San Francisco-based artist The Last Gray Wolf—the project of Irish-American songwriter and Louisville native Conor Gleeson—has just released 'Kentucky Telephone', a beautifully crafted indie folk track wrapped in analog warmth and emotional clarity.
Recorded direct to 2” 16-track tape, the song features Jason Abraham Roberts (Spoon, Norah Jones) on lead guitar and production, Josh Adams (Fruit Bats, Tim Heidecker) on drums, and Aaron Stern (Curtis Harding, Jamie Wyatt) on bass. Together, they create a lush, lived-in atmosphere around Gleeson’s vocals, which explore the subtle ache of losing connection with your past.
A former member of Louisville indie band Western Transit, Gleeson blends folk-rock sincerity with modern melancholy, landing somewhere between My Morning Jacket, Kevin Morby, and early Beck. The track is the lead single off his upcoming EP, due out later this year.
So with the new single available now, we sat down with him to find out more about his origins and what has been inspiring him most over the years.
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What was the first instrument you fell in love with?
My dad is Irish and used to play a penny whistle around the house, so that sound is probably the first that really stuck with me. But the first instrument I actually played was drums — my parents got me a kit when I was seven. I got my first Strat at ten and was obsessed from the start.
What kind of music did you love when you were younger?
My granddad used to play Johnny Cash tapes all the time — I grew up on American country & western. Later, I got swept up in Nirvana, Neil Young, The Grateful Dead, Modest Mouse, Zeppelin… and eventually fell deep into bluegrass and jazz while living in Kentucky. When I moved to Chicago, I spent a lot of time at Kingston Mines — proper blues education.
What was the first album you remember owning?
War by U2. That cover blew my mind, and I can still remember cranking “Sunday Bloody Sunday” in my room on repeat. That opening drum fill is what made me want to play.
What’s one song you wish you’d written?
“Eleanor Rigby.” Honestly, anything off Revolver. That whole album is untouchable.
Do you have any habits or rituals when writing music?
I walk a lot. I’ll mumble melodies and phrases into my phone like a lunatic. Usually I start with a hook, then figure out the chords on an acoustic. Once I have a skeleton, I bring it to my producer, Jason Abraham Roberts, and we’ll jam on arrangement ideas. He’s got this uncanny way of turning a whisper of a song into something cinematic.
Who are your favourite artists you’ve been listening to lately?
I’ve been down a rabbit hole of Dead bootlegs and old Internet Archive recordings. But newer stuff? I love MJ Lenderman, Kevin Morby, Cut Worms, Jason Isbell, Fruit Bats… and I’m always chasing that balance between raw and refined.
If you could open a show for anyone, who would it be?
My Morning Jacket. I grew up idolising those guys in Louisville — they were it. I’ve seen them more times than I can count.
What do you find is the most rewarding part of being a musician?
Playing live — no question. Whether it’s with my band or backing someone else, that feeling of locking in with other musicians and feeding off a crowd… there’s nothing like it.
And the most frustrating part?
Trying to make a living. It feels like you either need a viral TikTok or a record deal to get by. I’ve got a day job — most of the players I work with are full-time musicians. I envy that, but I just keep focused on making stuff I believe in. Impostor syndrome creeps in, but it means you care.
What’s the best piece of advice you’ve received as a musician?
Stage fright and self-doubt are signs you’re growing. And if you hate how your vocals sound raw in the studio? That’s a good thing — it means you’re not a narcissist. One thing Jason always says before we record or go onstage: “Be a badass.” It's simple, but it takes me out of my head and into a character I'm playing.
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The Last Gray Wolf's new single 'Kentucky Telephone' is available to stream now. Check it out in the player below.