Australia, both in his band Wagons and as a solo performer.

Along with his music, Henry hosts a nationally syndicated Americana music radio show, "Tower of Song," on Australia's Double J radio.

He has presented on various television shows, ranging in topic from record collections to barbecue recipes.

Through relentless performing across Australia, the U.S., on radio and TV, and beyond, Henry has made a name for himself as one of Australia's great performers.

Please help me welcome to the stage Henry Wagons.

[ Cheers and applause ] [ Down-tempo introduction plays ] ♪♪ ♪♪ ♪♪ ♪ Why do we dream at night ♪ ♪ And why does the matchstick light?

♪ ♪ Why does the ocean meet the sun ♪ ♪ When the day is over and just begun?

♪ ♪ And why did the dodos die?

♪ ♪ Why can't I look you in the eye?

♪ ♪ All I need to know is all I'm trying to find ♪ ♪ Do you love me like I love you?

♪ ♪ Love me like I love you?

♪ Iowa!

♪♪ ♪♪ ♪♪ ♪ Why does the white snow fall?

♪ ♪ Why does the hard rain drop?

♪ ♪ Why do we talk about the birds and bees ♪ ♪ When one's in the flowers and one's in the trees?

♪ ♪ Oh, why will I never learn?

♪ ♪ Why must my true love burn?

♪ ♪ Why must my true love burn?

♪ ♪ All I need to know is all I'm trying to find ♪ ♪ Do you love me like I love you?

♪ ♪ Love me like I love you?

♪ ♪ Love me like I love you?

♪ ♪ Do you love me like I love you?

♪ ♪ Love me like I love you?

♪ ♪ Love me like I love you?

♪ ♪ Oh ♪ ♪ You got me trained like a cobra ♪ ♪You got me dancing on your command, yeah ♪ ♪♪ ♪ You got me fighting like a fighting fish ♪ ♪ Then I'm slapping around on the land ♪ ♪♪ Hey!

♪ Do you love me like I love you?

♪ ♪ Love me like I love you?

♪ ♪ Love me like I love you?

♪ ♪ Do you love me like I love you?

♪ ♪ Love me like I love you?

♪ ♪ Love me like... ♪ ♪ I love... ♪ ♪ You?

♪ ♪ In particular ♪ [ Laughter, music ends ] [ Cheers and applause ] Yeah.

Thank you.

This is my first time in Iowa, and I'm loving the welcoming I'm getting so far.

What I said in that first song is true.

I do love you.

And all I demand in return is that you love me back.

Is that okay?

I hope so.

[ Laughter ] It's probably too soon.

Too much too soon.

But here I am.

I'm glad you're out here.

Do all your clubs have this many cameras pointed at the artists?

I like it.

This next song is dedicated to all those people you dragged along here.

Maybe you had someone you brought along that was pretty reluctant to come today.

[ American accent ] "Who the hell is this Australian guy?"

Is that what you sound like?

It's not, is it?

This one's about pulling someone out of that Netflix-and-chill zone.

It's called "Don't Be Down and Out."

It's called "Don't Be Down and Out."

One, two, three, four.

[ Mid-tempo introduction plays ] ♪♪ ♪ You're feeling down ♪ ♪ Let's go out ♪ ♪ Get you some whiskey ♪ ♪ It's my shout ♪ ♪ I've asked Sarah to bring her dancin' shoes ♪ ♪ The jukebox playing "The Fishin' Blues" ♪ Taj Mahal.

♪ Don't be down and out ♪ ♪♪ ♪ You're feeling low ♪ ♪ Come on; let's go ♪ ♪ Just walk the dogs ♪ ♪ Go to a show ♪ ♪ No need to press that linen suit ♪ ♪ No need to press that linen suit ♪ ♪ Get on that shirt, slide on the boot ♪ ♪ Come on ♪ ♪♪ ♪ Don't be down and ♪ ♪ Don't be down and out ♪ ♪♪ ♪♪ Hey!

♪♪ ♪ Your face is pale ♪ ♪ Your eyes are red ♪ ♪ Oh, I saw several wine bottles under your bed ♪ ♪ You need a break from this wretched den ♪ ♪ It's not a matter of why ♪ ♪ It's a matter of when, uh-huh ♪ ♪ Don't be down and ♪ ♪ Don't be down and out ♪ Lachlan Bryan on the keys.

♪♪ ♪♪ ♪ Don't be down and out ♪ ♪♪ ♪ You looking so tired ♪ ♪ You're looking so sad ♪ ♪ You got to hit the town real bad ♪ ♪ You're looking so wretched ♪ ♪ All outstretched ♪ ♪ Get out of bed right now ♪ ♪ Mary's gonna bring those loaded cards ♪ ♪ Jerry broke out of the exercise yard ♪ ♪ The girl in the back's got a wide-brimmed hat ♪ ♪ The girl in the back's got a wide-brimmed hat ♪ ♪ The boogie is deep and the dog is fat ♪ ♪ The boogie is deep and the dog is fat ♪ ♪ Everyone on the couch is eating your food ♪ ♪ The cat just shouted "Kalamazoo!"

♪ ♪ We're well under the after hours ♪ ♪ Let's hit the road ♪ ♪ The night is ours ♪ ♪ Don't be down and ♪ ♪ Don't be down and ♪ ♪ Don't be down and out ♪ [ Music slows, ends ] [ Cheers and applause ] Whoo!

Davis: Henry, thank you so much for being here.

Davis: Henry, thank you so much for being here.

There's so much I want to ask you about.

But first, I think for the uninitiated, tell me a little bit about yourself.

How did you get started making music as Henry Wagons?

Well, I grew up listening to my dad's Johnny Cash records.

You know, my mom had a dusty Rod Stewart tape.

When I was playing in kind of indie-rock bands as a teenager, I got given by my now bass player Johnny Cash's "American Recordings."

I was reading Cormac McCarthy novels.

I watched Jim Jarmusch, "Dead Man."

I seemed to be surrounded by sort of cosmic, trippy Western influences, all the while growing up in Melbourne, Australia, which is a trippy fact unto itself.

And, you know, the combination of it all -- Here I am, a strange country artist in a wild land.

Yeah.

I wouldn't have it any other way.

You mentioned those influences, and I think in your music you can hear those influences, whether it's Johnny Cash or Neil Young or, you know... A little bit of the "Blues Brothers" soundtrack.

Yeah, yeah.

I can hear that too.

Pink-satin-era Rod Stewart, but also, you know, Marty Robbins, you know, George Jones, Roy Or-- all the Highwaymen.

Yeah.

All the Wilburys.

But, you know, I don't pretend to be anything other than crap on the shoe of any of them.

This next song is about my own doom.

It's about my own death.

And I know it seems morbid, but ultimately it's about how much I love my family and how much I want them around me.

My wife, my daughter, my dogs.

I want them around me when I die.

And it's about how much I want to subject them to my death instead of the other way around.

It's called "I Don't Know When It Is I'm Gonna Die" [ Down-tempo introduction plays ] ♪♪ ♪ I don't know when it is I'm gonna die ♪ ♪♪ ♪ I don't know when it is I'm gonna die ♪ ♪♪ ♪ All I know is when I go ♪ ♪ I want you by my side ♪ ♪♪ ♪ I don't know when it is it's gonna end ♪ ♪ I don't know when it is it's gonna end ♪ ♪♪ ♪ What I want, what I need ♪ ♪ Is to have you here with me ♪ ♪♪ ♪ I don't want to be a burden to anybody else ♪ ♪ But I'm a little uncertain about my health ♪ ♪♪ ♪ All self-inflicted, hey?

♪ Ha!

♪ Just promise me you'll stay ♪ ♪♪ ♪ I don't know how long I'm gonna live ♪ ♪ I don't know how long I'm gonna live ♪ ♪♪ ♪ You want to die young, you stupid fool ♪ It's 'cause they haven't met you.

♪♪ ♪ I ain't lowering the curtain any time soon ♪ ♪ But the third act is playing under a crescent moon ♪ ♪ But the third act is playing under a crescent moon ♪ ♪ I don't know the time or date ♪ ♪ Just promise me you'll wait ♪ ♪♪ ♪ I don't know when it is I'm gonna die ♪ ♪ I don't know when it is I'm gonna die ♪ ♪ All I know is when I go ♪ ♪ I want you by my side ♪ ♪♪ [ Music slows, ends ] [ Cheers and applause ] One, two, three, four.

[ Mid-tempo introduction plays ] ♪♪ ♪♪ ♪♪ ♪ High and low I'd travel ♪ ♪ Far and wide I'd go ♪ ♪ From the desert tracks to the mountainside ♪ ♪ I bring this traveling show ♪ ♪ Forward and back I'm searching ♪ ♪ High and low I spit ♪ ♪ It doesn't matter how many miles I plow ♪ ♪ I always bring the... ♪ ♪ Driving along ♪ ♪ Driving home ♪ ♪ Drive all night till dawn ♪ Hey, hey, hey, hey, hey!

Whoo!

♪♪ ♪♪ ♪ High and low I'd travel ♪ ♪ Side to side I slide ♪ ♪ I'm always searching for a new town to conquer ♪ ♪ Then Henry Wagon's off ♪ ♪ I ride ♪ ♪ Driving along ♪ ♪ Driving home ♪ ♪ Drive all night till dawn ♪ ♪♪ ♪ Driving along, hey ♪ ♪ Driving home ♪ ♪ Drive all night till dawn ♪ Go again, Lachlan.

♪♪ ♪♪ Give him a round of applause, the poor thing.

[ Cheers and applause ] And he's wearing sunglasses too, so he cannot see a thing.

[ Laughter ] It's a very special skill.

♪♪ ♪ High and low I'd travel ♪ ♪ Far and wide I'd go ♪ ♪ From the desert tracks to the mountainside ♪ ♪ I bring this traveling show ♪ ♪ Forward and back I'm searching ♪ ♪ High and low I spit ♪ ♪ It doesn't matter how many miles I plow ♪ ♪ I always bring the... ♪ Driving along.

♪♪ ♪ Driving home ♪ ♪ Drive all night till dawn ♪ ♪ Driving along, hey, uh ♪ ♪ Driving home ♪ ♪ Drive all night till ♪ ♪ Drive all night till dawn ♪ ♪♪ [ Music ends ] [ Laughter, applause ] [ Laughter, applause ] Wagons: I think it's the lot of any musician to soak up inspiration from anything -- from a piece of art, from a stain on a dive-bar wall.

I saw a moose head in a...like, a nozzle mounted on the wall in a bar last night that I think I'm gonna write a song about.

You know, the support act in L.A. talked about being from Sugarland, Texas, the other day.

And it sort of -- That's asking for a song if you're asking me.

"The Man from Sugarland."

I might write that too.

So basically I'm trying to soak it up any way I can.

I have a feeling the beautiful floral pattern on your shirt might be the third verse.

[ Chuckles ] Do you have any songs that are from kind of a specific personal experience that you've had that you're performing tonight?

That's a good question.

A lot of songs bounce off my experience of the world.

You know, a song like "Freight Train Going South" is about a fear of the world sort of going down the gurgler.

You know, it's my very gentle version of a... of a paranoid political number.

But my response to it is "Let's hop on a fast-moving train and go straight to hell."

It's my version of AC/DC's "Highway to Hell," practically.

This next one, I think, is an olive branch to Iowa from me in Melbourne, Australia, to you guys.

In the spirit of all this classic songwriting that your country has given me, I've written a bloody train song.

I've written a train song -- another train song.

We got lots of trains.

They run fast and wild in our country.

We don't have tracks.

They just... No.

We do have tracks.

We do have.

You're gonna know what this song is.

Who's got a brave friend in the crowd?

There you go.

[ Applause ] A round of applause for this brave soul, standing in a sandwich of Australians.

standing in a sandwich of Australians.

Come on up.

Come on up.

Come up to the mic so that people can hear you.

What's your name?

Hey.

I'm Jen.

Round of applause for Jen.

[ Cheers and applause ] And Henry.

You're the best.

Jen is leaving all of your worst nightmares as we speak.

Jen is leaving all of your worst nightmares as we speak.

Now, Jen...

Yes.

I get to blow the whistle.

Have you ever played one of these before?

[ Whistle blows ] This is not very COVID-safe.

My apologies.

Yeah.

I'll give you more than you give me.

Okay.

[ Laughter ] I think you're gonna know exactly when to play this where.

Okay.

I feel like David Copperfield.

Now, you and I have never -- We've never met, have we, Jen?

You know, this is -- Oh, thank you for fixing the set.

Yeah, yeah.

Yeah, yeah.

Jen, Lachlan, and I are gonna play a song called "Freight Train Going South."

All together.

Are you ready?

Totally ready.

Give it a test.

No.

You need to stand up and blow it into the mic, if that's all right.

[ Whistle blows ] [ Cheers and applause ] [ Mid-tempo introduction plays ] ♪♪ ♪ Pardon me, sir ♪ ♪♪ ♪ Won't you put me down?

♪ ♪ I'm sick and tired of hanging round ♪ ♪ I'm sick and tired of hanging round ♪ ♪♪ ♪ There's a freight train going south ♪ ♪♪ ♪ Pardon me, ma'am ♪ ♪ Won't you help a poor man out?

♪ ♪ "Cut your hair, boy, and shut your mouth" ♪ ♪♪ ♪ There's a freight train going south ♪ ♪♪ ♪ There's a freight train going south ♪ It's goin', Jen.

♪♪ No?

Not yet?

Tell me when.

No?

Not yet?

Tell me when.

[ Whistle blows ] ♪♪ She nailed it.

[ Applause ] ♪♪ ♪ First-class cabin ♪ ♪ Climb on board ♪ ♪♪ ♪ Once you ride that train ♪ ♪ You ain't gonna want to ride trains no more ♪ [ Whistle blows ] Yeah!

[ Whistle blows ] [ Cheers and applause ] ♪♪ ♪ Excuse me, boss ♪ ♪ I've lost my mind ♪ ♪♪ ♪ He's out to lunch ♪ ♪ Come back sometime ♪ ♪♪ ♪ There's a freight train going south ♪ Let's hear it.

[ Whistle blows ] ♪♪ That's how I always did it in Baltimore.

♪ Excuse me, Lord ♪ ♪ I've been trying to pray ♪ ♪♪ ♪ I'll be in touch at the end of days ♪ ♪ There's a freight train ♪ ♪ Going south ♪ ♪♪ ♪ There's a freight train ♪ ♪ Going south ♪ Take it away, Jen!

Whistle solo!

[ Whistle blowing ] ♪♪ [ Applause ] ♪♪ [ Music slows, ends ] Yes!

[ Cheers and applause ] Yes.

Thank you.

Thank you, Jen.

I knew we could talk.

We could talk.

Jen, local hero here at Iowa PBS -- or a new local hero.

We're heading to the deep south.

But I'm not talking the south of the United States.

We're talking south of the border that is the equator.

Let's head to a little town called Dover, Tasmania, shall we, where I found a young man who's the best lead guitarist I'd ever seen in my life.

Let me tell you the story.

Featuring Lachlan Bryan on guitar now, ladies and gentlemen, one of Australia's finest multi-instrumentalists.

[ Applause ] In this song, he's playing the part of Felix Grainger, the finger-picking boy.

[ Mid-tempo introduction plays ] ♪♪ ♪ In a town south of Dover, Tasmania ♪ ♪ Which is a town south of everywhere I know ♪ ♪ Lived a boy named Felix Granger ♪ ♪ Felix Granger in the finger-picking boy ♪ ♪♪ ♪♪ ♪ His mama worked in a restaurant ♪ ♪ That served the best sweet pie in town ♪ ♪ Sometimes off in the corner ♪ ♪ Felix makes the most amazing sound ♪ [ Harmonica playing ] ♪♪[ ♪ As a man his mustache finished dinner ♪ ♪ And he thought, "Why not indulge in some dessert?"

♪ ♪♪ ♪ He ate a little pie, and from the corner came a lullaby ♪ ♪ He ate a little pie, and from the corner came a lullaby ♪ ♪ It was the sweetest finger-picking he'd ever heard ♪ ♪♪ ♪♪ ♪ He said, "Son, I'm a big shot from the city ♪ ♪ And everybody who likes me calls me Big Al" ♪ Big Al.

♪ "I think you got something special, my dear boy ♪ ♪♪ ♪ The best finger-picking in this whole land!"

♪ Hey!

[ Harmonica playing ] ♪♪ ♪ Every time Felix tours back through Hobart ♪ ♪ He'll always make that special trip ♪ ♪ To hold his mama for a while ♪ ♪ And eat some of that sweet old pie ♪ ♪ And maybe play in that corner for a bit ♪ Hey!

♪♪ [ Harmonica playing ] ♪♪ [ Music slows, ends ] [ Cheers and applause ] Along with performing, you host a show called "Tower of Song" on Double J in Australia.

Yes.

Americana.

Roots.

Country music.

What do you hope to convey with the music you choose in your show?

I'm lucky enough to get to choose my playlist, and I just share what jangles the ganglions in my brain.

You know, and I have a particular passion for heavyweight songwriting.

I hate songs that are wallpaper.

I think you'll see that in my set.

I'm not saying it's any good, but it ain't wallpaper.

[ Laughs ] Who are some of the artists you're kind of most excited by or most jump out to you in their songwriting in music right now?

The guy that I'm playing with here onstage, Lachlan Bryan, is one of Australia's finest songwriters.

If you want to get into more Australian music -- I'm probably not gonna let him sing one of his own, but that's up to you to find him yourself.

Your most recent album, "The Four Seasons," was released last year.

Can you talk a little bit about the kind of songwriting and production process behind that album?

It's sort of so desert-fried.

I think it could cook an egg on the vinyl, you know?

I really like that spaghetti-Western sound.

"Big City Blues," "Keep Your Eyes Off my Sister" -- No matter what you write, no matter how distant the character you're writing about may seem in song, I feel like you can't help but put a personal filter on it, and the egomaniac in me enjoys that.

and the egomaniac in me enjoys that.

This next one is in between you and me.

What's your name?

Scott.

Scott, up front.

[ Mid-tempo introduction plays ] Are we getting -- I'll need this.

Here we go.

♪♪ Scott... ♪♪ ♪ Keep your eyes off my sister ♪ ♪ Keep your thoughts above the belt ♪ ♪ Keep your thoughts above the belt ♪ ♪ Do not cross me, mister ♪ ♪ Direct your mind somewhere else ♪ Look at me, Scott.

♪ She needs a man to treat her ♪ ♪ Like a delicate princess ♪ ♪ You can't even look after yourself, Scotty, man ♪ ♪♪ ♪ Keep your eyes off my sister ♪ ♪ Keep your thoughts to yourself ♪ ♪ A birdie told me you kissed her ♪ ♪ Well, I hope not, for the sake of your health ♪ ♪ Well, I hope not, for the sake of your health ♪ ♪ I'm not gonna let her be with no music man ♪ Do you like to play music a little bit, Scott?

Scott: I like to listen.

Like to... ♪ No music fan ♪ I thought you played music 'cause you wear that slick leather jacket.

You're lookin' good.

Keep your eyes off.

♪ I hear how you talk about the ladies ♪ ♪ In the touring van ♪ ♪ And though I respect your taste ♪ ♪ And a friend you may be ♪ ♪ You just like her 'cause she looks a bit like me ♪ [ Music slows, ends ] [ Cheers and applause ] Thank you.

[ Mid-tempo introduction plays ] Whoo!

♪♪ ♪♪ ♪ I've been king-hit on the back of my head ♪ ♪ Uh-huh, I'm eatin' the dirt of the pavement ♪ ♪ Uh-huh, I'm eatin' the dirt of the pavement ♪ ♪ I taste the liquor on the back of my breath ♪ ♪ I can't help but think I might've deserved this ♪ ♪ The world has turned since the sun came up ♪ ♪ Seems I lived a thousand lives ♪ ♪ But...I need a drink just to finish this up ♪ ♪ Bartender, if you wouldn't mind ♪ ♪ In walks little Janie, a five-feet-five ♪ ♪ A leopard-print getup, legs for miles ♪ ♪ Whiskey on the rocks and a familiar smile ♪ ♪ I said next thing's next, my face is on the tiles ♪ ♪ I've been king-hit on the back of my head ♪ ♪ Uh-huh, I'm eating the dirt of the pavement ♪ ♪ I taste the liquor on the back of my breath ♪ ♪ I can't help but think I might've deserved this ♪ ♪♪ ♪♪ ♪ Now I'm deep in my own darkness ♪ ♪ As I move towards the light ♪ ♪ I see my uncle and my granny ♪ ♪ Welcoming me to the other side ♪ ♪ They told me I was early, but I was happy to retire ♪ ♪ I thought I was right on time ♪ ♪ But in the land of the dead, it was such a warm embrace ♪ ♪ But now I'm back on the floor, bloody nose under my face ♪ ♪ People crowded around me, asking, "Henry ♪ ♪ What the hell took place here?"

♪ ♪♪ ♪ Then this voice from the gloom like a ship in the fog ♪ ♪ He said, "I'm the one that hit you ♪ ♪ And you're lucky you weren't shot ♪ 'Cause I had my pistol pointed straight at your heart, my man ♪ Oh!

♪ You see, Jane is my daughter ♪ ♪ She's wild and free ♪ ♪ And she seems to enjoy a musician's company ♪ ♪ But I'm not convinced by you, you hairy little -- Brr!

♪ ♪ So I had to lay down my own smash hit ♪ ♪ I've been king-hit on the back of my head ♪ ♪ Uh-huh, I'm eating the dirt of the pavement ♪ ♪ I taste the liquor on the back of my breath ♪ ♪ I can't help but think I might've deserved -- ♪ ♪ I've been king-hit on the back of my head ♪ ♪ Uh-huh, I'm eating the dirt of the pavement ♪ ♪ I taste the liquor on the back of my breath ♪ ♪ I can't help but think I might've deserved this ♪ ♪♪ ♪♪ Whoo!

[ Cheers and applause ] Thank you.

Next time you're in Melbourne, Australia, look me up.

I'm easy to find.

Want to have you over for a drink, And I want to cook you a meal.

This is what it's like.

[ Down-tempo introduction plays ] ♪ I cooked you a meal ♪ ♪ Come on inside ♪ ♪ We'll put on some music ♪ ♪ And take our time ♪ ♪♪ ♪ We'll talk about old times ♪ ♪ When we were young ♪ ♪ Have you been doing all right?

♪ ♪♪ ♪ Olive oil and a dinner bun ♪ ♪♪ ♪ In your eyes, I see the flicker of the candlelight ♪ ♪♪ ♪ The smell of rosemary and butter ♪ ♪ Man, we're doing all right ♪ ♪♪ ♪ I've been alone so long ♪ ♪ I'm so glad you're here tonight ♪ ♪ Cooking for one ain't worth the effort ♪ ♪ Choppin' and kneadin', flippin' and fryin' ♪ ♪ Kneadin', sous-vidin', man, it just ain't right ♪ ♪ I cooked you a meal ♪ ♪ Nothing more I like to do ♪ ♪♪ ♪ Than to spend my time ♪ ♪ Than shootin' it with you ♪ ♪ As the evening floats by ♪ ♪ It's slipping away all too soon ♪ ♪ I burned the fish and spoiled the spuds ♪ ♪♪ ♪ Wanna go to my bedroom?

♪ ♪♪ ♪ I cooked you a meal ♪ ♪ The food will be better next time ♪ I promise.

♪ You and me were meant to be ♪ [ Music slows ] ♪ Come over any time ♪ ♪♪ [ Music ends ] [ Cheers and applause ] Davis: I find it so fascinating that there is a strong kind of history of Australian country music as well, right?

Right.

I'm wondering -- What do you see the differences of the two?

And what kind of pulled you to those records you were listening to as a child?

Well, it's funny.

I grew up in inner-city Melbourne.

You know, it's not like I grew up on a farm or anything.

But I think the same goes for city kids all over the world that country music is one of the best genres to tell a tall tale.

The production draws you into the lyric, and you expect a turn of phrase.

You expect something humorous and that'll make you cry all at once.

It's an architecture that's a storyteller's dream.

And I think that country music's ability to surprise at every verse is just really appealing for someone who wants to communicate through song.

And I think that's what drew me to it.

There's also similarities between Iowa and Australia -- you know, wide and flat.

It sort of lets your imagination swing and flail around without hitting anything.

And that just leaves you an open tapestry to dream and think of crazy ideas that you put down over a pedal steel and acoustic guitar and next thing you know, an album of stories comes easy.

Like, I don't exactly know how or why country music resonates with so many people in so many different places.

But, you know, I'm happy it does.

And I'm part of the torrent in culture at the moment.

[ Mid-tempo introduction plays ] ♪♪ ♪ I tripped over my shoes ♪ ♪ Fell into the couch ♪ ♪ The refrigerator light nearly knocked me straight out ♪ ♪♪ ♪ My stomach's in fits ♪ ♪ I need to fill it ♪ Damn it.

♪ My ice box is empty as my wallet ♪ ♪♪ ♪♪ ♪ Cold burger, cold fries ♪ ♪ Yes, it's all I deserve ♪ ♪ After what I did last night ♪ ♪ I'm getting my just desserts ♪ ♪ I'm getting my just desserts ♪ ♪♪ ♪ I look around at the kitchen, at this apocalypse ♪ ♪ And in the papers in the corner ♪ ♪ Poking out a few chips ♪ Man.

♪♪ ♪ Well, I'm a... for what I've done ♪ ♪ And I hate to make you sad ♪ ♪ But she was a shoulder to cry on ♪ ♪ And I was drink-faced and mad ♪ ♪♪ ♪ Cold burger, cold fries ♪ ♪ Yes, it's all I deserve ♪ ♪ After what I did last night ♪ ♪ I'm getting my just desserts ♪ Hey!

♪♪ ♪ Baby, take my calls ♪ ♪Yeah, I need you to take my calls ♪ ♪ Yeah, you have to ♪ ♪ 'Cause I know you're a mess like me ♪ ♪ And you must be a little bit hungry ♪ Hey.

♪♪ ♪ I'll take you for a burger and fries ♪ ♪ Fresh and hot from the fire ♪ ♪ And I'll try to make it up to you ♪ ♪ Yes, I'll try to make it up to you ♪ [ Music slows, ends ] [ Cheers and applause ] Whoa.

Yeah.

I've never actually been into downtown Des Moines yet.

I haven't really reached it yet.

What's in store?

It's a city of dreams.

[ Laughter ] Where do I eat?

What do I do?

Where do I find a good poached egg?

Where do I get the crispest Miller High Life?

I don't know!

But this one's, I guess, about my dreams of what Des Moines is like.

The alienation and loneliness of the Big Smoke.

This is called "Big City Blues."

[ Mid-tempo introduction plays ] ♪♪ ♪♪ ♪ Wide-eyed on the sky-rise ♪ ♪ Don't look down tonight ♪ ♪ Big lines up in my eyes ♪ ♪ Stars lined up just right ♪ ♪ We're in the big city blues ♪ ♪ The big city blues ♪ ♪ All right ♪ ♪♪ ♪ Stairs down off the astral plane ♪ ♪ Together but all alone ♪ ♪ In my best dress and my best shoes ♪ ♪ Never gonna be alone ♪ ♪ We're in the big city blues ♪ ♪ Big city blues ♪ ♪ All right!

♪ ♪♪ ♪ Swallowed up by all the smoke in here ♪ ♪ Got no anchor, got no ship to steer ♪ ♪♪ ♪ And all these promises are all so insincere ♪ ♪ And all these promises are all so insincere ♪ ♪♪ ♪ Big city blues ♪ ♪ The big city blues ♪ ♪ The big city blues ♪ ♪ The big city blues ♪ ♪ All right ♪ ♪♪ [ Music slows, ends ] [ Cheers and applause ] Thanks for coming out.

Just got another couple songs.

Thanks for putting up with me and Lachlan.

This one's about the kind of people I think about.

I can see there's a lot of friendship groups here at the tables.

Friends, maybe unlikely pairings.

Some people look exactly the same.

[ Laughter ] But we never know who our circle is gonna be.

I've got a lot of misfits back at home that I consider my family.

This one's called "Park at the Station (Friends of Mine)."

[ Down-tempo introduction plays ] ♪♪ ♪ He's gonna park at the station ♪ ♪ Give it a push tonight ♪ ♪ Pick up the car in the morning ♪ ♪ I hope he's feeling all right ♪ ♪ Where would I be, what would I do ♪ ♪ Without these friends of mine?

♪ ♪♪ ♪ He's worried he's left behind ♪ ♪ He's worried he has to think twice ♪ ♪ He don't need to worry about the times ♪ ♪ If he's mostly kind ♪ ♪ Where would I be, what path would I choose ♪ ♪ Without these friends of mine?

♪ ♪♪ ♪ Ooh, those friends of mine ♪ ♪♪ ♪ Ooh, those friends of mine ♪ Whoo, whoo!

♪♪ ♪ She's moved out to the sticks ♪ ♪ She's had a couple of kids ♪ ♪ She's learned a couple of tricks ♪ ♪ We had a couple of drinks ♪ Hey.

♪ Where would I be, what path would I choose ♪ ♪ Without these friends of mine?

♪ ♪ Without these friends of mine?

♪ ♪♪ ♪ Where would I be, what would I do ♪ ♪ Without these friends of mine?

♪ ♪♪ ♪ Ooh, those friends of mine ♪ ♪ Ooh, those friends of mine ♪ ♪♪ ♪ Oh, those friends of mine ♪ Whoo!

♪♪ ♪♪ ♪ Ooh, those friends of mine ♪ ♪♪ ♪ Ooh, those friends of mine ♪ ♪ Ooh, those friends of mine ♪ ♪ Ooh, those friends of mine ♪ Whoo!

♪♪ ♪♪ [ Music slows, continues ] ♪♪ [ Music ends ] [ Cheers and applause ] Davis: Beyond the kind of vehicle for telling a story, do you feel like there's any kind of emotional through line in country music?

Or is there a unified story that it's trying to tell that you think resonates?

Or do you think it's more just the vehicle for whatever story you want to tell?

Well, if we're talking classic country music, you know, it's made with an acoustic instrument bed and the pluck of a catgut string.

You know, when you feel that jangle and the movement of the air out of a sound box of an acoustic guitar, bathed in reality -- It's real.

Like, when you listen to pop music, you're not quite sure when you show up live what you're gonna see.

Yeah.

What is this?

You know, it's a beautiful, imaginary -- You know, it's a beautiful, imaginary -- It's a beautiful space that gets weaved together.

But in country music, there's an authenticity and reality But in country music, there's an authenticity and reality and groundedness to what it communicates, I think.

And I think that's really appealing and that's kind of unique to the genre.

This is a final mission statement from us.

Well Henry, thank you so much fo being here.

Thank you so much fo part of Studio 3 Live What a pleasure it is to be here Thanks for having me.

This is a final mission statement from us.

Thanks so much for having us.

This is a song not by Willie Nelson, but called "Willie Nelson," all right?

I might need your help to get through it.

Two, three, four!

[ Mid-tempo introduction plays ] ♪♪ Hey!

♪♪ ♪ Play that country music with the country feel ♪ ♪ A little bit of Willie Nelson with our evening meal ♪ ♪ Oh, Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie Nelson ♪ [ Hands clapping ] ♪♪ ♪ We got stacks of cash, sweet baby ♪ ♪ We got everything we need ♪ ♪ An old banjo and a lap steel slide ♪ ♪ Playing for our evening feed ♪ ♪ Oh, Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie Nelson ♪ ♪ Well!

♪ ♪♪ Hey, hey!

Hey!

Hey, hey!

Hey!

♪♪ ♪♪ Unh!

♪♪ The amazing Lachlan Bryan's gonna sing this next verse.

♪ Well, he likes some salt and pepper ♪ ♪ With his evening meal ♪ ♪ He likes some salt and pepper with his evening meal ♪ ♪ He likes some salt and pepper with his evening meal ♪ ♪ He likes some salt and pepper with his evening meal!

♪ ♪ He likes some salt and pepper with his evening meal!

♪ Hey!

♪♪ [ Clapping continues ] ♪♪ ♪ Sometimes I listen to Elvis ♪ ♪ Sometimes I listen to Cash ♪ ♪ Sometimes I listen to Waylon ♪ ♪ Then it all comes back to the one and only ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie Nelson, yeah!

♪ ♪ Willie Nelson, yeah!

♪ ♪♪ [ Cheers and applause ] [ Cheers and applause ] ♪♪ I reckon you guys have got one of these in you.

How many times have we done the chorus?

Four?

I think you guys are quick on the uptake.

You love Iowa PBS.

You are highly educated, refined people, breathing refined air, consuming the finest in media that Iowa has.

You guys are born for this.

Willie Nelson's just the same.

Here we go.

Ready?

We'll do a chorus for 'em again.

One, two, three, four.

♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie Nelson ♪ ♪♪ Okay.

Ready?

I'm not concerned for the key.

This is all about the diaphragm and just belting the hell out of this.

Ready?

If you're worried you can't sing, I'm not.

[ Laughter ] One, two, three, four!

♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie Nelson ♪ That was good, Iowa.

[ Cheers and applause ] Oh, my God.

Well done.

♪♪ I give that a solid 6 1/2 out of 10.

A passing grade.

Easy.

That's a solid score -- if you're a bad parent.

[ Laughter ] [ Laughter ] I demand excellence in the refinement of this air that you breathe.

One more massive, gut-wrenching thing.

I don't care.

We'll play noughts and crosses later.

We'll party with Slipknot.

Let's do this right here, right now.

Let's go.

One, two, three, four!

♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie ♪ ♪ Willie Nelson ♪ ♪ Willie Nelson ♪ Yeah!

[ Music ends ] That was good!

[ Cheers and applause ] Well done, kids.

Yes!

♪♪ I've been Henry Wagons.

Thanks again for having us in Studio 3.

[ Cheers and applause ] What a pleasure it's been.

Thanks for putting up with us.

[ Music continues, hands clapping ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Music slows, ends ] [ Music slows, ends ] [ Cheers and applause ] Davis: "Studio 3 LIVE" is also available as a podcast.

Announcer: Musco Lighting is honored to support Iowa PBS.

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While our reach is global, our commitment is local.

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Announcer: Funding for this program was provided by Friends, the Iowa PBS Foundation, as well as generations of families and friends who feel passionate about the programs they watch on Iowa PBS.